Chinese Fine Arts Preview
Content
Translated by Hing Jia Wen
Preface
The Chinese has a long history and an impressive
arts culture. There are countless masters in
the various disciplines who have established
themselves as mountain peaks in a landscape
of Chinese fine arts. Ancient Chinese fine arts
possess distinctive characteristics which have
impacted and influenced human civilization to
different extents. Vigorous calligraphy, mesmerising
paintings, melodious music, charismatic opera,
lyrical folk arts and magnificent sculptures reflect
the ancient Chinese perception of the universe
and understanding of life. They put emphasis on
harmony and the presentation of a person’s inner
world and individuality. Chinese fine arts are highly
valued for their brilliant freehand techniques in
calligraphy and painting.
Chinese calligraphy is the most representative of
all Chinese arts. Chinese calligraphers use brush,
ink and paper to create graceful characters. They
write with a force that punctuates the paper with
incomparable exquisiteness. In their brush strokes
lie their philosophical understanding of life. It can
be said that calligraphy is a soundless music, an
abstract painting and a dance on paper. In The
Path of Beauty, Mr Li Zehou regarded calligraphy
as embodying the spirit of Chinese arts: “Even
though it is more closely related to painting and
sculpture, calligraphy is comparable to music
and dance. Calligraphy is not derived from
painting. Instead, it is painting that has to absorb
calligraphy’s experience, techniques and power.
The strength, smoothness, power and rhythm
of calligraphy can be applied to music. These
features have become the soul of various Chinese
visual and performing arts.”
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Another important element of ancient Chinese arts
is music. Performing arts that involve music and
dance have been practised in China for a long
time. The two were once considered inseparable.
When poetry was created, the three were
combined. Musical performance have dominated
the performing arts from the ancient times to
the Sui and Tang dynasties. A later conception,
Chinese opera was an evolved form of traditional
musical performance, and is considered to be
another brilliant and popular performing art.
Ancient Chinese fine arts have come a long way.
Ten thousand years ago, cavemen made beads
and decorative pieces from stones and bones.
They mastered grinding and drilling techniques,
and started to produce painted pottery during the
late Neolithic period. Painted pottery unearthed
from Banpo were decorated with images of dogs,
fish, frogs and birds, while pottery discovered at
Majiayao had geometric motifs on them. These
creations are the earliest forms of Chinese
sculpture art, and also represent the roots of
Chinese painting.
The spectrum of traditional Chinese fine arts is
as vast and as deep as the ocean. This volume
propounds Chinese arts from a fresh perspective
for young and interested readers. You will gain a
comprehensive and multi-layered analysis of the
subjects. The book introduces calligraphy, painting,
music, dance, opera and other Chinese arts in a
systematic order, and is supported by a total of 300
paintings and photographs.
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Contents
Calligraphy 书法
Zhong You and the Zhong Font
钟繇
2
Lu Ji and Pingfu Tie
陆机
4
Wang Xizhi and Preface to The Story of the Orchid Pavilion
王羲之
6
Wei Bei: Tablets from the Northern Dynasties
魏碑
8
Ouyang Xun and Nine Palace Fountain Inscriptions
欧阳询
10
Yu Shinan: Emperor Taizong’s Calligraphy Mentor
虞世南
12
Chu Suiliang and The Sacred Teachings of Monk Tripitaka
of the Great Tang Dynasty
褚遂良
14
Sun Guoting and Treatise on Calligraphy
孙过庭
16
Li Yangbing: Li Bai’s Talented Relative
李阳冰
18
Yan Zhenqing: A Student of Zhang Xu
颜真卿
20
Liu Gongquan and Monument of the Great Strategy Army
柳公权
22
Zhang Xu: The Madman
张旭
24
Huai Su: The Drunk Monk
怀素
26
Su Shi: The Artist in Exile
苏轼
28
Mi Fu: The Diligent Student of Calligraphy
米芾
30
Wen Zhengming: A Master of Small Kaishu
文徵明
32
Zhu Yunming: The Unwilling Official
祝允明
34
Huang Daozhou: The Patriotic Martyr
黄道周
36
Wang Duo: The Imposing Calligrapher
王铎
38
Fu Shan: The Best Calligrapher of Early Qing
傅山
40
Deng Shiru: Master of Inscription of the Qing Dynasty
邓石如
42
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Paintings 绘画
Pottery Art
彩陶纹画
46
Paintings on Silk During the Warring States
战国帛画
48
Han Dynasty Murals
汉代壁画
50
Gu Kaizhi: Excellent, Gifted and Eccentric
顾恺之
52
Zhang Sengyao: Innovator of Traditional Chinese Painting
张僧繇
54
Zhan Ziqian and Spring Outing
展子虔
56
Wang Wei: The Finest Artist of the Tang Dynasty
王维
58
Yan Liben and Pace of Emperor
阎立本
60
Wu Daozi: Sage of Chinese Painting
吴道子
62
Guan Tong: Master of Landscape Painting
关仝
64
Dunhuang Murals: Religious Images Inspired By Mortal Life
敦煌壁画
66
Zhang Xuan and Zhou Fang: Masters of Court Lady
Paintings
张萱和周昉
68
Bian Luan: Pioneer of Bird-and-Flower Painting
边鸾
70
Gu Hongzhong and Night Revels of Han Xizai
顾闳中
72
Zhao Ji: The Incompetent Emperor Huizong
赵佶
74
Zhang Zeduan and Along the River during the Qingming
Festival
张择端
76
Liang Kai: The Transgressive Painter
梁楷
78
Wen Tong: Master of Bamboo Paintings in Ink
文同
80
The Four Great Artists of the Southern Song Dynasty
南宋四家
82
Li Gonglin: Pioneer of Line Painting
李公麟
84
Zhao Mengfu: Top Artist of the Yuan Dynasty
赵孟頫
86
Ni Zan: The Unconventional Artist
倪瓒
88
Huang Gongwang and Dwelling in the Fuchun Mountains
黄公望
90
Shen Zhou: Founder of the Wu School
沈周
92
Qiu Ying: Prominent Artist of the Ming Dynasty
仇英
94
Tang Yin: “Thousand Mile Tour”
唐寅
96
Xu Wei: The Talented Painter Who Went Mad
徐渭
98
Chen Hongshou: The Great Printmaking Master
陈洪绶
100
Dong Qichang: A Prominent Art Figure During Late Ming
董其昌
102
Bada Shanren (Mountain Man of the Eight Greats): Painting
with More Tears than Ink
八大山人
104
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Kun Can: The Artist Who Lived in the Woods
髡残
106
Shi Tao: Pioneer of Splash-Ink Painting Style
石涛
108
Yun Shouping: Injecting Life into Flowers
恽寿平
110
Zheng Banqiao: The Peculiar Artist
郑板桥
112
The Eight Eccentrics of Yangzhou
扬州八怪
114
The Shanghai School: Prologue to Modern Chinese 海上画派
Painting
116
The Lingnan School: Combining the East and West 岭南画派
118
Ren Bonian: The Chinese Van Gogh
任伯年
120
Wu Changshuo: Expert Seal-Cutter
吴昌硕
122
Zhang Daqian: Master of All Styles
张大千
