Yang Shoujing (1839–1915)
Yang Shoujing, birth name Kaike, also known by the list name Kai, later changed his name to Shoujing, and in his later years, referred to himself as Linsu Laoren, was from Yidu, Hubei. He was a dedicated scholar throughout his life, known for his vast knowledge and expertise in various fields, including geography, epigraphy, calligraphy, numismatics, book collecting, and bibliographic studies. He authored over 83 works during his lifetime and was regarded as the foremost scholar of the late Qing and early Republican period. His representative work, "Annotations to the Waterways Classic," stands as a monumental achievement in the history of Chinese geography.
"Seven Character Couplet in Running Script"
Yang Shoujing's most outstanding accomplishment in calligraphy was his running script. He specialized in studying stone inscriptions and also drew from traditional copybook styles. This running script couplet embodies the essence of epigraphy, with strokes that aim for a rough, aged appearance, like cuts made by a knife or axe, while still maintaining an elegant and spirited quality. This combination of strength without coquettishness is truly rare.
Translation of couplet: "After the rain, quietly sit with the sandbirds, Leisurely count the blooming flowers on the steps."
Shen Quan was one of the most important calligraphers during the Kangxi period and even ghostwrote calligraphy for Kangxi. He and Dong Qichang hailed from the same hometown, and Shen Quan admired Dong's calligraphy since childhood. He based his calligraphy on Dong Qichang's work, but he also traced his calligraphy to Mi Fu, resulting in a unique style that combines the beauty of Dong Qichang's calligraphy with the structure and calmness of Mi Fu's brushwork. This is evident in his vertical scroll calligraphy.
Deng Shiru (1743–1805)
Deng Shiru, originally named Yan, courtesy names Shiru and Wanbo, and pseudonym Wanbai Shanren, was from Huaining, Anhui. A man of integrity and independence, he made a living through calligraphy and seal carving. He mastered all four styles of calligraphy, especially excelling in seal script, drawing inspiration from Li Si and Li Yangbing, and integrating clerical script elements. He broke through the limitations of the slender and delicate seal script, creating a bold and vigorous style. His clerical script captured the spirit of Han steles, breaking free from the constraints of Tang clerical script, with tightly structured characters that were both robust and dynamic. His regular script followed the style of Six Dynasties steles, with decisive and compact strokes, distinct from the "palace style." His seal carving was strong and graceful, dignified and fresh, revolutionizing the seal style since the Qin and Han dynasties, earning the reputation of the "Deng School." Deng Shiru's contributions had a significant impact on the mid-to-late Qing calligraphy scene.
"Seven Character Couplet in Seal Script"
This couplet is a mature work that integrates clerical script into seal script, with bold and flowing lines, full of spirit and vitality, combining grandeur with rational form, and possessing great aesthetic appeal.
Translation of couplet:
"The bright moon always shines on the steps; piles of books constantly fill the seats."
Dai Xi (1801–1860)
Dai Xi, courtesy name Chunshi, and pseudonyms Yu'an, Luzhuang Jushi, and Jingdong Jushi, among others, was from Qiantang (present-day Hangzhou), Zhejiang, and served as Assistant Minister of the Ministry of War. During his tenure as Guangdong Academic Commissioner, he actively supported and endorsed Lin Zexu's anti-opium campaign. After resigning and returning home, he presided over the Chongwen Academy. In the tenth year of Xianfeng (1860), he died by drowning during the Taiping army's capture of Hangzhou.
Dai Xi excelled in poetry, calligraphy, painting, and seal carving, with a particular strength in landscape painting. He studied the techniques of Wang Hui and Yun Shouping, as well as the masters of the Song and Yuan dynasties. Along with Tang Yifen, he was known as one of the "Two Tangs." Although renowned for his painting, his calligraphy was also highly regarded, following the traditional model of calligraphy. This couplet showcases his upright and fluid brushwork, with dynamic strokes that convey a sense of rhythm and vitality.
Qian Bokeng (1738–1812)
Qian Bokeng, courtesy name Lusi, pseudonyms Yupei and Pushe Shanqiao, was the nephew of the zhuangyuan (top scholar) and poet-painter Qian Weicheng, from Yanghu (present-day Changzhou), Jiangsu. He studied under Liu Da'an of the Tongcheng School and was a scholar at the Imperial Academy. Qian Bokeng was skilled in calligraphy, following the styles of Dong Qichang and Huang Tingjian, and tracing back to Li Yong and Yan Zhenqing, earning high regard at the time.
