Update sp23_shi-jingxian_final-project_paintbrushes.md

revising typos

docs/sp23_shi-jingxian_final-project_paintbrushes.md

@@ -54,13 +54,13 @@ Transmission of such techniques could not be sustained through hands or minds al
 
 Previous sections of this essay have illustrated similar practices between Chinese and European brush-making artisans from the fifteenth to the eighteenth century in terms of gathering raw materials, adapting, and transmitting brush-making techniques. Both cultures shared similar brush structures. This may also have resulted from the properties of the raw materials, which defined a tight range for the brush’s forms. However, minor differences arose when the brushes were placed in the context of writing and painting. Writing and painting were two distinct practices which used different instruments in European countries, while Chinese writing and painting traditions harmonized[^39] and used the same soft-tip ink brushes. These differences were not evident in the form and structure of the paintbrush and ink brush, but they were manifested in the quantities and sizes of the brushes used in one painting, as well as users’ brush-holding positions from two cultures.
 
-A significant number of brushes were required in European artists' studios. Danielle Carr writes that a typical artist’s workshop in fifteenth-century Europe could have hundreds of brushes.[^40] Such a variety was used to pursue different artistic effects in a painting. Artist Albrecht Dürer recorded his purchase of “13 bristle brushes for 6 stivers, and 6 bristle brushes for 3 stivers, then another 3 stivers for another 3 bristle brushes” in Antwerp in 1521. [^41] Susie Nash gives striking material evidence on the use of different sized brushes in one painting. In the X-rays of a painting by Lucas Cranach, scientific analysis has shown that the width of the brushstrokes range from 5 millimeters to 30 millimeters.[^42] Finer details necessitated the use of small and pointed brushes.
+A significant number of brushes were required in European artists' studios. Danielle Carr writes that a typical artist’s workshop in fifteenth-century Europe could have hundreds of brushes.[^40] Such a variety was used to pursue different artistic effects in a painting. Artist Albrecht Dürer recorded his purchase of “13 bristle brushes for 6 stivers, and 6 bristle brushes for 3 stivers, then another 3 stivers for another 3 bristle brushes” in Antwerp in 1521.[^41] Susie Nash gives striking material evidence on the use of different sized brushes in one painting. In the X-rays of a painting by Lucas Cranach, scientific analysis has shown that the width of the brushstrokes range from 5 millimeters to 30 millimeters.[^42] Finer details necessitated the use of small and pointed brushes.
 
 In contrast, Chinese artists and calligraphers had significantly fewer brushes in their studios. Instead of using different sizes of paintbrushes, they devoted great care to controlling the brush and modulating the width and length of the brushstrokes through adjusting their arms, shoulders, and bodies. The ways of holding the brush and the practice of lifted-elbow position in Chinese paintings and calligraphy helped to create dynamic lines and dots in the pictorial representation. George Stout identified two ways of holding the brush: “parallel grip” – the brush handle is held in about the same line as the fingers; and “angle grip” – the brush is at an angle to the fingers and at an angle to the forearm.[^43] Users’ positions of holding the brushes influenced the range of movements of the brush and corresponded to the size of the brush. Parallel grip confines the range of movement of the arm, resulting in smaller painting areas and shorter brushstrokes. There was a trend towards the parallel grip during fifteenth-century Europe.[^44] This coincided with the increasing number and sizes of brushes in artists’ studios.
 
 Chinese artists and calligraphers, on the other hand, adopted the angle grip position. When holding the brush in an angle grip position, fingers had little to do with the maneuverings of the brush. One’s wrist, elbow, shoulder were instead utilized.[^45] This matched Chinese ideology in calligraphical practice. Calligrapher Cheng Yaotian suggests the brush, the finger, the wrist, the arm, the body, and the heart should be connected during writing.[^46] Holding the brush in an angle grip position while lifting the elbow in air, the writer actually used the whole body to manipulate the brush. The angle grip adopted by Chinese scholars allowed for larger-scale movements on the painted surface, while the parallel grip used by European artists was preferred for creating finer details and smoother touches.
 
