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Introduction

To meet the need for recording information and ideas, unique forms of calligraphy (the art of writing) have been part of the Chinese cultural tradition through the ages. Naturally finding applications in daily life, calligraphy still serves as a continuous link between the past and the present. The development of calligraphy, long a subject of interest in Chinese culture, is the theme of this exhibit, which presents to the public selections from the National Palace Museum collection arranged in chronological order for a general overview.

The dynasties of the Qin (221-206 BCE) and Han (206 BCE-220 CE) represent a crucial era in the history of Chinese calligraphy. On the one hand, diverse forms of brushed and engraved "ancient writing" and "large seal" scripts were unified into a standard type known as "small seal." On the other hand, the process of abbreviating and adapting seal script to form a new one known as "clerical" (emerging previously in the Eastern Zhou dynasty) was finalized, thereby creating a universal script in the Han dynasty. In the trend towards abbreviation and brevity in writing, clerical script continued to evolve and eventually led to the formation of "cursive," "running," and "standard" script. Since changes in writing did not take place overnight, several transitional styles and mixed scripts appeared in the chaotic post-Han period, but these transformations eventually led to established forms for brush strokes and characters.

The dynasties of the Sui (581-618) and Tang (618-907) represent another important period in Chinese calligraphy. Unification of the country brought calligraphic styles of the north and south together as brushwork methods became increasingly complete. Starting from this time, standard script would become the universal form through the ages. In the Song dynasty (960-1279), the tradition of engraving modelbook copies became a popular way to preserve the works of ancient masters. Song scholar-artists, however, were not satisfied with just following tradition, for they considered calligraphy also as a means of creative and personal expression.

Revivalist calligraphers of the Yuan dynasty (1279-1368), in turning to and advocating revivalism, further developed the classical traditions of the Jin and Tang dynasties. At the same time, notions of artistic freedom and liberation from rules in calligraphy also gained momentum, becoming a leading trend in the Ming dynasty (1368-1644). Among the diverse manners of this period, the elegant freedom of semi-cursive script contrasts dramatically with more conservative manners. Thus, calligraphers with their own styles formed individual paths that were not overshadowed by the mainstream of the time.

Starting in the Qing dynasty (1644-1911), scholars increasingly turned to inspiration from the rich resource of ancient works inscribed with seal and clerical script. Influenced by an atmosphere of closely studying these antiquities, Qing scholars became familiar with steles and helped create a trend in calligraphy that complemented the Modelbook school. Thus, the Stele school formed yet another link between past and present in its approach to tradition, in which seal and clerical script became sources of innovation in Chinese calligraphy.

Selections

Two Characters for "Jiusi"

Emperor Sizong (1611-1644), Ming dynasty
Hanging scroll, ink on paper, 57.6 x 111.3 cm

Zhu Youjian, Emperor Sizong (r. 1628-1643), was the sixteenth ruler to sit on the throne in the Ming dynasty. The fifth son of Emperor Guangzong and the half brother of Emperor Xizong, he took the reign name Chongzhen and was given the posthumous name of Zhuangliedi. It is said that Emperor Sizong first studied the calligraphy of Dong Qichang (1555-1636), giving his cursive script an elegantly rich and beautiful appearance much admired by Emperor Shizu (Shunzhi) of the following Qing dynasty.

This scroll is composed of two characters in regular script for "nine" and "considerations (for effort)," read from right to left for a term that comes from the Analects of Confucius. The ink is dark and mellow, the application of the brush strong and regulated, revealing the study of Yan Zhenqing's (709-785) style. The calligraphy also features Sizong's imperial cipher for "Youjian," which is rarely seen.

Four Scrolls in Seal Script

Wang Ti (1880-1960), Republican period
Hanging scroll, ink on paper, 142.6 x 25.8 cm

Wang Ti (original name Shouqi, style name Weiji, sobriquet Fu'an), a native of Hangzhou in Zhejiang, was skilled at calligraphy, his seal, clerical, and regular scripts all solemn and serene. He established the Xiling Seal Carving Society, the seals he engraved combining the virtues of the Wan and Zhe schools. He favored the arrangement of his seals in an even and steady manner for an atmosphere of density and pure simplicity. He advocated that in seal carving one should start by strictly following the rules before exploring bolder forms of expression to avoid becoming overly unconventional. Wang Ti made a great contribution to the promotion in modern times of studying seal carving.

These four scrolls in seal script include selections from the following: "Rhapsody on a Ruined City" by Bao Mingyuan (Zhao), "Rhapsody on the Moon" by Xie Xiyi (Zhuang), "Rhapsody on a Beauty" by Shen Xiuwen (Yue), and "Rhapsody on a Lamp" by Yu Zishan (Xin).

Congratulating Chiang Ching-kuo and Hsieh Tung-min on Taking Office as President and Vice-President

Tsao Jung (1895-1993), Republican period
Hanging scroll, ink on paper, 134.7 x 64.3 cm

Tsao Jung, whose ancestors came from Zhangzhou in Fujian, was born in Dadaocheng in Taipei City. He had the style name Qiupu, the sobriquet Laoxian, and the study name Danlu. He excelled at both poetry and painting, his calligraphy surviving mostly in clerical and semi-cursive script forms. In clerical script, he followed the style of Lü Shiyi (1784-1855) and the manner from the Han dynasty, his level and straight elements having verticality to achieve stability within variation. His semi-cursive manner is expansive with a brush force strong and robust.

