Qian Bokeng (1738–1812)
Qian Bokeng, courtesy name Lusi, was also known by his pseudonyms Yu Bei and Puxie Shanqiao. He was a student at the Imperial Academy and the nephew of Qian Weicheng, a top scholar and painter. Hailing from Yanghu (present-day Changzhou), Jiangsu, he was adept in calligraphy, following the styles of Dong Qichang and Huang Tingjian to emulate the works of Li Yong and Yan Zhenqing, gaining recognition in his time.
"Huang Tingjian's Calligraphy Discourse in Cursive Script"
This running script piece demonstrates fluid writing and a rigorous structure, transitioning seamlessly between strokes. It embodies the weightiness of Yan Zhenqing and the uniqueness of Huang Tingjian, marking it as an exceptional work from his later years.
Sun Fuyuan (1894–1966)
Originally named Fuyuan, with the courtesy name Yangquan and pseudonyms such as Fulu, Baisheng, Tongbai, and Songnian, Sun Fuyuan was from Shaoxing, Zhejiang. He was a renowned essayist and journalist. In 1919, under the recommendation of Lu Xun, he entered Peking University, where he worked as a librarian and served as the secretary to Li Dazhao, actively participating in the May Fourth Movement. At the end of 1920, he co-founded the Literary Research Society with Mao Dun, Zheng Zhenduo, and others.
Shen Quan (1624–1684)
Shen Quan, courtesy name Zhenrui and nicknamed Yitang and Chongzhai, was a native of Huating (modern-day Shanghai). In 1652, during the ninth year of the Shunzhi reign, he was honored with the title of editor after a successful examination in Hua. Later, he served in the Hanlin Academy, ultimately becoming Minister of Rites in the Zhanshi Mansion, with the posthumous title "Wen Ke." Shen Quan's ancestry included the renowned Ming Dynasty calligrapher Shen Can, and he shared a hometown with Dong Qichang. This cultural legacy inspired Shen Quan’s early dedication to calligraphy. He drew heavily from Dong Qichang's elegance and Mi Fu’s structural integrity and composure, blending their influences into a distinctive style. Shen Quan enjoyed great favor from Emperor Kangxi and was one of the leading calligraphers of the Kangxi era.
Shen Yinmo (1883–1971)
Shen Yinmo, originally named Junmo, courtesy name Zhong, and pseudonyms Qiuming and Huguan, was originally from Huzhou, Zhejiang, born in Hanyin, Shaanxi. He studied in Japan in his early years and later served as professor and principal of Peking University, and professor at Fu Jen Catholic University. After 1949, he held positions such as Vice Director of the Central Research Institute of Culture and History, member of the Shanghai Municipal People's Government, and representative of the Third National People's Congress. Renowned for his calligraphy, Shen was praised during the early Republic of China era as one of the top calligraphers, alongside Yu Youren ("North Yu and South Shen").
"Seven Character Couplet in Regular Script"
Shen Yinmo possessed profound knowledge in calligraphy, diligently practicing and specializing in the regular script, copying from Tang and Wei dynasty steles, and dedicating himself to the "Two Wangs" for running script, achieving a balance of strict rules and elegance. The noted calligrapher Xie Zhiliu praised him, saying, "For hundreds of years, no one has surpassed him." This running-regular script couplet is based on Chu Suiliang's "Stele of Master Meng" but also incorporates Shen's personal style, representing a standard work of his running-regular script.
Inscription: "Just right to lean on and contemplate all falsities; only knowing to hold wine without worries."
Wu Hufan (1894–1968)
Initially named Yiyan, courtesy name Yujun, later renamed Wan, courtesy name Dongzhuang, and signed his paintings and calligraphy as Hufan. He was the grandson of the renowned painter and collector Wu Dacheng, from Suzhou. Wu Hufan was deeply influenced by his family's artistic environment, excelling in poetry, calligraphy, and painting, with a vast collection. He was one of the twentieth-century Chinese art giants. Along with Pu Ru, he was known as "Southern Wu and Northern Pu," and with Wu Zishen, Wu Daiqiu, and Feng Chaoran, they were collectively called "Three Wus and One Feng."
"Seven Character Couplet in Running Script"
Wu Hufan initially studied the "slender gold" script of Song Huizong and later acquired Mi Fu's "Poetry Scroll of Duojing Tower" manuscript, focusing on Mi Fu's style. He combined the two, capturing Huizong's elegance and Mi's vigor, creating a new style different from the mainstream. This couplet exemplifies his calligraphic style, with harmonious ink and paper interaction, and fluid brushwork, showcasing his skillful writing.
Translation of couplet:
"Books arranged in long and short rows, jade pendants linked together in unity."
Tang Ken (1876–1950)
Tang Ken, courtesy name Qilin, a descendant of Tang Jinchuan, was from Wujin (present-day Changzhou), Jiangsu. In 1905, he studied law at Chuo University in Japan. After the founding of the Republic of China, he held various military and political positions in Zhili, including acting magistrate of Yixing County. After the Anti-Japanese War, he retired to Shanghai, refusing to accept puppet government positions and made a living through his art. He was skilled in literature, poetry, calligraphy, and painting, with a deep understanding of art appraisal and a vast collection, earning great acclaim.
