Zhang Zuyi (1849–1917)
Zhang Zuyi, courtesy name Tixian and pseudonym Leian, was also known as Liangxi Zuoguan Laoren due to his residence in Wuxi. He was a native of Tongcheng, Anhui. From a young age, he had a deep passion for epigraphy and calligraphy, mastering various script forms. His works in regular and running scripts displayed a monumental quality, but his achievements in seal and clerical scripts surpassed those in cursive and running scripts. Zhang spent much of his life in Shanghai, where he became renowned alongside Wu Changshuo, Gao Yongzhi, and Wang Xun. Occasionally, he also painted orchids and bamboo, infusing them with artistic charm. Zhang was highly accomplished in the appraisal of calligraphy and inscriptions and amassed a significant collection, though the scattered nature of his materials has left modern research lacking. Among his published works are Leian Jinshi Bawei and Hanbei Fan.
"Four-Screen Series of Inscribed Stele Rubs in Clerical Script"
This set of four panels in clerical script showcases an extraordinary depth of power, with each stroke penetrating to the back of the paper and exuding a profound sense of antiquity. The brushwork is fluid and expansive, imbued with a dynamic rhythm that resembles birds in flight, full of vitality and grandeur. It exemplifies Zhang's mastery, embodying the phrase “heavenly essence unfolding, with force and charm in full measure.” It is no wonder that critics regard Zhang Zuyi as the foremost practitioner of clerical script after Yang Xian.
Yang Yisun (1813–1881)
Yang Yisun, courtesy name Ziyu and pseudonym Yongchun, later signed as Haoguan, Haosou, and Guanhao Jushi, was a native of Tianzhuang, Changshu (present-day Zhangjiagang, Jiangsu). Born into a scholarly family, Yang displayed a strong passion for learning from a young age. He studied under the representative scholar of the Changzhou "Yanghu Literary School," Li Zhaoluo, focusing on classical texts and philology, with a particular interest in The Guanzi and Zhuangzi. In 1843, during the 23rd year of the Daoguang reign, he became a successful imperial examination candidate. In 1853, Yang was appointed as magistrate of Tongling, Anhui, and later transferred to Yishan. Due to the Taiping Rebellion, he could not assume his post. He supported military affairs under the governors of Anhui and Jiangxi, receiving a promotion to prefect of Fengyang for his contributions. After mourning his father's death in 1868, Yang declined to return to office and instead devoted himself to scholarship and calligraphy. In his later years, he settled in Ancheng (modern Qianshan, Anhui), earning a living through his artistry.
Yang Yisun's greatest achievements in calligraphy lay in seal script, which had a profound influence on later generations. His seal script, characterized by sturdy and solid strokes, inherited the legacy of Deng Shiru. However, Yang surpassed Deng in rhythm and variation of ink tones, achieving a dynamic balance of movement and stillness. Structurally, he modeled his style on The Stone Drum Inscriptions, breaking away from the rigid and elongated forms of Qin dynasty small seal script and instead adopting a more square and ancient aesthetic.
"Excerpts from 'The Commentary on The Book of Changes' in Seal Script" (1879)
This four-panel screen is considered one of Yang Yisun's masterpieces. The paper's durability, the ink's depth, and the brushwork's solidity earned it the description of "cutting three layers into wood." The fluent and meticulous strokes demonstrate a unity of mind and hand, making this work exceptionally precious.
Wang Wenzhi (1730–1802)
Wang Wenzhi, courtesy name Yuqing and pseudonym Menglou, was from Zhenjiang, Jiangsu. In the 25th year of the Qianlong reign (1760), he achieved the third-place honor in the imperial examination and served as a Hanlin Academy reader, later becoming the prefect of Yunnan. He was well-versed in Buddhism and excelled in calligraphy, particularly influenced by Dong Qichang and Tang dynasty sutra calligraphy. Alongside Weng Fanggang, Liu Yong, and Liang Tongshu, he was one of the "Four Masters of the Qianlong Stele School" and was known for his use of light ink to convey an ethereal charm, earning him the nickname "Light Ink Exploring Flower."
"Seven Character Couplet in Running Script"
From this piece, we can see Wang Wenzhi's calligraphy, characterized by its disciplined yet free-flowing brushwork, tight and restrained structure, and clear and elegant ink tones. His writing style truly inherited Dong Qichang's calligraphic spirit, with fewer turns and more curves, appearing decisive and neat. The strokes are both delicate and bold, with a sense of talent and scholarly charm evident throughout.
Translation of couplet: "In the seat, the quiet fragrance of orchids can be eternal, Outside the pavilion, the clear shade of bamboo is inherently serene."
