Epitaph of Lady Zhang Hei, Copied in the Style of Jie《节临张黑女墓志轴》

Zeng Xi (1861–1930)

Zeng Xi, born in Hengyang, Hunan, was a prominent calligrapher, painter, educator, and a leading figure of the Shanghai School of calligraphy and painting during the late Qing Dynasty and the Republic of China. He achieved the rank of Jinshi in the 29th year of Guangxu (1903) and served in various esteemed positions, including Director of the Ministry of War, academic envoy, and president of the Hunan Education Association. Zeng also lectured at the Hengyang Shigu Academy and Hanshou Longchi Academy. He was known for championing the “Southern Sect” of calligraphy, a philosophy in contrast to Li Ruiqing’s “Northern Sect,” earning him the epithet “Southern Zeng and Northern Li.”

“Epitaph of Lady Zhang Hei”

Zeng Xi’s calligraphy reflects his profound engagement with stele studies, particularly northern seal and official script styles. He was deeply influenced by the “Epitaph of Lady Zhang Hei”, a Northern Wei stele that served as a significant source of inspiration. His admiration for this work stemmed from its historical and aesthetic importance: it was a key influence on the calligraphy of He Shaoji, whom Zeng revered, and it retained an elegant, archaic blend of official and seal script characteristics.

Although Zeng Xi closely studied “Epitaph of Lady Zhang Hei,” his works were not mere imitations. Instead, he skillfully integrated the essence of the original with his personal brushwork and stylistic interpretations. The resulting pieces are distinguished by their dynamic and balanced composition, achieving a harmony between ancient monumentality and contemporary innovation.

Zeng Xi’s approach to calligraphy demonstrates his ability to preserve tradition while embracing individual expression, cementing his legacy as a master of stele-inspired art. This synthesis of antiquity and originality is evident in his numerous surviving works, which continue to resonate with calligraphy enthusiasts and scholars alike.

曾熙（1861—1930），初字嗣元，更字子缉、季子，号俟园，晚号农髯，湖南衡阳人。清末民国时期著名的书画家、教育家，海派书画领军人物。光绪二十九年（1903）进士，曾任兵部主事、提学使等。后主讲衡阳石鼓书院、汉寿龙池书院，任湖南教育会长。书法自称“南宗”，与李瑞清的“北宗”颉颃，世称“南曾北李”。
曾熙为碑学书家，于篆隶北碑多有临摹取法。在北碑上，他醉心于《张黑女墓志》，首先是因为此志为何绍基所藏的孤本，何绍基书法多得益于此，曾氏十分推崇何绍基，故自己亦勤于临习。其次，《张黑女墓志》仍保留较多的隶书笔意，显得格外古雅，这点也非常吸引他，所以他的传世临作颇多。需要明确的是，曾熙并非亦步亦趋地临摹，而是以临为创，其中掺入了许多个人的笔法与风格面目。