This work, donated to the National Palace Museum by Mr. Tsao Shu, was done in clerical script to congratulate Chiang Ching-kuo and Hsieh Tung-min on their taking office as President and Vice-President of the Republic of China in 1978. They are "Leaders by rule of law, they bear wisdom and clarity. Revival is at hand, the seas leap with joy." The brushwork is slightly coarse and awkward, suggesting the style of Tsao Jung's later years.

Pagoda of Characters from The Great Auspicious Sutra Spoken by the Buddha

Hu Gaowang (1730-1798), Qing dynasty
Hanging scroll, gold ink on paper, 128.5 x 66.8 cm

Hu Gaowang (style name Xilü, sobriquet Yutang), a native of Renhe in Zhejiang, was the Second Graduate in the Palace Examinations of 1761. He served up to the post of Left Censor in the Censorate and received after his death the title of Wenke.

This work depicts a Tibetan-style Buddhist stupa in gold ink on an ink background. The Buddha is shown in the middle of the stupa with four heavenly guardians positioned at the corners above and below. Starting from the top, the form of the stupa consists of characters written in small regular script in the style of Yan Zhenqing (709-785), and each row of characters is divided by a line that encases them. The characters also include annotations in small script for the rhyme and long vowel pronunciation in Sanskrit, which perhaps were intended for reading out loud during worship.

Two Verses by Tang Poets in Seal Script

Hu Zhengyan (1584-1674), Ming dynasty
Album leaf, ink on paper, 23.1 x 14.6 cm

Hu Zhengyan (style name Yuecong), a native of Xin'an (modern Xiuning, Anhui) who lived in Jinling (modern Nanjing, Jiangsu), was Secretariat-Chancellery at the Wuying Palace during the Ming dynasty. He was also gifted at calligraphy, his seal and clerical script proper but with an untrammeled touch within conventionality. He also was skilled at painting, making ink sticks, and color woodblock printing, being the inventor of the "assorted block" ("douban") print technique. For seals, he adopted the methods of He Zheng (ca. 1530-1604) and was able to transform them.

This work is a transcription of two Tang dynasty verses in seal script of "Presented to Civil Service Candidate Liu Jing" by Liu Yuxi (772-842) and "Gazing at the Moon on the Evening of the Fifteenth" by Wang Jian (767-830). The application of the brush is heavy with a solid and stable force, but "flying white" appears at the end of some strokes to suggest more speed for a bold and unbridled effect.

Miscellaneous Calligraphy

Xue Shaopeng (fl. latter half of 11th c.), Song dynasty
Handscroll, ink on paper, 27.3 x 304.5 cm

Xue Shaopeng (style name Daozu, sobriquet Cuiwei jushi), a native of Chang'an, came from the Xue clan of Hedong (Shanxi). He was a fine connoisseur who also excelled at calligraphy. He studied the styles of the Two Wangs (Wang Xizhi and Wang Xianzhi) and gained a deep appreciation of the old norms of calligraphy from the Jin dynasty. In the history of calligraphy, his calligraphy is considered as following the Two Wangs and Xie An of the fourth century, bearing a distinguished quality. Emperor Gaozong (1107-1187) of the Southern Song dynasty particularly praised his style, which had an indirect influence on the revivalist movement in calligraphy later in the Yuan dynasty.

This piece includes four works of Xue in letter and poetry format. The brushwork reveals skill within outward awkwardness and a hoary strength in the plain directness. The strokes are mostly reserved and the brush tip concealed, the simplicity resulting in an archaic manner.

"Preface to the Prince Teng Pavilion" by Wang Bo of the Tang Dynasty in Cursive Script

Wen Peng (1498-1573), Ming dynasty
Album leaf, ink on paper, 27.7-29.2 x 21.7-27.1 cm

Wen Peng (style name Shoucheng, sobriquet Sanqiao), a native of Suzhou in Jiangsu, was the eldest son of the famous literati artist Wen Zhengming. He, too, was gifted in poetry and good at painting, excelling in the art of seal carving as well. Wen Peng specialized in all the major script types, his attainment in cursive script being especially profound. In his early years, he studied the styles of Zhong You (151-230) and Wang Xizhi (303-361), while in his later years he devoted himself to Huaisu's (737-799) cursive script. He was thus able to reach the archaic manners of the Wei and Jin while transcending them with an untrammeled brush to do large cursive script.

This album is a transcription of the famous "Preface to the Prince Teng Pavilion" by Wang Bo (649-676) of the Tang dynasty. The brushwork is completely within the conventions of the Two Wangs (Wang Xizhi and Wang Xianzhi), the dots and strokes rising and falling to support and echo each other with emotion, the rhythm that resulted not being inferior to that of Wen Zhengming.