124
Qi Baishi: Realistic Bird-and-Flower Painting
齐白石
126
《诗经》
130
Music 音乐
Classic of Poetry: Ancient Music Lyrics and Songs
Bianzhong: The Grand Set of Bells
曾侯乙墓编钟
132
Li Yannian and Song for the Beauty
李延年
134
Cai Wenji and 18 Songs of a Nomad Flute
蔡文姬
136
Ji Kang and Music from Guangling
嵇康
138
Three Movements of Plum Blossoms
Su Zhipo: The Music Theorist
《梅花三弄》
苏祗婆
140
142
King Qin Breaking up the Enemy’s Front
《秦王破阵乐》
144
Melody of White Feather Garments
《霓裳羽衣曲》
146
Buddhist Music: Tranquil and Elegant
佛教音乐
148
Washe, Goulan and Shuochang: Theatre, Stage
and Narrative Songs
瓦市勾栏与说唱音乐
150
Quzi Ci: Folk Music Lyrics
曲子词
152
Misty Rivers of Xiaoxiang: Describing Landscape
with Music
《潇湘水云》
154
Haiqing Preying on the Swan: Oldest Pipa Melody
《海青拿天鹅》
156
Ambush from Ten Sides: Music of the Chu-Han
Contention
《十面埋伏》
158
Sanqu: Folk Music of the Yuan Dynasty
散曲
160
Folk Songs of the Ming Dynasty
明代民歌和小曲
162
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Chinese Dance 中国舞蹈
The Earliest Primitive Dance: Full of Mystery and
Character
Baixi: Spectacular Multi-Genre Performance
原始乐舞
“百戏”歌舞
166
168
Qingshangyue: Han Folk Music and Dance
清商乐
170
Huxuan Dance: Spinning Like the Wind
胡旋舞
172
Huteng Dance: Full of Strength
胡腾舞
174
Jianwu and Ruanwu: Robust and Gentle Dances of
the Tang Dynasty
健舞与软舞
176
Tage Dance: To Sing and Dance at the Same Time
踏歌
178
Duiwu and Wudui: Group Dances of the Song
Dynasty
队舞与舞队
180
Baixi: Pioneer of Chinese Opera
百戏
184
Jiaodixi: The Battling Performance
角抵戏
186
Canjunxi: Ancient Chinese Comedy
参军戏
188
Gewuxi: Musicals of the Tang Dynasty
歌舞戏
190
Zaju: Mixed Opera of the Song Dynasty
杂剧
192
Four Great Playwrights of the Yuan Dynasty
元曲四大家
194
Guan Hanqing and Injustice to Dou E
关汉卿与《窦娥冤》 196
Wang Shifu and Romance of the West Chamber
王实甫与《西厢记》 198
Tang Xianzu and The Peony Pavilion
汤显祖与《牡丹亭》 200
Li Yu: Founder of the Suzhou School of Opera
李玉与苏州派戏曲
202
Hong Sheng and the Palace of Eternal Youth
洪升与《长生殿》
204
Kong Shangren and Peach Blossom Fan
孔尚任与《桃花扇》 206
Peking Opera: Epitome of Modern Chinese Theatre
京剧
208
Yuju: Modern Theatre of the Ordinary Folk
豫剧
210
Chinese Opera 中国戏剧
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Folk Arts 曲艺
Tanci: Pastime of Upper Class Ladies
弹词
214
Xianzishu: Storytelling with Rhymes
弦子书
216
Drum Song of Peking: Stories in Songs
京韵大鼓
218
Plum Blossom Drum Ballad: The Five Petals of the Plum
Blossom
梅花大鼓
220
Majie Folk Artist Fair
马街书会
222
Bronze Sculptures: China’s Bronze Age
商周雕塑
226
The Terracotta Army: Imposing Warriors
秦俑
228
Stone Sculptures at Huo Qubing’s Tomb: Patriotic Spirit Set
in Stone
霍去病墓石
雕
230
Maijishan Grottoes: Oriental Sculpture Gallery
麦积山石窟
232
Yungang Grottoes: Images of the Performing Arts
云冈石窟
234
Longmen Grottoes: Entering an Ancient World of Buddhism
龙门石窟
236
Creatures Before the Southern Dynasties Mausoleums:
Majestic Mythological Beasts
南朝陵墓石
刻
238
The Six Steeds of Zhao Mausoleum: Glory Set in Stone
昭陵六骏
240
Qian Mausoleum: Tomb of Emperor Gaozong and Empress
Wu Zetian
乾陵
242
The Thirteen Tombs of the Ming Dynasty: Magnificent
Imperial Mausoleums
明十三陵
244
Ancient Sculptures 古代雕塑
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Zhong You
and the Zhong Font
Z
hong You (钟繇),
widely considered to
be the pioneer of Chinese
calligraphy, has influenced
the art form greatly. He
standardised calligraphy
with the kaishu style, a
font that has contributed
largely to the development
of Chinese characters. He
later created a font named
zhong which was widely
studied, and it continued to
impact the development of
the kai font.
About the Calligrapher
Zhong You (153–230) was a calligrapher in the Wei nation
during the Three Kingdoms. He was born into a prominent
family during the Eastern Han Dynasty. His father Zhong Di,
who had never been in an official position due to political
constrain, passed away when Zhong You was young. He was
brought up by his uncle.
Zhong was a handsome and intelligent child. Once,
while he was on the way to Luoyang with his uncle, they
encountered a physiognomist. The fortune-teller predicted
that Zhong would be rich in the future, but told the duo to
be wary of a water-related accident. Zhong and his uncle
continued on with their journey for a few more miles
before Zhong’s horse went into a sudden fit and threw him
into a river, causing him to nearly drown. Since part of the
fortune-teller’s words came true, his uncle realised that
Zhong was meant for greatness. He provided Zhong with
a good education so that he could succeed in the future.
Zhong lived up to expectations by studying hard, and
eventually became a master.
During the Battle of Guandu, Zhong sent Cao Cao more
than a thousand horses during a crucial moment, which
put Cao Cao at an advantage. For his assistance during the
battle, Zhong enjoyed a close relationship with the Cao
family. He was appointed as Grand Tutor, and was one of
the important officials during the Cao Wei times. When he
passed away in 230, Emperor Cao Rui donned funeral garb
to mourn for him.
Obsession with Calligraphy
Limingbiao
Zhong You studied the styles of Cao Xi, Liu De, and Cai
Yong, famous calligraphers of the time, to hone his own
skill. An extremely bright and passionate student, his study
of calligraphy was intense. He claimed: “Throughout my
30 years of calligraphy study, I always had a book close by
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C H IN E S E F IN E A R T S
so that I could study at anytime. Sometimes, I even went to
bed with the books!” Zhong You’s passion for calligraphy
was manical. According to a folk tale, during a visit to Wei
Dan’s, he found a book illustrating Cai Yong’s secrets to
calligraphy, and requested for Wei Dan to lend him the
book. Despite Zhong’s pleads, Wei Dan refused as the book
was too valuable. In his frustration, Zhong hit his own chest
and almost died as a result. He was rescued only when
Cao Cao sent a doctor. Despite the dramatic incident, Wei
Dan remained firm on his decision not to lend Zhong You
the book. Eventually, Zhong stole the book from Wei Dan’s
grave after his death.
Style
Zhong You’s calligraphy is simple, elegant and neat. In 12
Meanings of Zhong You’s Calligraphy, Emperor Wudi of
the Liang Dynasty praised Zhong’s work as “a delicate,
ingenious and heavenly creation”. His work was compared
to another famous calligrapher of that period, Hu Zhao,
and the duo were referred to as “Fat Hu and Thin Zhong”.