He Shaoji (1799–1873)
He Shaoji, courtesy name Zizhen, pseudonym Dongzhou, and in his later years known as Yuansou, was from Daozhou, Hunan (now Daoxian). He was a poet, Confucian scholar, calligrapher, and art connoisseur during the late Qing dynasty. In the 16th year of the Daoguang reign (1836), he passed the imperial examination. He was highly knowledgeable in Confucian classics, philology, and stone inscriptions, achieving significant success in calligraphy. He was a leading figure in the Stele School of calligraphy, with a profound influence on later generations. He authored works such as "Explanations of the Classics from the Study of Cherishing the Way," "Poetry and Prose Collection of Dongzhou Thatched Cottage," and "Corrections of Duan's Annotations to Shuowen."
He Shaoji's running and cursive scripts were particularly distinguished. Initially, he studied Yan Zhenqing, and in middle age, he extensively studied the Wei stele and the calligraphy of Ouyang Tong, resulting in strong and graceful brushstrokes. Later, he devoted himself to clerical script, deeply researching the famous inscriptions of the Han and Wei dynasties, and produced numerous copies. This piece is from his middle period, before he reached the peak of his skill in his later years. The calligraphy style is broad and composed, with varied and deliberate strokes, fully demonstrating his innovative spirit of blending ancient and contemporary styles.
Translation of couplet: "The grand library holds the Dao, With a bright and clear heart, one cherishes talent."
Yu Yue (1821–1907)
Yu Yue, courtesy name Yinfu and pseudonym Quyuan Jushi, was from Deqing, Zhejiang. In the 30th year of the Daoguang reign (1850), he passed the imperial examination and served as the educational commissioner of Henan. However, he was dismissed from his post for allegedly distorting the meaning of the Confucian classics in exam questions. He then moved to Suzhou and dedicated himself to scholarly pursuits for over forty years. Yu's scholarship focused on Confucian classics but also extended to various fields such as philosophy, history, philology, drama, poetry, fiction, and calligraphy. He was an esteemed master of Qing dynasty philology, with many students, including Zhang Taiyan, Wu Changshuo, and Inoue Chinsho from Japan, studying under him.
Yu Yue's calligraphy was characterized by an ancient and unpretentious style, emphasizing spirit over technique and using a relaxed and natural brush. He often used worn-out brushes or cut-off brush tips to achieve a robust, stone-inscription-like quality in his writing, deeply embodying the spirit of Han and Wei dynasty inscriptions. As a highly learned scholar, his erudition contributed to the lasting fame of his calligraphy. This couplet, with its seemingly square and stable appearance, reveals powerful and vigorous strokes upon closer examination, exuding an inner strength.
Translation of couplet: "The precious cauldron's fragrance retains the sleeping duck, On colored paper with ink, writing depicts the arriving bird."
Wu Xizai (1799–1870)
Wu Xizai, originally named Tingyang, courtesy name Xizai, later changed to Rangzhi and also known as Ranzhi to avoid the name taboo of Emperor Tongzhi, had the pseudonym Wanxue Jushi and his studio was called Shishenxuan. He was from Yizheng, Jiangsu. A student in his early years, he became a disciple of Bao Shichen. Wu excelled in philology, calligraphy, painting, and especially seal carving. He lived a life of poverty, earning his living by selling calligraphy and seal carvings, traveling between Yangzhou, Taizhou, and other places. His regular and running scripts followed Bao Shichen, who was a theorist rather than a skilled practitioner in calligraphy, so Wu’s regular and running scripts were less remarkable. However, his seal script and seal carving, influenced by Deng Shiru, transformed ancient simplicity into beauty, and his influence was far-reaching in later generations studying Deng.
"Seven Character Couplet in Seal Script"
The couplet features vigorous, flowing, and graceful lines, rooted in Deng Shiru but imbued with Wu’s unique elegant and fluid style. The brushwork is not yet fully mature, indicating an early work of Wu Xizai.
Translation of couplet: "The principles of mountains and lakes are evident, I can engrave the inscriptions on metal and stone."
Tang Ken (1876–1950)
Tang Ken, courtesy name Qilin, was a descendant of Tang Jinchuan, hailing from Wujin (now Changzhou), Jiangsu. In 1905, he traveled to Japan to study law at Chuo University. During the Republic of China period, he held various local military and political positions in Zhili, and later served as the acting magistrate of Yixing County. After the War of Resistance Against Japan, he retired to Shanghai, refusing to take any puppet government positions, and made a living by selling his art. Tang was a talented writer, poet, calligrapher, and painter, known for his keen appreciation and extensive collection of art, earning considerable fame in his time.
"Political Discourse in Running Script"
This running script scroll was written by Tang Ken for Mr. Liu Guojun. The piece demonstrates Tang's vigorous brushwork, imbued with the spirit of metal and stone, a common characteristic of his style.
