Selections
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Full Rubbing of the Mao Gong Ding
- Anonymous, Zhou dynasty (1046-256 BCE)
Also known as the Duke of Mao tripod, this bronze cauldron was cast by Duke Yin of Mao in the Zhou dynasty and unearthed in the late Qing dynasty during the Daoguang reign (1820-1850) at Qishan (modern Qishan County) in Shaanxi. The inscription of 499 characters on the bronze records the Duke of Mao's important contributions to state governance at the time. The writing is a classic example of so-called "metal script" (referring to inscriptions on bronze cauldrons or bells). The style is precise and the lines refined. The characters are narrow but the spacing even, having a simple and archaic manner.
A "full rubbing" is a kind of ink rubbing technique complemented by the arts of line drawing, painting, and paper cutting. In it, the original form of the vessel is transferred to the two-dimensional surface of paper. Mr. Yeh Kung-shao donated this rubbing to the National Palace Museum. -
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Ink Rubbing of an "Eternal Blessings" Tile End
- Anonymous, Han dynasty (206 BCE-220 CE)
Tile ends first appeared in the Western Zhou dynasty. Attached to the bottom end of tiled roofs, they prevented the tiles above from sliding down. Protecting the eaves, they kept rainwater from leaking inside as well. Not only functional, they were likewise decorative. In addition to plain ones, some were adorned with patterns, animals, and writing. The rubbing of this tile features "bird-and-insect" seal script for the auspicious phrase of "Eternal blessings." The lines wind and coil around, the spaces between even for an exceptionally artistic manner. Mr. Yeh Kung-chao donated this rubbing to the National Palace Museum.
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Studio Title in Seal Script
- Hu Shu (1825-1872), Qing dynasty
Hu Shu, a native of Jixi in Anhui, was a friend of Zhao Zhiqian, the two of them equally talented in seal script calligraphy.
This work entrusted to the National Palace Museum from the Lanqian shanguan collection is a title for a studio written in seal script. The three characters read, "Hall of Venerating Antiquity (Zungu tang)." The characters are measured in terms of their spatial openings, and the brushwork is powerful yet moist and fluid. It is a representative example of small seal script from the Qing dynasty. -
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"Amitabha Buddha" in Seal Script
- Qi Baishi (1864-1957), Republican period
Qi Baishi was a native of Xiangtan in Hunan.
This work in stele script features four large characters for the Chinese transliteration of "Amitabha Buddha (Amituofo)." The large number of angular elements that form the composition reinforces the visual stability of the characters. The strong contrast between the dark ink and "flying white" portions of the brushwork are also balanced throughout, further heightening the interesting and varied quality of the lines. It thus gives the scroll an overall sense of power and presence. Mr. Lin Cheng-tao donated this work to the National Palace Museum. -
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Wang Yanzhou's Preface to The Garden of Calligraphy
- Wang Chuang-wei (1909-1998), Republican period
Wang Chuang-wei, who had the late sobriquet Jianweng, was a native of Yixian in Hebei.
This work features a style of brushwork that derives from the "Covenant of Houma" that had been excavated in the twentieth century. The application of the brush is meticulous and balanced between light and heavy as well as slow and quick. The lines are also varied and rich, having a rounded and heavy manner that is also light and spirited as well as strong and mature. The structure is both angular and rounded, imbuing the seal script here with a rare atmosphere of animation and liveliness. The Everspring Cultural Foundation donated this work to the National Palace Museum. -