Another comparison was made with Wang Xizhi, a great
calligrapher from the Jin Dynasty, and they were called
“Zhong Wang”. Zhong's kaishu calligraphy was outstanding
during his time for its portrayal of beauty, elegance and
depth. His small kaishu is slightly flat and compact. Its
stipples are heavy, but the strokes fresh, which gave it a
natural feel. His work Memorial Recommending Ji Zhi (荐季
直表) is respected by calligraphers even today. Lu Xingzhi
of the Yuan Dynasty called this piece of work “the best,
unprecedented calligraphy work on Earth”.
Zhong You is a prominent figure in the history of
Chinese calligraphy, and an influential person in calligraphy
academia. The Bookstore Essence documented these
words about him: “The master behind these brushstrokes
has conquered Heaven and Earth”. He often used the
relationship between Heaven, Earth and Man to describe the
art of calligraphy. He believed that nature was the essence
of calligraphy, and tried to incorporate the spirit of nature
into his calligraphy. He was diligent student of calligraphy,
and also a teacher who has affected the development of
Chinese calligraphy.
Memorial Recommending Ji Zhi
Zhong You versus Guo Yan
Zhong You never avoided his
enemies. After the Guandu war,
he became a prominent figure
in Cao Cao’s camp. Once, he
led an army to fight Guo Yuan.
He was a strong opponent, and
Zhong’s subordinates persuaded
him to retreat. He said, “If we
were to retreat now, Guo Yuan
would believe that we are afraid
of him. The people hate Guo
Yuan. If we were to retreat,
what would happen to them?
We would lose the heart of the
people before battling. Besides,
Guo Yuan would think that he
stands a chance against us with
the little number of people we
have here. Once he crosses
over Fenshui to encamp, we
shall cross over to exterminate
them.” Things turned out just
as Zhong had predicted. Guo
Yuan’s army was exterminated.
After that, Zhong defeated many
others and claimed their lands.
His exploits were celebrated.
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Lu Ji
and Pingfu Tie
L
u Ji (陆机) was a
famous writer and an
outstanding calligrapher
of the Western Jin Dynasty.
Pingfu Tie (平复帖), which
was written by him, is the
earliest recovered piece of
Chinese calligraphy work.
Lu Ji is a respected figure
in the history of Chinese
calligraphy. He was known
as the “King of Ink”, and
his work as “Imperial
Notes”.
About the Calligrapher
Lu Ji (261-303), whose courtesy name was Shiheng, was
said to be born in either Wujun (today’s Suzhou) or Huating
(today’s Songjiang of Shanghai province). Lu came from a
family of officials. His grandfather, Lu Xun, and his father,
Lu Kang, were famous generals who represented Dongwu
during the Three Kingdoms. Lu Ji served as the Interior
Minister of Pingyuan, a libationer (the Imperial winetaster),
and a Gentleman of Writing. He was also known as “Lu
Pingyuan”. He was put to death during the War of the Eight
Princes on false charges.
Lu Ji has been described as “a rare genius, with
unsurpassable masterpieces”. He had many prominent
literary accomplishments. He left later generations
with many poems and literary criticisms, which were
his strengths. When he was 20, he wrote Wen Fu (On
Literature), a literary monograph that became the first of its
kind. The monograph systematically analysed the nature of
literary and creative accomplishments, its motivation, ideas,
aesthetic expressions, literary patterns and style.
Lu Ji was known for being an eminent calligrapher. His
Pingfu Tie was a major influence in Chinese calligraphy.
Style
Wen Fu (On Literature)
Lu Ji once wrote a letter to his friend, explaining that he
was in a weak condition and might not recover. The letter
was later referred to as Pingfu Tie (Letter of Recovery).
The letter is made up of nine rows and 84 characters. The
strokes start off rounded and end up pointed, and the
characters are higher on the left than the right. Lu did not
practise the usual standard of Chinese calligraphy, which
required the “the head of silkworm to be joint with the tail
of phoenix and the silver hook of a scorpion”. This standard
used a balanced strength throughout the stroke, yet felt
casual at the same time. Despite the lack of consistent
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C H IN E S E F IN E A R T S
formatting, the characters reflected
Lu’s psyche. Concise and simple, the
strokes project smooth, wavy-like
shapes that resemble the Li font –
the lines are short and plump, and
there is obvious spacing between
the characters. The thought flow is
also continuous and cohesive. Pingfu
Tie shows a transition from caoshu
(running style) to lishu (official style),
integrating features of the two. The
strokes are wavy, but not as distinct
as those in lishu.
Pingfu Tie is a difficult piece to
analyse, in terms of both language
and calligraphy. Lu used dry ink to
create an effect many calligraphers call “the old vine”, which
is different from the usual wet ink style. There have many
reviews of Pingfu Tie throughout the different dynasties.
Chen Yi of the Song Dynasty described it as a rare ancient
piece with illegible writing; Dong Qichang of the Ming
Dynasty called it “a few lines as precious as gemstones,
written in an era between two famous calligraphers –
Yuanchang and Youjun”, while Gu Fu of the Qing Dynasty
regarded the piece as “old-fashioned, imperfect and
unreadable”. The piece has become an inspiration for
caoshu font masters including Huai Su and Yang Ningshi.
Pingfu Tie and Zhang Boju
Pingfu Tie was passed down through nobles and feudal
intellectuals who kept it as part of their private collections.
During WWII, the Japanese imperialists plundered Chinese
wealth and national treasures. At that time, someone
wanted to present Pingfu Tie as a gift to the Japanese. When
Zhang, a well-known calligrapher and collector at that time,
heard about it, he was furious and anxious to protect the
precious artefact. He sold all his possessions and bought
Pingfu Tie together with some other ancient treasures.
Pingfu Tie itself cost him 40,000 yuan at that time. After the
Republic of China was founded, Mr and Mrs Zhang donated
the 1,700 year-old Pingfu Tie to the government.
Pingfu Tie
Ancient Celebrities
Lu Ji came from a prestigious
family during the Three
Kingdoms period that declined
after the Jin Dynasty was
established. He retreated to
his hometown with his younger
brother, Lu Yun, where they spent
ten years studying. In 289, the
brothers went to Luoyang, the
capital of the Jin Dynasty, which
aroused a lot of public attention.
They were considered as
geniuses that were more talented
than three famous scholars of
the time Zhang Zai, Zhang Xie
and Zhang Kang. When the
Lu brothers arrived at Luoyang,
people started to idolise them
instead, and the Zhangs were
quickly forgotten. Celebrity
worship were common in the
ancient days too.
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Wang Xizhi
W
ang Xizhi’s (王羲
and Preface to the Story of the
Orchid Pavilion
之) calligraphy
is characterised by his
delicate style and changing
structures, which was quite
different from calligraphy
from the Han and the
Western Jin dynasties.
He developed Chinese
calligraphy into a real art
form by emphasising on
its mood and aesthetic
factor. His success won him
the title of “The Saint of
Calligraphy”.
About the Calligrapher
Wang Xizhi (303-361 or 321-379), whose courtesy name was
Yishao, also known as Danzhai, was born in Langya of Linyi
(today’s Linyi of Shandong Province). He grew up in one of
the most prominent families of the Eastern Jin Dynasty. His
father, Wang Kuang, had served as the Governor of Taishou
and the court historian of Huiji.