Yi Lixun (1856–1942)
Yi Lixun, courtesy name Xiji, pseudonym Junzhai and Shiqin, also known as Shiqin Laoren and Shiqin Guan Zhu, was a renowned calligrapher from Ninghua, Fujian, and the great-grandson of the famous Qing dynasty calligrapher Yi Bingshou. From a young age, he was influenced by his family's scholarly environment and became highly knowledgeable, particularly excelling in calligraphy. Yi mastered various scripts, including regular, cursive, seal, and clerical, with profound skill. He served as the magistrate of Wuxi during the Guangxu reign and later lived in Shanghai during the Republic of China, making a living by selling his calligraphy.
Yi Lixun's most accomplished work was in the clerical script of the Han dynasty. His clerical script inherited the refined and ancient style of his ancestor Yi Bingshou, with a composed and leisurely demeanor, displaying a sense of liveliness and charm within a strict and simple framework. In the aesthetic appeal of form, his brushwork conveyed a sense of depth and excellence. However, compared to Yi Bingshou, Yi Lixun's work could be overly meticulous, sometimes exhibiting a sense of craftsmanship, and lacked the grandeur and depth of his ancestor. His work can be considered to be of the "competent grade." The "Yin Zhou Stele" originally featured a tightened center and extended strokes, but Yi Lixun's rendition contracted the originally extended strokes, resulting in a more solid and robust style, representing a unique interpretation.
Wang Fuchang (1879–1960)
Wang Fuchang, given name Chi, courtesy name Weiji, pseudonym Fuchang, and after the age of seventy, self-styled as Chimo Laoren, was a renowned modern calligrapher and seal carver from Hangzhou, Zhejiang. He was particularly skilled in seal script and clerical script and, along with Wu Changshuo and Ding Ren, founded the Xiling Seal Art Society during the late Qing dynasty. In the early Republic of China, he moved to Beijing and worked at the Mint Bureau, later moving to Shanghai where he made a living by selling his calligraphy and seal carvings. After the liberation, he became a painter at the China Academy of Art.
Wang Fuchang's calligraphy is known for its elegant and graceful brushwork, with beautiful and solid lines. His seal and clerical scripts are highly regarded. In his use of lines, he paid particular attention to starting and ending strokes, achieving a balance of strength and grace. His characters are symmetrical and balanced, with long and flowing strokes, creating a sense of reserved elegance and serene dignity. His clerical script is as refined as his seal script, with distinct personal characteristics. However, due to his slow and even brushwork, there can sometimes be a sense of monotony. His strengths and weaknesses lie in this approach.
This book was written in the fourth year of Jiaqing, when Liang was 77 years old. The back of the inscription bears a small long seal in Zhu Wen of "Mizhong Beiren." Wu Changhai (Xunpu) signed the seal in regular script, Chen Hongshou signed the fan page in official script, and the last page bears the seal of "Shu Zhai Approval" by Jin Tingke and Gao Xianglin Baoyan. It also bears a Zhai collection seal. The first eight chapters are titled "Offerings of the Dharma Taught by Vimalakīrti," and the last ten chapters are titled "The Immeasurable Sutra of Virtue." Liang's small regular script throughout the book is agile, casual, and natural, without any rigidity. It appears neat and varied, calm and vivid, and has high artistic value in calligraphy.
Jing Hengyi (1877–1938)
Jing Hengyi, courtesy name Ziyuan, pseudonym Shichan, and later Yiyuan, was from Shangyu, Zhejiang. He was a renowned modern educator, calligrapher, and painter. In the 28th year of the Guangxu reign (1902), he studied in Japan and returned to China to help establish the Zhejiang Provincial Normal School. After the Xinhai Revolution, he became the principal of the school and concurrently served as the president of the Zhejiang Provincial Education Association. During the May Fourth Movement, he encouraged and supported patriotic democratic struggles, advocated for the New Culture Movement, and boldly reformed education. Due to the opposition of conservative forces, he left his position. In 1925, he participated in the First National Revolution and held positions such as a standing member of the National Government, a member of the Education Administrative Committee, and vice president of Sun Yat-sen University.
Jing Hengyi was deeply influenced by the Stele School of thought, focusing on clerical script in his calligraphy, particularly favoring the "two types of Cuan." This work, created in the "Cuan style" of large characters, features slow and substantial lines, blending a sense of grandeur with elegance, showcasing his exceptional skill.
Translation of the inscription: "Broad and clear." Inscription: "For Yunmen, by Hengyi." Below the inscription are the white seal "Chanzi Jushi" and the red seal "Jingshi Hengyi."
