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Introduction

"Shiqi Modelbook" is a collection of letters written by Wang Xizhi (303-361; venerated as China's "Sage Calligrapher") in his late years to friends and takes its name from the first two characters of the first letter: shiqi ("seventeen"). The original "Shiqi Modelbook" appeared as early as the Tang dynasty (618-907) but no longer survives. Fortunately, people in the past often made copies, imitations, and engravings of it. Along with descriptions found in catalogues, these sources provide a window for reconstructing what the original model looked like. The original, done mainly in cursive script, featured fluid brushwork and strong, forceful lines that were even and elegant. Thus, by the Song dynasty, the Imperial Librarian Huang Bosi (1079-1118) praised this work as the "Dragon of Calligraphy."

Since its first appearance, "Shiqi Modelbook" has been an icon for the study of calligraphy in China. For example, a partial copy dating from the Tang dynasty has been uncovered at Dunhuang, and one of the letters, "Hanshi Modelbook," was also copied by Su Shi (1037-1101) of the Northern Song. During the following Yuan and Ming dynasties, different versions of "Shiqi Modelbook" had come into circulation (both in album leaf and handscroll format), including representative examples by Zhao Mengfu (1254-1322) in the Yuan, Dong Qichang (1555-1636) of the late Ming, and Zhu Dayou (dates unknown). Of particular note, Yu He's (1307-1382) conscious enlarging of the characters and composing them into a vertical scroll represented a major new direction in the history of this modelbook. During the middle to late Ming dynasty, the private printing of engraved modelbooks had become a trend. Although the paper and ink used in such engravings of "Shiqi Modelbook" as those from the Yugang Study and Yuqing Study could not compete with the archaic quality of Song dynasty versions, they still played an important role in the transmission of this paradigmatic work. In the Qing dynasty, Wang Shu's (1668-1739) imitation captured both its spirit and form in a faithful and complete rendering. The Qianlong emperor (1711-1799), also an avid calligrapher, also presented the modelbook in various ways, while Liu Yong (1720-1805) used gold ink to transcribe it in a strongly decorative manner. This work was then given new life following the establishment of the Republic of China, such as in the majestically powerful style of Tan Yankai (1880-1930) and the carefully precise rendering of Pu Ru (1896-1963), showing how the theory of injecting new ideas into established models of calligraphy was put into practice.

This exhibition includes thirteen examples of or related to "Shiqi Modelbook" through the ages in the National Palace Museum collection. Together, they present the beauty of this illustrious work, the influence it exerted, and its transmission in the history of Chinese calligraphy.

Selections

Old Rubbing of "Shiqi Modelbook"

Album leaf, ink on paper, 23.1 x 10.1 cm

Many engravings of "Shiqi Modelbook" have been made over the ages, and they can generally be divided into two types: the "Guan (Official) Version" and "Hejian (Directorate He) Version." The Song dynasty rubbing of the Official Version includes a total of 29 letters, and at the end is a character for qi, which means "by imperial order," so it is also known as the "Qi-character (Imperial) Version." Famous rubbings from this engraving include the "Mitsui Version" formerly in the Teihyô Pavilion collection of its Japanese owner, Mitsui Takakata (1867-1945). The calligraphy in the letters of Wang Xizhi, the "Sage Calligrapher," has been preserved for centuries as a result.

This particular rubbing comes from the "Guan Version," the engraving quite refined. However, only 26 of the letters are extant with seventeen lines missing. The last leaf includes Jia Sidao's (1213-1275) gourd-shaped seal impression for "Yuesheng." The two characters for "Sengquan" are complete here, suggesting a close relationship with "Shiqi Modelbook" in the "Modelbooks of the Yugang Study" collection from the Ming dynasty (1368-1644). The inscription in gold ink by Guo Shangxian (1785-1833) of the Qing dynasty further points to that edition as the origins for this rubbing.

Copy of "Shiqi Modelbook"

Zhao Mengfu, an eleventh-generation descendant of the Song dynasty founder Zhao Kuangyin (Emperor Taizu, 927-976), had the style name Zi'ang and the sobriquet Songxue. A native of Huzhou in Zhejiang, he was also posthumously given the name Wenmin. An avid promoter of revivalism with a varied style of calligraphy, he had a major influence on later generations.

Zhao Mengfu did more than one handscroll copy of "Shiqi Modelbook," and he also did an amended copy of the Tang dynasty version of it, the origins of cursive script quite evident therein. According to Zhao's signature at the end of this scroll, it was done at the age of 63. However, the brushwork differs from other typical examples from Zhao's later years, the missing characters and rearranged order of the letters a departure from the Song engraving of "Shiqi Modelbook." Zhao's model upon which this copy is based is therefore unknown. This work, entrusted to the National Palace Museum by Mr. Wang Shih-chieh, includes seal impressions from the collections of such figures as Wu Ting and Xiang Yuanbian of the Ming dynasty (1368-1644), testifying to the history of its provenance.

Copy of the "Chengdu Chengchi" and "Hanshi" Modelbooks

Yu He (style name Zizhong, sobriquet Zizhisheng), a native of Tongjiang (modern Tonglu, Zhejiang), was gifted at many script types in calligraphy. In his early years of study, Yu personally witnessed how the master painter-calligrapher at the time, Zhao Mengfu, wielded the brush. Yu thereafter imitated him so closely that their works became nearly indistinguishable.