Wang avoided entering the Imperial Court until
General Yu Liang invited Wang to join the army as his
advisor. He rose up the ranks rapidly and eventually became
General You (you literally means “the direction right”), one
of the three major generals during the Jin Dynasty. He later
resigned, giving the reason of bad health, which was an
excuse to avoid contact with a disagreeable colleague. He
retreated into seclusion until his death.
Wang was a great admirer of calligraphy. He practised
it diligently and became a master. His work, Preface to the
Story of the Orchid Pavilion (兰亭序), is considered a classic
masterpiece.
Style
Wang Xizhi often practised calligraphy by a pond, and it
became a habit for him to rinse his inkstone in the pond.
As time passed, water in the pond turned black, and the
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Preface to the Story of the Orchid Pavilion
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C H IN E S E F IN E A R T S
pond was named “the Ink pond”. He specialised in a variety
of fonts, including lishu, caoshu, kaishu and xingshu.
His works are calm and natural, his movements subtle,
powerful and handsome. His work has been described as “an
energetic dragon leaping over the heaven gate and the calm
tiger crouching in the phoenix chamber”.
None of Wang's original works survive today, but a few
block-printed copies were preserved, including Sangluan
Tie (丧乱帖) and Preface to the Story of the Orchid Pavilion,
his most influential work.
Preface has been admired by calligraphers throughout
history, and is considered “the best xingshu manuscript on
Earth”. According to legend, Emperor Taizong of the Tang
Dynasty named Wang's masterpiece as a national treasure
and called upon calligraphers to mimic his writing style.
Sangluan Tie
Preface to the Story of the Orchid Pavilion
During the Eastern Jin Dynasty, 41 people, including Wang
Xizhi, wrote a poem during an event held at the orchid
pavilion at Shaoxing. Wang was responsible for writing the
preface. He described the beautiful scenery surrounding
the orchid pavilion and the joyous moments he had there.
Following that, he lamented the transcience of happiness
and the impermanence of life. Preface consists of 28 rows
and 324 characters. With perfect composition, structure and
stroke, the piece represents his finest creation at age 50.
The copy of Preface that is the most widely circulated
today was created during the Tang Dynasty. This copy
meticulously adhered to Wang’s style, and is widely
recognised as the best copy of masterpiece. A stone
inscription of the poem was recently discovered, but was
later identified to be unauthentic. It is suspected to be a
copy made during the Sui or Tang dynasties.
Wang Xizhi’s son, Wang Xianzhi, was also a famous
calligrapher. He started learning calligraphy from his father
at a young age. He was famous for his xingshu and caoshu
styles later in his life. They are often referred to as the “Two
Wangs”.
The Talented and Carefree
Son-in-law
Wang Xizhi was a carefree
man who was not bound by
convention. Fame and fortune
did not appeal to him at all. He
appeared in a story recorded
in the New Anecdotes. Xi Jian,
the Grand Commandant of the
Jin Dynasty, wanted to marry
his daughter to the prestigious
Wang family. He sent an aide
to the Wang residence to select
a suitable candidate. The aide
reported, “All young men looked
modest, except for one, who
was lying topless on the bed
enjoying a snack even when
there were guests in the house.”
At this moment, Xi Jian declared,
“That is the son-in-law I am
looking for!” He had picked
Wang Xizhi, and this is the
famous story about the talented
and happy-go-lucky son-in-law.
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Weibei
Tablets from the Northern Dynasties
W
eibei (魏碑), literally
“Northern tablets”,
refers to inscriptions
made on tablets during
the Northern Dynasties.
The strong and stiff font
used on weibei became
a standard for the future
generations. Weibei
usually employed the
kaishu style, which is why
some people refer to the
calligraphic font used for
the inscriptions as weikai.
Brief Description
The three main types of kaishu are weikai, jinkai and
tangkai (from the Jin and Tang Dynasties respectively).
Weibei displays the transition from lishu to kaishu. Kaishu
emerged some time between the Wei and Jin dynasties.
Zhong You’s Proclamation and Wang Xizhi’s The Yellow
Emperor Classic are examples of the kaishu manuscript.
After a large group of scholars migrated from Western Jin
to the South, calligraphy style in the Northern and Southern
started to develop in different directions. Most weibei
available today are products of peasant calligraphers, while
tablets from the Southern dynasties are the refined works
of scholars. Zhong You and Wang Xizhi were crucial to the
shift from lishu to kaishu. When the Jin migrated to the
South, the works of these two masters were brought along.
Hence, peasant calligraphers of the Northern Dynasties did
not have the chance to learn from Zhong You and Wang
Xizhi, but instead, continued to focus and develop on lishu
calligraphy from the Han Wei period.
There are two types of weibei: inscriptions on Buddha
statues and on tombstones. The Longmen Grottoes, a
UNESCO World Heritage Site created in AD 492, holds more
than 3000 inscriptions on Buddhist statues. Among those,
The Twenty Artworks of Longmen is the most well-known.
Northern Wei has more epitaphs than any preceding
dynasty. The inscriptions represent a continuation of lishu
from the Han Dynasty, that was made up of a square and
compact structure with steady strokes.
The Twenty Artworks of Longmen
Weibei
The Twenty Ar tworks of Longmen is an impor tant
demonstration of weibei calligraphy. 19 of them are located
in Guyang Cave and the last piece is located in Cixiang Cave.
Kang Youwei’s Extension of Two Volumes on Composition and
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C H IN E S E F IN E A R T S
Calligraphy and Fang Ruo’s Notes from an Examination of
Inscriptions were the two earliest literary works to discuss
the 20 artworks. The inscriptions on these 20 pieces were
mostly prayers to avoid misfortune. The calligraphic style of
the inscriptions combined the composition of lishu and the
uniqueness of kaishu, creating a result that was dignified
yet simple.
Kang Youwei’s Comments on Weibei
Kang Youwei (康有为) was a Chinese scholar, a noted
calligrapher and a prominent political thinker of the late
Qing Dynasty. His ideas inspired a reform movement
that made the government resent him, and he was forced
to turn to calligraphy. Although his political views were
never put into practice, his calligraphic theories were
widely accepted. He wrote Extension of Two Volumes on
Composition and Calligraphy (广艺舟双楫), a book that is
considered important research into Chinese calligraphy. It
praised weibei as the only reliable calligraphic inscription
besides nanbei (the Southern monuments). The monograph
also described the “Ten Beauties” of weibei. Its calligraphic
style contains bold and powerful strokes, a simple and
practical style, writing that is fluid, thick and vigorous
stipples, unique conceptions, a swift and upright spirit, an
intoxicated enthusiasm, a deep understanding, a heavenmade structure and is beautiful inside and out.
His summary of weibei’s beauty attracted many
scholars to study the calligraphic style. From then on, those
who studed kaishu were no longer limited to the Jin and
Tang dynasties, as its realm of study started to include
weibei.
Kang You Wei
Premier Zhou Enlai and
The Twenty Artworks of
Longmen
Premier Zhou Enlai was a
great admirer of the Longmen
artworks. On 14 October
1973, Premier Zhou went to
Guyang Cave together with
the Canadian Prime Minister
Trudeau. As the two important
figures strolled through the
caves, Premier Zhou stopped
at a stall selling ink rubbings of
the inscriptions of The Twenty
Artworks. After finding out that
each piece costs 500 yuan, he
continued walking through the
park. When he saw another
store selling the same items,
he asked Han Xu, the Chief of
Protocol, how much money he
had with him. Han Xu replied,
“Not enough.” Someone
suggested sending money from
Beijing after they got back to the
city.
Premier Zhou replied with
only two words— “No way!”
