The poem “Gazing at the South of the River” in Running Script《行书〈望江南〉词轴》

Qian Zhenqian (1875–1944)
Qian Zhenqian, courtesy name Mengjing and pseudonym Mingshan, was a native of Wujin, Jiangsu (modern-day Changzhou). He earned the title of Jinshi during the 29th year of the Guangxu Emperor’s reign (1903) and served as Director of the Ministry of Justice. However, disillusioned by the lack of impact of his reform proposals, Qian resigned from his post and returned to his hometown, where he founded the Jiyuan Academy. As an educator and scholar, he significantly influenced the academic culture of Changzhou, mentoring many students and strengthening intellectual traditions in the region. After the Xinhai Revolution, Qian embraced a life of seclusion, adopting Taoist attire and devoting himself to teaching, writing, and moral advocacy. In a turbulent era marked by both natural disasters and social upheaval, he was revered for his ethical integrity, earning the title of the “Great Confucian Scholar of Jiangnan.”

“The poem “Gazing at the South of the River” in Running Script”
This calligraphic work exemplifies Qian Zhenqian’s skill in running script, deeply rooted in classical traditions. Qian’s early training drew inspiration from Yan Zhenqing, while he later incorporated influences from Han Li, Northern Wei stele inscriptions, and the cursive script of Huaisu. Advocating a distinctive philosophy of brushwork, Qian believed in the power of firm wrist control, avoiding suspended-wrist techniques to ensure strength and stability in the strokes.

The inscription reads:
“My home is beautiful, and today is the first time I return. My poetic thoughts are about to sink but are awakened by the oriole, the setting sun is fading and the moon is coming. Don’t be sad, old man. Famous mountain.”

The calligraphy displays a deliberate and powerful style, with heavy brush pressure lending an epitaph-like solidity to the strokes. The result is a vibrant and sonorous rhythm, evoking the imagery of “silver hooks and iron paintings.” The white seal, inscribed “Chen Qian Zhenxun,” beneath the signature, attests to the authenticity of the work. This piece not only demonstrates Qian’s technical proficiency but also reflects his profound literary sensibility and philosophical introspection, making it a significant example of his legacy.

钱振锽（1875—1944），字梦鲸，号名山，后以字行，江苏武进（今江苏常州）人。光绪二十九年（1903）进士，官至刑部主事。后因上书进言无果而辞官归里，于家乡开设私人书院——寄园，以教书、读书、著书为业，桃李满天下，使常州学风为之一振。辛亥革命后束发着道装，成为一位“文化遗民”。在那个天灾人祸的年代，他常常为百姓奔走呼号，救民于水火之中，道德文章驰誉大江南北，有“江南大儒”之称。

钱名山书法早年学颜真卿，后又学汉隶北碑及唐代的怀素。作书不主张悬腕，认为笔力是靠腕力送出的，悬腕影响到力的运行，写字不能沉着痛快。此书即是如此，执笔颇低，笔毫下压较重，故似银钩铁画，铿锵有声，极具碑意。释文：“家园好，今日首重回。诗思欲沉莺唤起，夕阳垂尽月飞来。老子莫伤怀。名山。”款下钤白文“臣钱振鍠”印。