Selections

"Seventeen" Modelbook

Wang Xizhi (303-361), Jin dynasty

Album leaf, ink on paper, 23.2 x 9.7 cm

In the Song dynasty, Huang Bosi ranked the "Seventeen (Shiqi 十七)" modelbook as the "Dragon of calligraphy." The contents feature 29 engravings of notes by Wang Xizhi of the Eastern Jin. The most widely circulated collection of his modelbooks today, it begins with the characters for "seventeen," hence the name.

This album of rubbings, donated to the National Palace Museum by Messrs. Tann Boyu and Tann Jifu, has 26 of the notes with a character for “le 勒” afterwards and belongs to an “official” version missing 17 lines. The calligraphy consists mostly of modern cursive with some running and draft cursive mixed in. The characters are beautiful as the brush dances and turns with liveliness. Studied by calligraphers over the ages, it has long been considered a paragon for emulation.

Severing Relations

Zhao Mengfu (1254-1322), Yuan dynasty
Handscroll, ink on paper, 25 x 283.6 cm

Zhao Mengfu (style name Zi’ang, sobriquet Songxue), a native of Huzhou in Zhejiang, was an eleventh-generation descendant of the Song dynasty founder, Emperor Taizu (Zhao Kuangyin). In calligraphy, he advocated reviving the ancient styles and excelled at all the major script types, having a great influence on later generations.

This handscroll was once in the Ming collection of Xia Yuanji, Qing collection of An Qi, and Republication collection of Li Shih-tseng, being highly appreciated in the past. But compared to a version in the Beijing Palace Museum dated to 1319, the line spacing here is not as natural and the brushwork and characters reveal many instances of copying, suggesting the hand of a later imitator.

Poetry for a Painting

Ni Yuanlu (1593-1644), Ming dynasty
Hanging scroll, ink on silk, 130.3 x 41 cm

Ni Yuanlu (style name Yuru, sobriquet Hongbao), a native of Shangyu in Zhejiang, was a Presented Scholar of 1622 and served up to Minister of Rites and Hanlin Academician. In 1644, Li Zicheng attacked Beijing and, after the fall of the Ming, Ni took his own life. The King of Fu gave him the posthumous name Wenzheng.

Ni’s calligraphy is spirited and marvelous, his semi-Poetry of Wen Tianxiang particularly noteworthy. The blanks at the left side here create a dramatic contrast with the stark range of dry and moist brushwork. With variation between quick and slow brushwork, it is almost as if two forms of energy are in a tug of war, representing not only a high level of calligraphy but also a very personal manner. This work was donated to the National Palace Museum by Mr. Tai I-chien.

Forest of Changes by Jiao in Clerical Script

Yang Xian (1819-1896), Qing dynasty
Hanging scroll, ink on paper, 132.3 x 63.9 cm

Yang Xian (style name Jianshan; sobriquets Miaoweng, Chihong cansou), a native of Gui’an (in modern Zhejiang), was a Provincial Graduate of 1855 and Prefect of Changzhou. Good at poetry and prose, he was also gifted at calligraphy, his "bafen" clerical script paving the way for future generations.

Forest of Changes by Jiao by Jiao Yanshou of the Western Han is composed generally of four-character phrases expounding on the essence of the Book of Changes. This is an abridged transcription of the contents in Han clerical script. The style derives from the "Ritual Vessels" stele, but the lifting and application of the brush with variations in ink moisture as well as character spacing all are innovations of the calligrapher, his manner both pleasing and unique.

Poetry of Wen Tianxiang

Tsao Jung (1895-1993), Republican period

Hanging scroll, ink on paper, 119.5 x 33.9 cm

Tsao Jung (style name Qiupu, sobriquet Lao-xian), a native of Dadaocheng in Taipei, was gifted in all forms of calligraphy, generally writing with a turning wrist. He actively participated in calligraphy education and promoted the "Zen of Calligraphy," being an important member in Taiwan’s calligraphic circles.

This hanging scroll (donated to the Museum by Mr. Tsao Shu) transcribes Wen Tianxiang’s "Into the Clouds," describing how the Han emperor Wudi sent forces to surround and capture Liu An. It is the source of the story behind the idiom, "When a man attains the Way, even his chickens and dogs ascend to the heavens." In semi-regular script, the brushwork throughout is straightforward and forceful, the ink tones and white paper forming a striking contrast.

Center Panel Copy of the San Pan Inscription

Li Yu (1914-1996), Republican period

Hanging scroll, ink on paper, 135.6 x 68.8 cm

Li Yu (style name Jiayou, sobriquet Longjian jushi) was a native of Changshu, Jiangsu. Gifted in poetry and prose, painting and calligraphy, and seal carving, he was part-time professor in the Department of Chinese at Tamkang University after retiring from the Bank of Communications. His theory in calligraphy was "Thought comes first, experience second."

At least four versions of Li’s "Copy of the San Pan Inscription" are extant. This abridged transcription donated to the Museum by Ms. Li-Tsai Hsiang-chih preserves the lofty idea and majestic manner of the original rubbing’s arrangement. The slanting characters are more regular and upright with the lines clearly defined and the brushwork refined, an achievement only possible after extensive copying.