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Preface
The Chinese has a long history and an impressive
arts culture. There are countless masters in
the various disciplines who have established
themselves as mountain peaks in a landscape
of Chinese fine arts. Ancient Chinese fine arts
possess distinctive characteristics which have
impacted and influenced human civilization to
different extents. Vigorous calligraphy, mesmerising
paintings, melodious music, charismatic opera,
lyrical folk arts and magnificent sculptures reflect
the ancient Chinese perception of the universe
and understanding of life. They put emphasis on
harmony and the presentation of a person’s inner
world and individuality. Chinese fine arts are highly
valued for their brilliant freehand techniques in
calligraphy and painting.
Chinese calligraphy is the most representative of
all Chinese arts. Chinese calligraphers use brush,
ink and paper to create graceful characters. They
write with a force that punctuates the paper with
incomparable exquisiteness. In their brush strokes
lie their philosophical understanding of life. It can
be said that calligraphy is a soundless music, an
abstract painting and a dance on paper. In The
Path of Beauty, Mr Li Zehou regarded calligraphy
as embodying the spirit of Chinese arts: “Even
though it is more closely related to painting and
sculpture, calligraphy is comparable to music
and dance. Calligraphy is not derived from
painting. Instead, it is painting that has to absorb
calligraphy’s experience, techniques and power.
The strength, smoothness, power and rhythm
of calligraphy can be applied to music. These
features have become the soul of various Chinese
visual and performing arts.”
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Another important element of ancient Chinese arts
is music. Performing arts that involve music and
dance have been practised in China for a long
time. The two were once considered inseparable.
When poetry was created, the three were
combined. Musical performance have dominated
the performing arts from the ancient times to
the Sui and Tang dynasties. A later conception,
Chinese opera was an evolved form of traditional
musical performance, and is considered to be
another brilliant and popular performing art.
Ancient Chinese fine arts have come a long way.
Ten thousand years ago, cavemen made beads
and decorative pieces from stones and bones.
They mastered grinding and drilling techniques,
and started to produce painted pottery during the
late Neolithic period. Painted pottery unearthed
from Banpo were decorated with images of dogs,
fish, frogs and birds, while pottery discovered at
Majiayao had geometric motifs on them. These
creations are the earliest forms of Chinese
sculpture art, and also represent the roots of
Chinese painting.
The spectrum of traditional Chinese fine arts is
as vast and as deep as the ocean. This volume
propounds Chinese arts from a fresh perspective
for young and interested readers. You will gain a
comprehensive and multi-layered analysis of the
subjects. The book introduces calligraphy, painting,
music, dance, opera and other Chinese arts in a
systematic order, and is supported by a total of 300
paintings and photographs.
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Contents
Calligraphy 书法
Zhong You and the Zhong Font
钟繇
2
Lu Ji and Pingfu Tie
陆机
4
Wang Xizhi and Preface to The Story of the Orchid Pavilion
王羲之
6
Wei Bei: Tablets from the Northern Dynasties
魏碑
8
Ouyang Xun and Nine Palace Fountain Inscriptions
欧阳询
10
Yu Shinan: Emperor Taizong’s Calligraphy Mentor
虞世南
12
Chu Suiliang and The Sacred Teachings of Monk Tripitaka
of the Great Tang Dynasty
褚遂良
14
Sun Guoting and Treatise on Calligraphy
孙过庭
16
Li Yangbing: Li Bai’s Talented Relative
李阳冰
18
Yan Zhenqing: A Student of Zhang Xu
颜真卿
20
Liu Gongquan and Monument of the Great Strategy Army
柳公权
22
Zhang Xu: The Madman
张旭
24
Huai Su: The Drunk Monk
怀素
26
Su Shi: The Artist in Exile
苏轼
28
Mi Fu: The Diligent Student of Calligraphy
米芾
30
Wen Zhengming: A Master of Small Kaishu
文徵明
32
Zhu Yunming: The Unwilling Official
祝允明
34
Huang Daozhou: The Patriotic Martyr
黄道周
36
Wang Duo: The Imposing Calligrapher
王铎
38
Fu Shan: The Best Calligrapher of Early Qing
傅山
40
Deng Shiru: Master of Inscription of the Qing Dynasty
邓石如
42
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Paintings 绘画
Pottery Art
彩陶纹画
46
Paintings on Silk During the Warring States
战国帛画
48
Han Dynasty Murals
汉代壁画
50
Gu Kaizhi: Excellent, Gifted and Eccentric
顾恺之
52
Zhang Sengyao: Innovator of Traditional Chinese Painting
张僧繇
54
Zhan Ziqian and Spring Outing
展子虔
56
Wang Wei: The Finest Artist of the Tang Dynasty
王维
58
Yan Liben and Pace of Emperor
阎立本
60
Wu Daozi: Sage of Chinese Painting
吴道子
62
Guan Tong: Master of Landscape Painting
关仝
64
Dunhuang Murals: Religious Images Inspired By Mortal Life
敦煌壁画
66
Zhang Xuan and Zhou Fang: Masters of Court Lady
Paintings
张萱和周昉
68
Bian Luan: Pioneer of Bird-and-Flower Painting
边鸾
70
Gu Hongzhong and Night Revels of Han Xizai
顾闳中
72
Zhao Ji: The Incompetent Emperor Huizong
赵佶
74
Zhang Zeduan and Along the River during the Qingming
Festival
张择端
76
Liang Kai: The Transgressive Painter
梁楷
78
Wen Tong: Master of Bamboo Paintings in Ink
文同
80
The Four Great Artists of the Southern Song Dynasty
南宋四家
82
Li Gonglin: Pioneer of Line Painting
李公麟
84
Zhao Mengfu: Top Artist of the Yuan Dynasty
赵孟頫
86
Ni Zan: The Unconventional Artist
倪瓒
88
Huang Gongwang and Dwelling in the Fuchun Mountains
黄公望
90
Shen Zhou: Founder of the Wu School
沈周
92
Qiu Ying: Prominent Artist of the Ming Dynasty
仇英
94
Tang Yin: “Thousand Mile Tour”
唐寅
96
Xu Wei: The Talented Painter Who Went Mad
徐渭
98
Chen Hongshou: The Great Printmaking Master
陈洪绶
100
Dong Qichang: A Prominent Art Figure During Late Ming
董其昌
102
Bada Shanren (Mountain Man of the Eight Greats): Painting
with More Tears than Ink
八大山人
104
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Kun Can: The Artist Who Lived in the Woods
髡残
106
Shi Tao: Pioneer of Splash-Ink Painting Style
石涛
108
Yun Shouping: Injecting Life into Flowers
恽寿平
110
Zheng Banqiao: The Peculiar Artist
郑板桥
112
The Eight Eccentrics of Yangzhou
扬州八怪
114
The Shanghai School: Prologue to Modern Chinese 海上画派
Painting
116
The Lingnan School: Combining the East and West 岭南画派
118
Ren Bonian: The Chinese Van Gogh
任伯年
120
Wu Changshuo: Expert Seal-Cutter
吴昌硕
122
Zhang Daqian: Master of All Styles
张大千
124