-The variation in brush positions helps to explain the differentiation in the development of Chinese ink brushes and European paintbrushes. Chinese scholars adjusted their bodies instead of making adjustment to their brushes,[^47] while European artists modified the brushes to achieve their particular artistic expressions in painting. Such modifications of the paintbrush can be found in Cennini’s handbook. Cennini instructed, “reinforce your whole drawing, with a small pointed minever brush, … with a rather blunt minever brush, shade in some of the folds.” [^48] Variable sizes of paintbrushes accompanied artists’ hands to achieve verisimilitude in early modern Europe. In comparison, Chinese scholars utilized movements of their bodies to facilitate writing and painting practices that expressed vitality and spirit resonating in their brushstrokes.
+The variation in brush positions helps to explain the differentiation in the development of Chinese ink brushes and European paintbrushes. Chinese scholars adjusted their bodies instead of making adjustment to their brushes,[^47] while European artists modified the brushes to achieve their particular artistic expressions in painting. Such modifications of the paintbrush can be found in Cennini’s handbook. Cennini instructed, “reinforce your whole drawing, with a small pointed minever brush, … with a rather blunt minever brush, shade in some of the folds.”[^48] Variable sizes of paintbrushes accompanied artists’ hands to achieve verisimilitude in early modern Europe. In comparison, Chinese scholars utilized movements of their bodies to facilitate writing and painting practices that expressed vitality and spirit resonating in their brushstrokes.
 
 ## Conclusion
 
@@ -121,7 +121,7 @@ Varney, Captain. *Report on Brush Material and the Manufacture of Brushes*. Wash
 Xu, Yiyi. “ The Knowledge System of the Traditional Chinese Craftsman.” Trans. by Dorothy Ko. *West 86th.* 20:2. Fall-Winter 2013.
 
 
-[^1]: Cennini, Cennino, *The Craftsman’s Handbook, ‘Il Libro dell’Arte,* trans. by Daniel Thompson (New York: Dover, 1960.) See the entry “Paintbrushes” on fol. 66v in *Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640*, ed. Making and Knowing Project et al. (New York: Making and Knowing Project,    2020),** **[https://edition640.makingandknowing.org](https://edition640.makingandknowing.org/). 
+[^1]: Cennini, Cennino, *The Craftsman’s Handbook, ‘Il Libro dell’Arte,* trans. by Daniel Thompson (New York: Dover, 1960.) See the entry “Paintbrushes” on fol. 66v in *Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640*, ed. Making and Knowing Project et al. (New York: Making and Knowing Project, 2020),[https://edition640.makingandknowing.org](https://edition640.makingandknowing.org/). 
 
 [^2]: Pamela Smith, *The Body of the Artisan: Art and Experience in the Scientific Revolution.* Chicago: University of Chicago Press, 2004), 8.
 
@@ -138,8 +138,7 @@ Xu, Yiyi. “ The Knowledge System of the Traditional Chinese Craftsman.” Tran
 
 [^8]: Smith, *The Body of the Artisan,* 8.
 
-[^9]: The variant designations are “Jean Lemaire de Belges’s poem describes *pinceaux* (fine or small brushes) and *brosses à tas* (bristle brushes); Lucas Cranach’s accounts refer to *porspensel* (bristle brushes) and *harbensel* (hair brushes); Jan van der
- Stockt’s inventory lists *pinselen* (fine brushes) and *borstelen*(bristle brushes), and the Tournai painters’ regulations of 1480 distinguish between *pinceaux* and *brosses*.” Susie Nash, “Workspace and Equipment,” in *Northern Renaissance Art* (Oxford: Oxford University Press, 2008), 166.
+[^9]: The variant designations are “Jean Lemaire de Belges’s poem describes *pinceaux* (fine or small brushes) and *brosses à tas* (bristle brushes); Lucas Cranach’s accounts refer to *porspensel* (bristle brushes) and *harbensel* (hair brushes); Jan van der Stockt’s inventory lists *pinselen* (fine brushes) and *borstelen*(bristle brushes), and the Tournai painters’ regulations of 1480 distinguish between *pinceaux* and *brosses*.” Susie Nash, “Workspace and Equipment,” in *Northern Renaissance Art* (Oxford: Oxford University Press, 2008), 166.
 
 [^10]: Danielle Carr, “Paintbrushes in Ms. Fr. 640,” in *Secrets of Craft and Nature in Renaissance France*, ed. Making and Knowing Project et al. (New York: Making and Knowing Project, 2020) [<u>https://edition640.makingandknowing.org/#/essays/ann_026_fa_15</u>](https://edition640.makingandknowing.org/#/essays/ann_026_fa_15).
 
@@ -217,4 +216,4 @@ Xu, Yiyi. “ The Knowledge System of the Traditional Chinese Craftsman.” Tran
 
 [^47]: There were few exceptions in the seventeenth and eighteenth centuries. For example, Johnathan Hay points out that the    idiosyncratic artist Jin Nong cut the tip of the brush to create a sharp-edge brushstroke. Jonathan Hay, “Culture, Ethnicity and Empire in the Work of Two Eighteenth Century ‘Eccentric Artists.’” *RES: Anthropology and Aesthetics* 35 (Spring 1999): 201–223.
 
-[^48]: Cennini, *The Craftsman’s Handbook*, 75.
+[^48]: Cennini, *The Craftsman’s Handbook*, 75.