This is a copy of the "Chengdu Chengchi" and "Hanshi" modelbooks, representing an abridged version of "Shiqi Modelbook." It is also the earliest extant example of calligraphy done on a tall, narrow hanging scroll. The form and structure of the characters have not become looser as a result of being enlarged, the line spacing from start to finish remaining consistent. Done with a vertical centered brush using a suspended wrist, the dots and strokes are clean and sharp while exhibiting great power and force, the twisting and connecting strokes particularly marvelous. The signature, "Copied by Old Man Zizhi," shows that Yu He never stopped practicing calligraphy, even in his advanced years.

Copy of "Shiqi Modelbook"

This copy of "Shiqi Modelbook" comes from the 39th album in "Calligraphy of the Yuan and Ming" and features 21 of the letters. The ink tones are dark and lustrous, the spirit of the characters quite similar to the original. The brushwork ranges from light and heavy to slow and hurried, fully expressing the rhythm and quality of the lines. It is said that the calligrapher of this work was Zhu Dayou, a native of Ningguo County active in the Ming dynasty. There is a Zhu Dayou (style name Boheng), a Tribute Student of 1534, but the period of his career does not match the date of the signature, suggesting a different person. Judging from this work, Zhu Dayou may not have been a famous calligrapher, but he demonstrated considerable skill and achievement. In his inscription, he wrote, "The calligraphy of Youjun (Wang Xizhi) is what I have enjoyed copying the most during my life. As for ‘Shiqi Modelbook,' it is the piece I am particularly fond of, having made a hundred scrolls over the decades." This statement testifies to the lasting influence of Wang Xizhi even a thousand years after his death.

Copy of "Shiqi Modelbook"

Wang Shu (style name Ruolin, sobriquet Xuzhou), a native of Jintan in Jiangsu, was a Presented Scholar (jinshi) of 1712 under the Kangxi emperor. In office, he served up to the post of Vice Director in the Ministry of Personnel. Also skilled at calligraphy, he promoted the study of Tang dynasty steles and became a respected calligrapher at the time.

Wang Shu's "Modelbooks of the Jishu (Accumulated Calligraphy) Cliff" consist of sixty albums, this being one of them. In addition to copying calligraphy in the first part, at the end are a monogram character for qi ("by imperial decree"), a colophon by Chu Suiliang of the Tang dynasty, and two characters for "Sengquan," making this a faithful and complete copy. The brushwork is delicate and precise, at times revealing the methods of draft cursive and the character forms orderly and regulated as well. The colophon at the end states, "This complete Song rubbing was in the collection of Mr. Tai in Xishan. Not only does it differ markedly from other versions in circulation, it also varies slightly from the Tang dynasty copy." This comment provides insight into the status of the original "Shiqi Modelbook" in Chinese calligraphy and its circulation in later times.

Copy of "Tianshugao Modelbook"

Liu Yong (style name Shi'an), a native of Zhucheng in Shandong, was a Presented Scholar (jinshi) of the Qianlong reign and served up to the post of Grand Academician at the Tiren Pavilion. In calligraphy, he began with the styles of Zhao Mengfu (1254-1322) and Dong Qichang (1555-1636) before establishing in his middle years a style of his own.

The contents of this fan done in gold ink on dark ornamental paper, donated to the National Palace Museum by Mr. Lin Tsung-yi, is a transcription of four texts. The third one is "Tianshugao," a letter from "Shiqi Modelbook." The lines are strong and resilient yet beautifully poised. In this work, Liu Yong combines the calligraphy of Wang Xizhi with fine poetry by other scholars, not only reflecting an innovative arrangement on his part, but also apparently showing some vacillation when it comes to the status of the "Sage Calligrapher."

Exhibit List

Title
Artist
Period
Note

Old Rubbing of "Shiqi Modelbook"

Copy of "Hanshi Modelbook"

Su Shi (1037-1101)

Song dynasty

Donated by Huang Li-jung and Huang Wen-ju

Copy of the "Chengdu Chengchi" and "Hanshi" Modelbooks

Yu He (1307-1382)

Yuan dynasty

Copy of "Shiqi Modelbook"

Zhao Mengfu (1254-1322)

Yuan dynasty

Entrusted by Wang Shih-chieh

Copy of "Shiqi Modelbook"

Zhu Dayou

Ming dynasty (1368-1644)

Copy of "Qishi Modelbook"

Chen Li (1810-1882)

Qing dynasty

Donated by Chen Chih-mai

Copy of "Tianshugao Modelbook"

Liu Yong (1720-1805)

Qing dynasty

Donated by Lin Tsung-yi

Copy of "Yu Anji" and Three Other Modelbooks

Liu Yong (1720-1805)

Qing dynasty

Donated by Tann Boyu and Tann Jifu

Copy of "Shanchuan Zhuqi Modelbook"

Qianlong Emperor (1711-1799)

Qing dynasty

Copy of "Shiqi Modelbook"

Wang Shu (1668-1739)

Qing dynasty

Copy of "Shanchuan Zhuqi Modelbook"

Zhang Zhao (1691-1745)

Qing dynasty

Copy of "Shiqi Modelbook"

Pu Ru (1896-1963)

Republican period

Entrusted from the Cold Jade Hall

Copy of "Qishi Modelbook"

Tan Yankai (1880-1930)

Republican period

Donated by Chang Te-tsui