Qi Baishi: Realistic Bird-and-Flower Painting
齐白石
126
《诗经》
130
Music 音乐
Classic of Poetry: Ancient Music Lyrics and Songs
Bianzhong: The Grand Set of Bells
曾侯乙墓编钟
132
Li Yannian and Song for the Beauty
李延年
134
Cai Wenji and 18 Songs of a Nomad Flute
蔡文姬
136
Ji Kang and Music from Guangling
嵇康
138
Three Movements of Plum Blossoms
Su Zhipo: The Music Theorist
《梅花三弄》
苏祗婆
140
142
King Qin Breaking up the Enemy’s Front
《秦王破阵乐》
144
Melody of White Feather Garments
《霓裳羽衣曲》
146
Buddhist Music: Tranquil and Elegant
佛教音乐
148
Washe, Goulan and Shuochang: Theatre, Stage
and Narrative Songs
瓦市勾栏与说唱音乐
150
Quzi Ci: Folk Music Lyrics
曲子词
152
Misty Rivers of Xiaoxiang: Describing Landscape
with Music
《潇湘水云》
154
Haiqing Preying on the Swan: Oldest Pipa Melody
《海青拿天鹅》
156
Ambush from Ten Sides: Music of the Chu-Han
Contention
《十面埋伏》
158
Sanqu: Folk Music of the Yuan Dynasty
散曲
160
Folk Songs of the Ming Dynasty
明代民歌和小曲
162
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Chinese Dance 中国舞蹈
The Earliest Primitive Dance: Full of Mystery and
Character
Baixi: Spectacular Multi-Genre Performance
原始乐舞
“百戏”歌舞
166
168
Qingshangyue: Han Folk Music and Dance
清商乐
170
Huxuan Dance: Spinning Like the Wind
胡旋舞
172
Huteng Dance: Full of Strength
胡腾舞
174
Jianwu and Ruanwu: Robust and Gentle Dances of
the Tang Dynasty
健舞与软舞
176
Tage Dance: To Sing and Dance at the Same Time
踏歌
178
Duiwu and Wudui: Group Dances of the Song
Dynasty
队舞与舞队
180
Baixi: Pioneer of Chinese Opera
百戏
184
Jiaodixi: The Battling Performance
角抵戏
186
Canjunxi: Ancient Chinese Comedy
参军戏
188
Gewuxi: Musicals of the Tang Dynasty
歌舞戏
190
Zaju: Mixed Opera of the Song Dynasty
杂剧
192
Four Great Playwrights of the Yuan Dynasty
元曲四大家
194
Guan Hanqing and Injustice to Dou E
关汉卿与《窦娥冤》 196
Wang Shifu and Romance of the West Chamber
王实甫与《西厢记》 198
Tang Xianzu and The Peony Pavilion
汤显祖与《牡丹亭》 200
Li Yu: Founder of the Suzhou School of Opera
李玉与苏州派戏曲
202
Hong Sheng and the Palace of Eternal Youth
洪升与《长生殿》
204
Kong Shangren and Peach Blossom Fan
孔尚任与《桃花扇》 206
Peking Opera: Epitome of Modern Chinese Theatre
京剧
208
Yuju: Modern Theatre of the Ordinary Folk
豫剧
210
Chinese Opera 中国戏剧
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Folk Arts 曲艺
Tanci: Pastime of Upper Class Ladies
弹词
214
Xianzishu: Storytelling with Rhymes
弦子书
216
Drum Song of Peking: Stories in Songs
京韵大鼓
218
Plum Blossom Drum Ballad: The Five Petals of the Plum
Blossom
梅花大鼓
220
Majie Folk Artist Fair
马街书会
222
Bronze Sculptures: China’s Bronze Age
商周雕塑
226
The Terracotta Army: Imposing Warriors
秦俑
228
Stone Sculptures at Huo Qubing’s Tomb: Patriotic Spirit Set
in Stone
霍去病墓石
雕
230
Maijishan Grottoes: Oriental Sculpture Gallery
麦积山石窟
232
Yungang Grottoes: Images of the Performing Arts
云冈石窟
234
Longmen Grottoes: Entering an Ancient World of Buddhism
龙门石窟
236
Creatures Before the Southern Dynasties Mausoleums:
Majestic Mythological Beasts
南朝陵墓石
刻
238
The Six Steeds of Zhao Mausoleum: Glory Set in Stone
昭陵六骏
240
Qian Mausoleum: Tomb of Emperor Gaozong and Empress
Wu Zetian
乾陵
242
The Thirteen Tombs of the Ming Dynasty: Magnificent
Imperial Mausoleums
明十三陵
244
Ancient Sculptures 古代雕塑
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Zhong You
and the Zhong Font
Z
hong You (钟繇),
widely considered to
be the pioneer of Chinese
calligraphy, has influenced
the art form greatly. He
standardised calligraphy
with the kaishu style, a
font that has contributed
largely to the development
of Chinese characters. He
later created a font named
zhong which was widely
studied, and it continued to
impact the development of
the kai font.
About the Calligrapher
Zhong You (153–230) was a calligrapher in the Wei nation
during the Three Kingdoms. He was born into a prominent
family during the Eastern Han Dynasty. His father Zhong Di,
who had never been in an official position due to political
constrain, passed away when Zhong You was young. He was
brought up by his uncle.
Zhong was a handsome and intelligent child. Once,
while he was on the way to Luoyang with his uncle, they
encountered a physiognomist. The fortune-teller predicted
that Zhong would be rich in the future, but told the duo to
be wary of a water-related accident. Zhong and his uncle
continued on with their journey for a few more miles
before Zhong’s horse went into a sudden fit and threw him
into a river, causing him to nearly drown. Since part of the
fortune-teller’s words came true, his uncle realised that
Zhong was meant for greatness. He provided Zhong with
a good education so that he could succeed in the future.
Zhong lived up to expectations by studying hard, and
eventually became a master.
During the Battle of Guandu, Zhong sent Cao Cao more
than a thousand horses during a crucial moment, which
put Cao Cao at an advantage. For his assistance during the
battle, Zhong enjoyed a close relationship with the Cao
family. He was appointed as Grand Tutor, and was one of
the important officials during the Cao Wei times. When he
passed away in 230, Emperor Cao Rui donned funeral garb
to mourn for him.
Obsession with Calligraphy
Limingbiao
Zhong You studied the styles of Cao Xi, Liu De, and Cai
Yong, famous calligraphers of the time, to hone his own
skill. An extremely bright and passionate student, his study
of calligraphy was intense. He claimed: “Throughout my
30 years of calligraphy study, I always had a book close by
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C H IN E S E F IN E A R T S
so that I could study at anytime. Sometimes, I even went to
bed with the books!” Zhong You’s passion for calligraphy
was manical. According to a folk tale, during a visit to Wei
Dan’s, he found a book illustrating Cai Yong’s secrets to
calligraphy, and requested for Wei Dan to lend him the
book. Despite Zhong’s pleads, Wei Dan refused as the book
was too valuable. In his frustration, Zhong hit his own chest
and almost died as a result. He was rescued only when
Cao Cao sent a doctor. Despite the dramatic incident, Wei
Dan remained firm on his decision not to lend Zhong You
the book. Eventually, Zhong stole the book from Wei Dan’s
grave after his death.
Style
Zhong You’s calligraphy is simple, elegant and neat. In 12
Meanings of Zhong You’s Calligraphy, Emperor Wudi of
the Liang Dynasty praised Zhong’s work as “a delicate,
ingenious and heavenly creation”. His work was compared
to another famous calligrapher of that period, Hu Zhao,
and the duo were referred to as “Fat Hu and Thin Zhong”.