"Section of Competition for Seats"
This piece is a transcription of Yan Zhenqing's "Competition for Seats," originally in small running script, but Qian Bokeng enlarged the characters while transcribing, adjusting the brushwork and structure accordingly. The composition also incorporates the styles of Mi Fu and Huang Tingjian, with more weighty brushwork, creating a grand and extraordinary atmosphere.
Yang Xian (1819–1896)
Yang Xian, courtesy name Jianshan, pseudonym Yongzhai, and later known as Miaoweng and Chihong Cansou, was from Guian (present-day Huzhou), Zhejiang. He passed the imperial examination in the fifth year of Xianfeng (1855) but failed the metropolitan examination. He later joined the staffs of Zeng Guofan and Li Hongzhang, assisting in military affairs, and rose to the position of Salt Transport Commissioner and prefect of Songjiang. After offending his superiors and being dismissed, he settled in Suzhou, where he devoted himself to reading and writing, making a living by selling calligraphy.
Yang Xian's calligraphy was especially strong in clerical script, drawing extensively from Han steles with a broad approach. This made his brushwork highly skilled. In the structure of his characters, he broke away from the convention of the square, compact forms of Han steles, opting instead for a tighter top and looser bottom. Combined with the extended left and right strokes and a flying, dynamic execution, he developed his own sharp, lively, and floating style. His clerical script was most distinctive during the Xianfeng and Tongzhi periods, earning great acclaim at the time.
Translation of couplet:
"The mountain rain and the respected old man remain; The pavilion and fragrant grass are extraordinary."
Weng Tonghe (1830–1904)
Weng Tonghe, courtesy name Shuping, and pseudonyms Songchan and Pinglu, among others, was the top scholar of the sixth year of Xianfeng (1856) and hailed from Changshu, Jiangsu. He served as tutor to emperors Tongzhi and Guangxu, advocated resistance against foreign powers, recommended Kang Youwei, and supported the Reform Movement, making him a significant political figure in modern Chinese history. After his death, he was posthumously honored with the title "Wengong."
Weng Tonghe's scholarly pursuits spanned the Han and Song dynasties, with his literary work grounded in the Tongcheng School and poetry influenced by the Jiangxi School. He occasionally painted but was particularly renowned for his calligraphy, being one of the giants of late Qing calligraphy. His calligraphy followed Yan Zhenqing's robust style, combined with the influences of Su Dongpo, Mi Fu, and Northern Wei steles, with a rhythmical blend of elegance and sturdiness. This couplet, composed in his unique style, incorporates characters from Mi Fu's "Shu Su Tie," executed with powerful and cohesive brushwork, making it a rare masterpiece.
Translation of couplet:
"Lowering the fishing rod into the deep ravine; The crane soars, presenting a clear and graceful posture."
Li Jiafu (1839–1894)
Li Jiafu, courtesy names Shengyu and Shengyu, and also known as Beixi, with alternative pseudonyms Luping, Shifuo Anzhu, Yuxi Laomin, and Xiao Zunzhe, was from Shimen (present-day Tongxiang), Zhejiang. An expert in appraisal and a prolific collector, he excelled in poetry, prose, calligraphy, and painting. He studied calligraphy under He Shaoji, particularly mastering seal and clerical scripts, and was a skilled seal carver. His landscapes, following Dai Xi, were fresh and elegant. Li settled in Wuxian, becoming known as a respected elder.
"Seven Character Couplet in Seal Script" (1870)
Though Li Jiafu studied under He Shaoji, he maintained his own direction in seal script creation, expressing ancient elegance through precise and refined brushwork, differing from He's vigorous style. This couplet, created in the ninth year of Tongzhi (1870), showcases his fine and graceful brushstrokes, with square and upright characters exuding a serene and refined charm.
Translation of couplet:
"A new book of poems from Wu County in my sleeve; Old wine stains from Hangzhou on my collar."
Wang Xun (1846–1915)
Wang Xun, originally named Xuehan, courtesy name Ziyuan, and also known as Yuanyuo, was from Wujin (present-day Changzhou), Jiangsu. In the 18th year of Guangxu (1892), he passed the imperial examination and was appointed as a compiler at the Hanlin Academy. He was skilled in poetry and prose. In his later years, he moved to Shanghai, where he founded the first organized art society in modern times, the Haishang Tijin Guan Jinshi Calligraphy and Painting Society, and served as its president.