"Five Character Poem in Running Script"
Tang Ken's calligraphy followed the styles of Yan Zhenqing, Liu Gongquan, and the Northern Wei stele, characterized by a grand and majestic feel. This five-character poem scroll was written for Mr. Liu Guojun. It is solemn yet unrestrained, with well-balanced strokes and full of vigor, embodying the spirit of epigraphy and showcasing Tang Ken's meticulous effort.
Ye Gongchuo (1881–1968)
Ye Gongchuo, courtesy name Yufu, also known as Yu Hu and Yu Fu, and with the pseudonym Xia'an, was from Panyu, Guangzhou. Coming from a scholarly family, Ye held significant positions early in his career, such as Minister of Transportation and Minister of Finance. In his mid-years, he dedicated himself to academics, excelling in poetry, archaeology, painting, and art appraisal. He amassed a considerable collection of cultural relics, covering a wide range of categories, and was committed to preserving national treasures. Many ancient texts and cultural relics were meticulously organized and preserved under his care. In his later years, Ye donated his collection of paintings, books, and other important cultural items to the nation for posterity.
Ye Gongchuo claimed that he had never specialized in calligraphy, yet his works were of a high standard, reflecting his natural talent. He excelled particularly in large characters, which were powerful and vigorous, showcasing his extraordinary flair. His running script combined the weight of the Han and Six Dynasties stone inscriptions with the liveliness of the copybook style, incorporating the brushwork of the Zhangcao script, making it unique. This couplet was written in 1943, during his peak creative period. The lines are strong and muscular, the characters' structure is rigorous, slightly short and flat, yet harmoniously composed, displaying graceful and dynamic movements, making it a masterpiece of his work.
Translation of couplet: "Each Pursuit of Elegance Beyond, My Middle Years Consumed by Literature's Craze."
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 (1861–1930)
Zeng Xi, originally named Sihuan and later Ziji and Ji Zi, with the pseudonyms Siyuan and Nongran in his later years, was from Hengyang, Hunan. He was a renowned calligrapher, painter, and educator during the late Qing and early Republic of China period, and a leading figure in the Shanghai School of painting and calligraphy. In the 29th year of the Guangxu reign (1903), he passed the imperial examination and served in various governmental roles, including as a secretary of the Ministry of War and a commissioner of education. He later taught at the Shigu Academy in Hengyang and the Longchi Academy in Hanshou, and served as the president of the Hunan Education Association. His calligraphy was known as the "Southern School," rivaling Li Ruiqing's "Northern School," and together they were referred to as "Southern Zeng and Northern Li."
"Four-Screen Series of Zhang Heinu’s Epitaph"
Zeng Xi was deeply influenced by the Stele School of calligraphy, extensively studying seal and clerical scripts from the Northern Stele. He was particularly fascinated by the "Zhang Heinu Tombstone," primarily because it was a unique copy owned by He Shaoji, whose calligraphy was significantly influenced by this piece. Zeng Xi greatly admired He Shaoji and diligently studied his works. Additionally, the "Zhang Heinu Tombstone" retained much of the clerical script's brushwork, giving it an ancient and elegant quality that attracted Zeng Xi. However, Zeng Xi did not merely imitate but creatively incorporated his personal brushstrokes and style into his works. This four-panel screen, with its pure white paper and precise ink, showcases Zeng Xi's controlled brushwork, completed in one continuous flow, making it a masterpiece of his art.
Translation of the inscription: "The principles of mountains and lakes are evident, I can engrave the inscriptions on metal and stone."
Yi Bingshou (1754–1815)
Yi Bingshou, courtesy name Zusi and pseudonym Moqing, was from Ninghua, Fujian. In the 54th year of the Qianlong reign (1789), he passed the imperial examination and served as the prefect of Huizhou and Yangzhou. During his tenure, he was renowned for his "honest governance and good administration." To honor his legacy, the people of Yangzhou included him in the local "Temple of the Three Worthies" (which honored Ouyang Xiu, Su Shi, and Wang Shizhen), renaming it the "Temple of the Four Worthies."
Yi Bingshou's clerical script drew inspiration from Han dynasty steles, incorporating elements from famous Han clerical inscriptions like "Fu Ge Inscription," "Zhang Qian Stele," and "Heng Fang Stele." He also integrated the styles of contemporary masters, using seal script techniques to write clerical script, creating a dignified yet not rigid, heavy yet elegant, exaggerated yet reasonable style. His large characters were particularly remarkable, praised by Liang Zhangju as "the bigger, the stronger." This clerical script couplet features vigorous and composed brushwork, broad and structured composition, and an ancient and refined aesthetic, giving a sense of formal and meticulous beauty.
Translation of couplet: "Using purity brings harmony, Preferring ancient pleasures."
