The Ancient Art of Writing: Selections from the History of Chinese Calligraphy,Period 2016/10/1 to 2016/12/30,Northern Branch Gallery 204、206
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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

Exhibit List

Title
Artist
Period
Note
Ink Rubbing of the Sanlao Stele Taboo Names and Death Dates
Anonymous
Han dynasty (206 BCE-220 CE)
Donated by Tann Boyu and Tann Jifu
Kong Biao Stele
Anonymous
Han dynasty (206 BCE-220 CE)
 
Rubbing of the King Luxiao Engraved Stele
Anonymous
Han dynasty (206 BCE-220 CE)
 
Ink Rubbing of the Cuan Baozi Stele
Anonymous
Jin dynasty (265-420)
 
Discourse on Yue Yi
Wang Xizhi (303-361)
Jin dynasty
 
Stele of Zhang Menglong, Prefect of Lu
Anonymous
Northern Wei dynasty (386-535)
 
Memorial and Poem of Gratitude for the Emperor's Bestowment
Cai Xiang (1012-1067), attributed to
Song dynasty
 
Homecoming Ode
Su Shi (1037-1101), attributed to
Song dynasty
 
Inscription on the Sweet Spring in Jiucheng Palace
Ke Jiusi (1290-1343)
Yuan dynasty
 
Self Poetry
Chen Jiru (1558-1639)
Ming dynasty
 
Semi-Regular Script
Dong Qichang (1555-1636)
Ming dynasty
 
Cursive Script
Mo Shilong (1537-1587)
Ming dynasty
 
Poetry
Wang Chong (1494-1533)
Ming dynasty
 
Transcription of Imperial Poetry
Dong Gao (1740-1818)
Qing dynasty
 
Imperial Copy of a Su Shi Modelbook
Gaozong (1711-1799)
Qing dynasty
 
Sutra on Entering the Embodied Nature of the Dharmadhatu
Liu Yong (1720-1804)
Qing dynasty
 
Poetry in Semi-Regular Script
Qian Feng (1740-1795)
Qing dynasty
Donated by Tann Boyu and Tann Jifu
Gaozong's Poetry Celebrating the Four Seasons
Yongxing (1752-1823)
Qing dynasty