Shen Yinmo was a calligrapher from Huzhou, Zhejiang. He studied in Japan and later became a professor at Peking University and Furen University. After 1949, he worked as deputy director of the Central Museum of Literature and History, chairman of the Shanghai Municipal People's Committee, and representative of the Third National People's Congress.
Wu Hufan was a celebrated artist born in Suzhou, Jiangsu Province. He was a talented poet, essayist, calligrapher, and painter, with various names and courtesy titles throughout his life. Wu was renowned for his immense art collection, as well as his mastery of calligraphy and painting. He held positions as a painter at the Shanghai Chinese Painting Academy, a Chinese painting teacher at the Shanghai Art School and the Zhejiang Academy of Fine Arts, and an associate professor at the Academy of Fine Arts of Shanghai University.
Tang Ken, also known as Qilin and Cangxue, was a highly talented individual born in Changzhou, Jiangsu to a family of scholars. He graduated from the Law Department of Chuo University in Japan and was known for his proficiency in calligraphy, painting, writing, poetry, and had a vast collection. Tang Ken's calligraphy works, such as the Zongyan Liubei Stele and the Four Kings of Painting, were highly regarded for their remarkable talent and skill.
Ye Gongchuo, also known as Yufu, and nicknamed Xia'an, was a native of Panyu, Guangzhou. He came from a family of scholars and was born in the official school of Beijing Normal University. He excelled in archeology, calligraphy, and painting. His calligraphy skills were unique and majestic, and his style of cursive calligraphy is evident in this couplet. with the explanation: "Every time I pursue elegance in the sky, I waste my middle age by reading crazy literature." The knotting is precise and has a strong style, making it one of his most notable works. In his later years, he was assigned to Juyuan.
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."
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."
Yi Bingshou, also known by his nickname Moqing, was born in Ninghua, Fujian. In the year 1789, he passed his Jinshi examination and served as the magistrate of Huizhou and Yangzhou during the fifty-fourth year of Qianlong's reign. He was highly respected in Yangzhou, where he was known as one of the "Three Threes" and his legacy was admired by the locals. The "Xian Temple", which was originally dedicated to Ouyang Xiu, Su Shi, and Wang Shizhen, later enshrined Yi Bingshou and was renamed the "Four Xian Temple". During his tenure, he was known for his honesty and good governance.
Wang Xun, also known by the courtesy names Ziyuan and Yuanruo, was from Changzhou. He attained the rank of Jinshi during the 18th year of Guangxu's reign in 1892 and was appointed as an editor at the Hanlin Academy. Wang Xun was highly skilled in both poetry and writing.
Wang Xun's calligraphy is mainly composed of real calligraphy and seal script. His real calligraphy is neat and straight, with a vigorous and straight appearance. His seal script, which imitates the Qin and Han Dynasties, is quaint and vigorous. The running script is derived from his real calligraphy and complements it.
Kang Youwei was a renowned politician, thinker, and educator of the late Qing Dynasty in China. He was born in Nanhai, Guangdong, and had several nicknames including Mingyi, Gengwen, Xiqiaoshanren, Youcunsou, and Tianyouhuaren. He was also known as Kangnanhai.
Kang Youwei was a strong advocate of the Beibei Monument, and his calligraphy style was influenced by "Shimen Inscription" and "Zheng Wengong". Although some later calligraphers have criticized his work, his contributions to the art of calligraphy remain significant. The couplet mentioned is a prime example of his interest in epigraphy and stone.
Hong Liangji, also known as Liji, was a Confucian scholar and writer in the Qing Dynasty. He had several names including Junzhi, Zhicun, and Beijiang, and later earned the title Regenerate Jushi. Born in Yanghu (now Changzhou), Jiangsu Province, he ranked second in the imperial examination during the 55th year of Qianlong's reign and was taught editing. Hong was knowledgeable in history, geography, harmony, rhyme, and exegesis, and was also skilled in writing poetry and parallel prose. He was a pioneer in modern demography.
Li Yangbing, a famous Xiaozhuan master during the Tang Dynasty, authored the book. It follows traditional rules and is characterized by a clear and smooth style with a hint of strangeness and sharpness. The book mentions, "My family went to the Wushan boundary across the river, and my poems were written between the Three Tang Dynasties and the Second Song Dynasty."