Another comparison was made with Wang Xizhi, a great
calligrapher from the Jin Dynasty, and they were called
“Zhong Wang”. Zhong's kaishu calligraphy was outstanding
during his time for its portrayal of beauty, elegance and
depth. His small kaishu is slightly flat and compact. Its
stipples are heavy, but the strokes fresh, which gave it a
natural feel. His work Memorial Recommending Ji Zhi (荐季
直表) is respected by calligraphers even today. Lu Xingzhi
of the Yuan Dynasty called this piece of work “the best,
unprecedented calligraphy work on Earth”.
Zhong You is a prominent figure in the history of
Chinese calligraphy, and an influential person in calligraphy
academia. The Bookstore Essence documented these
words about him: “The master behind these brushstrokes
has conquered Heaven and Earth”. He often used the
relationship between Heaven, Earth and Man to describe the
art of calligraphy. He believed that nature was the essence
of calligraphy, and tried to incorporate the spirit of nature
into his calligraphy. He was diligent student of calligraphy,
and also a teacher who has affected the development of
Chinese calligraphy.
Memorial Recommending Ji Zhi
Zhong You versus Guo Yan
Zhong You never avoided his
enemies. After the Guandu war,
he became a prominent figure
in Cao Cao’s camp. Once, he
led an army to fight Guo Yuan.
He was a strong opponent, and
Zhong’s subordinates persuaded
him to retreat. He said, “If we
were to retreat now, Guo Yuan
would believe that we are afraid
of him. The people hate Guo
Yuan. If we were to retreat,
what would happen to them?
We would lose the heart of the
people before battling. Besides,
Guo Yuan would think that he
stands a chance against us with
the little number of people we
have here. Once he crosses
over Fenshui to encamp, we
shall cross over to exterminate
them.” Things turned out just
as Zhong had predicted. Guo
Yuan’s army was exterminated.
After that, Zhong defeated many
others and claimed their lands.
His exploits were celebrated.
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Lu Ji
and Pingfu Tie
L
u Ji (陆机) was a
famous writer and an
outstanding calligrapher
of the Western Jin Dynasty.
Pingfu Tie (平复帖), which
was written by him, is the
earliest recovered piece of
Chinese calligraphy work.
Lu Ji is a respected figure
in the history of Chinese
calligraphy. He was known
as the “King of Ink”, and
his work as “Imperial
Notes”.
About the Calligrapher
Lu Ji (261-303), whose courtesy name was Shiheng, was
said to be born in either Wujun (today’s Suzhou) or Huating
(today’s Songjiang of Shanghai province). Lu came from a
family of officials. His grandfather, Lu Xun, and his father,
Lu Kang, were famous generals who represented Dongwu
during the Three Kingdoms. Lu Ji served as the Interior
Minister of Pingyuan, a libationer (the Imperial winetaster),
and a Gentleman of Writing. He was also known as “Lu
Pingyuan”. He was put to death during the War of the Eight
Princes on false charges.
Lu Ji has been described as “a rare genius, with
unsurpassable masterpieces”. He had many prominent
literary accomplishments. He left later generations
with many poems and literary criticisms, which were
his strengths. When he was 20, he wrote Wen Fu (On
Literature), a literary monograph that became the first of its
kind. The monograph systematically analysed the nature of
literary and creative accomplishments, its motivation, ideas,
aesthetic expressions, literary patterns and style.
Lu Ji was known for being an eminent calligrapher. His
Pingfu Tie was a major influence in Chinese calligraphy.
Style
Wen Fu (On Literature)
Lu Ji once wrote a letter to his friend, explaining that he
was in a weak condition and might not recover. The letter
was later referred to as Pingfu Tie (Letter of Recovery).
The letter is made up of nine rows and 84 characters. The
strokes start off rounded and end up pointed, and the
characters are higher on the left than the right. Lu did not
practise the usual standard of Chinese calligraphy, which
required the “the head of silkworm to be joint with the tail
of phoenix and the silver hook of a scorpion”. This standard
used a balanced strength throughout the stroke, yet felt
casual at the same time. Despite the lack of consistent
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C H IN E S E F IN E A R T S
formatting, the characters reflected
Lu’s psyche. Concise and simple, the
strokes project smooth, wavy-like
shapes that resemble the Li font –
the lines are short and plump, and
there is obvious spacing between
the characters. The thought flow is
also continuous and cohesive. Pingfu
Tie shows a transition from caoshu
(running style) to lishu (official style),
integrating features of the two. The
strokes are wavy, but not as distinct
as those in lishu.
Pingfu Tie is a difficult piece to
analyse, in terms of both language
and calligraphy. Lu used dry ink to
create an effect many calligraphers call “the old vine”, which
is different from the usual wet ink style. There have many
reviews of Pingfu Tie throughout the different dynasties.
Chen Yi of the Song Dynasty described it as a rare ancient
piece with illegible writing; Dong Qichang of the Ming
Dynasty called it “a few lines as precious as gemstones,
written in an era between two famous calligraphers –
Yuanchang and Youjun”, while Gu Fu of the Qing Dynasty
regarded the piece as “old-fashioned, imperfect and
unreadable”. The piece has become an inspiration for
caoshu font masters including Huai Su and Yang Ningshi.
Pingfu Tie and Zhang Boju
Pingfu Tie was passed down through nobles and feudal
intellectuals who kept it as part of their private collections.
During WWII, the Japanese imperialists plundered Chinese
wealth and national treasures. At that time, someone
wanted to present Pingfu Tie as a gift to the Japanese. When
Zhang, a well-known calligrapher and collector at that time,
heard about it, he was furious and anxious to protect the
precious artefact. He sold all his possessions and bought
Pingfu Tie together with some other ancient treasures.
Pingfu Tie itself cost him 40,000 yuan at that time. After the
Republic of China was founded, Mr and Mrs Zhang donated
the 1,700 year-old Pingfu Tie to the government.
Pingfu Tie
Ancient Celebrities
Lu Ji came from a prestigious
family during the Three
Kingdoms period that declined
after the Jin Dynasty was
established. He retreated to
his hometown with his younger
brother, Lu Yun, where they spent
ten years studying. In 289, the
brothers went to Luoyang, the
capital of the Jin Dynasty, which
aroused a lot of public attention.
They were considered as
geniuses that were more talented
than three famous scholars of
the time Zhang Zai, Zhang Xie
and Zhang Kang. When the
Lu brothers arrived at Luoyang,
people started to idolise them
instead, and the Zhangs were
quickly forgotten. Celebrity
worship were common in the
ancient days too.
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Wang Xizhi
W
ang Xizhi’s (王羲
and Preface to the Story of the
Orchid Pavilion
之) calligraphy
is characterised by his
delicate style and changing
structures, which was quite
different from calligraphy
from the Han and the
Western Jin dynasties.
He developed Chinese
calligraphy into a real art
form by emphasising on
its mood and aesthetic
factor. His success won him
the title of “The Saint of
Calligraphy”.
About the Calligrapher
Wang Xizhi (303-361 or 321-379), whose courtesy name was
Yishao, also known as Danzhai, was born in Langya of Linyi
(today’s Linyi of Shandong Province). He grew up in one of
the most prominent families of the Eastern Jin Dynasty. His
father, Wang Kuang, had served as the Governor of Taishou
and the court historian of Huiji.
Wang avoided entering the Imperial Court until
General Yu Liang invited Wang to join the army as his
advisor. He rose up the ranks rapidly and eventually became
General You (you literally means “the direction right”), one
of the three major generals during the Jin Dynasty. He later
resigned, giving the reason of bad health, which was an
excuse to avoid contact with a disagreeable colleague. He
retreated into seclusion until his death.