Wang Xun excelled in seal script, clerical script, running script, and regular script. His running script and regular script followed the styles of Yan Zhenqing, capturing his spirit and essence, and were further enriched by the Wei stele style. His works were neat and grand, making them suitable for shop signs, which were very popular in Shanghai at the time. Together with his fellow townsman Tang Tuo, Wang Xun wrote many of Shanghai's shop signs, earning a substantial income. As a "professional calligrapher," his works often displayed a consistent style, as seen in this couplet.
Translation of couplet:
"The Milky Way serves as a chapter, granting longevity to people; The celestial path invites, bringing fame and honor to the world."
Liang Tongshu, courtesy name Yuanying, pseudonym Shanzhou, later known as Bu Weng, and after ninety, Xinwu Changweng, with the studio name Pinluo'an, was from Qiantang (present-day Hangzhou), Zhejiang. The son of Grand Secretary Liang Shizheng, he was naturally gifted and composed, passing the imperial examination in 1752. Liang was proficient in regular and running script calligraphy, initially studying Yan Zhenqing and Liu Gongquan, later adopting the styles of Mi Fu and the Tang dynasty manuscript calligraphy, ultimately forming his unique style. Alongside Liu Yong, Weng Fanggang, and Wang Wenzhi, he was one of the "Four Masters of the Stele School" in the Qing dynasty and was also known as one of the "Three Liangs" along with Liang Yusheng and Liang Guozhi.
"Regular Script Manuscript of Buddhist Text in Eighteen Leaves" (1799)
Liang Tongshu's skill in small regular script was profound, and even in his old age, he wielded the brush with ease, never delegating his work to others. He enjoyed studying Zen and Buddhist scriptures, copying numerous Buddhist texts. This "Regular Script Manuscript of Buddhist Text in Eighteen Leaves" was written for his grandnephew Xingzi at the age of seventy-seven. The manuscript consists of eighteen leaves, with the first eight containing the "Vimalakirti Sutra" and the latter ten the "Immeasurable Meanings Sutra." The inscription reads: "This manuscript of two sutras, over three thousand characters, was completed in five days. Disturbed by worldly matters, I could not write it in one go. My hand grows weaker daily, yet it still shows no signs of deterioration. I am privately pleased, fearing I may never be able to do this again. Xingzi should treasure it well. Written on the 21st day of the eighth month in the fourth year of Jiaqing (1799), by Shanzhou, aged seventy-seven." The seal reads "Mizhong Beiren." This work is included in the "Collected Writings of Pinluo'an," although the recorded colophon lacks the date. The small regular script is fluid, blending the styles of Yan, Liu, and Zhao, with a touch of Dong Qichang's light ink, reminiscent of Tang dynasty manuscript calligraphy. The brushwork is not monotonous or rigid but orderly and varied, combining formality with a natural ease. The colophon reveals Liang Tongshu's high standards for his work, and he was quite satisfied with this piece.
Liang Qichao (1873–1929)
Liang Qichao, courtesy name Zhuoru and Renfu, and pseudonym Rengong and Master of the Ice Room, was from Xinhui, Guangdong. In his youth, he, along with his teacher Kang Youwei, advocated for reforms and was one of the leaders of the Reform Movement, known collectively as "Kang Liang." After the Xinhai Revolution, he briefly joined Yuan Shikai's government, serving as Minister of Justice. He later criticized Yuan Shikai's attempt to become emperor and Zhang Xun's restoration efforts. Liang joined Duan Qirui's government and supported the May Fourth New Culture Movement. He was a prolific scholar, contributing to philosophy, literature, history, classical studies, law, ethics, and religion, with his works compiled in the "Collected Works of the Ice Room."
"Seven Character Couplet in Regular Script"
Liang Qichao's early calligraphy studies were influenced by Ouyang Xun, later studying under Kang Youwei, following his teacher's Beixue theory, focusing on Han, Wei, and Six Dynasties inscriptions. He particularly admired the "Stele of Zhang Qian" from the Han dynasty and the ""Stele of Zhang Menglong"" from the Northern Wei dynasty, balancing their angled structures with even strokes to achieve a harmonious flow. This regular script couplet exemplifies his typical Wei stele style, with steady, confident brushstrokes, balanced square and round forms, and clear distinctions between light and heavy strokes, merging the solidity of stone inscriptions with the elegance of literary forms.