Wang was a great admirer of calligraphy. He practised
it diligently and became a master. His work, Preface to the
Story of the Orchid Pavilion (兰亭序), is considered a classic
masterpiece.
Style
Wang Xizhi often practised calligraphy by a pond, and it
became a habit for him to rinse his inkstone in the pond.
As time passed, water in the pond turned black, and the
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Preface to the Story of the Orchid Pavilion
9/12/2012 11:10:36 AM
C H IN E S E F IN E A R T S
pond was named “the Ink pond”. He specialised in a variety
of fonts, including lishu, caoshu, kaishu and xingshu.
His works are calm and natural, his movements subtle,
powerful and handsome. His work has been described as “an
energetic dragon leaping over the heaven gate and the calm
tiger crouching in the phoenix chamber”.
None of Wang's original works survive today, but a few
block-printed copies were preserved, including Sangluan
Tie (丧乱帖) and Preface to the Story of the Orchid Pavilion,
his most influential work.
Preface has been admired by calligraphers throughout
history, and is considered “the best xingshu manuscript on
Earth”. According to legend, Emperor Taizong of the Tang
Dynasty named Wang's masterpiece as a national treasure
and called upon calligraphers to mimic his writing style.
Sangluan Tie
Preface to the Story of the Orchid Pavilion
During the Eastern Jin Dynasty, 41 people, including Wang
Xizhi, wrote a poem during an event held at the orchid
pavilion at Shaoxing. Wang was responsible for writing the
preface. He described the beautiful scenery surrounding
the orchid pavilion and the joyous moments he had there.
Following that, he lamented the transcience of happiness
and the impermanence of life. Preface consists of 28 rows
and 324 characters. With perfect composition, structure and
stroke, the piece represents his finest creation at age 50.
The copy of Preface that is the most widely circulated
today was created during the Tang Dynasty. This copy
meticulously adhered to Wang’s style, and is widely
recognised as the best copy of masterpiece. A stone
inscription of the poem was recently discovered, but was
later identified to be unauthentic. It is suspected to be a
copy made during the Sui or Tang dynasties.
Wang Xizhi’s son, Wang Xianzhi, was also a famous
calligrapher. He started learning calligraphy from his father
at a young age. He was famous for his xingshu and caoshu
styles later in his life. They are often referred to as the “Two
Wangs”.
The Talented and Carefree
Son-in-law
Wang Xizhi was a carefree
man who was not bound by
convention. Fame and fortune
did not appeal to him at all. He
appeared in a story recorded
in the New Anecdotes. Xi Jian,
the Grand Commandant of the
Jin Dynasty, wanted to marry
his daughter to the prestigious
Wang family. He sent an aide
to the Wang residence to select
a suitable candidate. The aide
reported, “All young men looked
modest, except for one, who
was lying topless on the bed
enjoying a snack even when
there were guests in the house.”
At this moment, Xi Jian declared,
“That is the son-in-law I am
looking for!” He had picked
Wang Xizhi, and this is the
famous story about the talented
and happy-go-lucky son-in-law.
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Weibei
Tablets from the Northern Dynasties
W
eibei (魏碑), literally
“Northern tablets”,
refers to inscriptions
made on tablets during
the Northern Dynasties.
The strong and stiff font
used on weibei became
a standard for the future
generations. Weibei
usually employed the
kaishu style, which is why
some people refer to the
calligraphic font used for
the inscriptions as weikai.
Brief Description
The three main types of kaishu are weikai, jinkai and
tangkai (from the Jin and Tang Dynasties respectively).
Weibei displays the transition from lishu to kaishu. Kaishu
emerged some time between the Wei and Jin dynasties.
Zhong You’s Proclamation and Wang Xizhi’s The Yellow
Emperor Classic are examples of the kaishu manuscript.
After a large group of scholars migrated from Western Jin
to the South, calligraphy style in the Northern and Southern
started to develop in different directions. Most weibei
available today are products of peasant calligraphers, while
tablets from the Southern dynasties are the refined works
of scholars. Zhong You and Wang Xizhi were crucial to the
shift from lishu to kaishu. When the Jin migrated to the
South, the works of these two masters were brought along.
Hence, peasant calligraphers of the Northern Dynasties did
not have the chance to learn from Zhong You and Wang
Xizhi, but instead, continued to focus and develop on lishu
calligraphy from the Han Wei period.
There are two types of weibei: inscriptions on Buddha
statues and on tombstones. The Longmen Grottoes, a
UNESCO World Heritage Site created in AD 492, holds more
than 3000 inscriptions on Buddhist statues. Among those,
The Twenty Artworks of Longmen is the most well-known.
Northern Wei has more epitaphs than any preceding
dynasty. The inscriptions represent a continuation of lishu
from the Han Dynasty, that was made up of a square and
compact structure with steady strokes.
The Twenty Artworks of Longmen
Weibei
The Twenty Ar tworks of Longmen is an impor tant
demonstration of weibei calligraphy. 19 of them are located
in Guyang Cave and the last piece is located in Cixiang Cave.
Kang Youwei’s Extension of Two Volumes on Composition and
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C H IN E S E F IN E A R T S
Calligraphy and Fang Ruo’s Notes from an Examination of
Inscriptions were the two earliest literary works to discuss
the 20 artworks. The inscriptions on these 20 pieces were
mostly prayers to avoid misfortune. The calligraphic style of
the inscriptions combined the composition of lishu and the
uniqueness of kaishu, creating a result that was dignified
yet simple.
Kang Youwei’s Comments on Weibei
Kang Youwei (康有为) was a Chinese scholar, a noted
calligrapher and a prominent political thinker of the late
Qing Dynasty. His ideas inspired a reform movement
that made the government resent him, and he was forced
to turn to calligraphy. Although his political views were
never put into practice, his calligraphic theories were
widely accepted. He wrote Extension of Two Volumes on
Composition and Calligraphy (广艺舟双楫), a book that is
considered important research into Chinese calligraphy. It
praised weibei as the only reliable calligraphic inscription
besides nanbei (the Southern monuments). The monograph
also described the “Ten Beauties” of weibei. Its calligraphic
style contains bold and powerful strokes, a simple and
practical style, writing that is fluid, thick and vigorous
stipples, unique conceptions, a swift and upright spirit, an
intoxicated enthusiasm, a deep understanding, a heavenmade structure and is beautiful inside and out.
His summary of weibei’s beauty attracted many
scholars to study the calligraphic style. From then on, those
who studed kaishu were no longer limited to the Jin and
Tang dynasties, as its realm of study started to include
weibei.
Kang You Wei
Premier Zhou Enlai and
The Twenty Artworks of
Longmen
Premier Zhou Enlai was a
great admirer of the Longmen
artworks. On 14 October
1973, Premier Zhou went to
Guyang Cave together with
the Canadian Prime Minister
Trudeau. As the two important
figures strolled through the
caves, Premier Zhou stopped
at a stall selling ink rubbings of
the inscriptions of The Twenty
Artworks. After finding out that
each piece costs 500 yuan, he
continued walking through the
park. When he saw another
store selling the same items,
he asked Han Xu, the Chief of
Protocol, how much money he
had with him. Han Xu replied,
“Not enough.” Someone
suggested sending money from
Beijing after they got back to the
city.
Premier Zhou replied with
only two words— “No way!”
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