Liang Tongshu, also known as Yuanying, Shanzhou, Buweng, and Xinwu Changweng, was a prominent political figure and calligrapher during the Qing Dynasty. Born in Qiantang, which is now known as Hangzhou, Zhejiang, he began his official career in the 17th year of Qianlong's reign (1752) as a lecturer. Liang was a master of both regular and running script calligraphy, having studied under Yan Zhenqing and Liu Gongquan, and later Famifu. He combined these styles to create his own unique mastery of the art. Along with Liu Yong, Weng Fanggang, and Wang Wenzhi, he was known as one of the "Four Masters of Tie Xue" in the Qing Dynasty, and was associated with Liang Guan and Liang Guozhi as the "Three Liangs."
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.
Yisun Yang (1813–1881)
Yisun Yang, courtesy name Ziyu, and pseudonym Yongchun, also known as Haoguan, Haosu, and Guanhao Jushi, was from Tianzhuang, Changshu (present-day Zhangjiagang), Jiangsu. Coming from a scholarly family, Yang was diligent from an early age. He studied under the ""Yanghu Literature School"" representative Li Zhaoluo, focusing on classical texts, especially "Guanzi" and "Zhuangzi." He passed the provincial examination in the 23rd year of Daoguang (1843) and was appointed magistrate of Tongling, Anhui, in the third year of Xianfeng (1853). Although he could not take office due to the Taiping Rebellion, he later assisted the Governors of Anhui and Jiangxi in military affairs, earning a promotion to Prefect of Fengyang. At the age of fifty-six, he resigned from office to mourn his father and never returned to official duties, devoting himself to scholarship and calligraphy. In his sixties, he settled in Hualing (present-day Qianshan, Anhui), earning a living through his art.
"Yan Yuan's Words in Running Script"
Yisun Yang was also skilled in regular and running script calligraphy. Although not as accomplished as his seal script, his aesthetics and brushwork in regular and running scripts were deeply influenced by his seal script, sharing the same spirit. This work shows that his running-regular script foundation comes from Chu Suiliang and Yun Shouping, but with hidden brushstrokes and slower execution, resulting in thick and substantial strokes. Unlike the light and lively style of Chu and Yun, Yang's script has the rounded and solid feel of seal script. His ink variations, as in his seal script, feature sudden speed increases during brushstrokes, breaking the monotony of thick ink with "flying white" techniques, giving the work a high level of elegance.
Weng Fanggang, courtesy name Zhengsan and pseudonyms Tanxi and Suzhai, was a native of Daxing, Shuntian (modern-day Daxing, Beijing). In 1752, the 17th year of Emperor Qianlong’s reign, he became a Jinshi and was appointed as an editor before rising to the rank of Cabinet Scholar. Known for his intellectual rigor, Weng achieved profound expertise in classical studies, poetry, art appreciation, and epigraphy. He authored several influential works, including Corrections to the Meaning of the Classics, Records of Epigraphy and Inscriptions of the Two Han Dynasties, and Collection of Poems and Essays from Fu Chu Zhai.
Born Wu Jun, with the courtesy name Changshuo and a variety of pseudonyms, including Cangshuo, Laogou, Kutie, and Fudaoren, Wu Changshuo was a distinguished artist from Zhangwu Village, Xiaofeng County, Zhejiang Province (now part of Anji County, Huzhou City). Renowned for his mastery in calligraphy, painting, and seal carving, Wu seamlessly integrated these art forms, blending calligraphy and painting into a unified expression.
"Liu Yong (1719–1803)
Liu Yong, courtesy name Chongru, with the pseudonym Shian, was the son of Liu Tongxun from Zhucheng, Shandong. He achieved the jinshi degree in 1751 and served as a Grand Secretary of the Imperial Cabinet. Liu Yong was a prominent calligrapher of the Qing dynasty, renowned for his ""model calligraphy."" He was celebrated alongside Prince Cheng Yongxing, Weng Fanggang, Liang Tongshu, Wang Wenzhi, and Tiebao. Due to his preference for heavy ink, he was known as the ""Prime Minister of Heavy Ink.""
""Seven Character Poem in Running Script""
Initially influenced by Zhao Mengfu and Dong Qichang, Liu Yong admired Su Shi's brushwork. He dedicated himself to studying the ""Ge Tie"" and excelled in regular, running, large-scale, and small regular scripts. Favoring brushes with firm and soft bristles, his calligraphy is full and robust, exuding confidence. Throughout his life, Liu Yong's calligraphy style evolved, with rounded and delicate strokes in his youth, powerful brushwork in middle age, and a more subdued and refined style in later years, displaying the subtlety of strength concealed within softness. This piece, characterized by its ancient, robust brushstrokes, embodies fullness and inner strength, standing out as an exemplary work from his later years."
Shen Quan, also known as Chongzhai, was born in Songjiang, Shanghai. He was bestowed with the title of editor in the ninth year of Shunzhi, and later became a bachelor in Hanlin Academy. He served as the minister of the Ministry of Rites and passed away with the posthumous title Wen Ke.
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.
Tang Shunzhi (1507–1560) and Tang Hezheng (1538–1619)
Tang Shunzhi, courtesy name Yingde, also known as Yixiu, with the pseudonym Jingchuan, was from Wujin (present-day Changzhou), Jiangsu. A renowned mid-Ming literary figure and one of the "Three Masters of Jiajing," he was also known for his military prowess in resisting Japanese invasions.
Tang Hezheng, courtesy name Yuanqing, with the pseudonym Ning'an, was the son of Tang Shunzhi. He achieved the jinshi degree in the fifth year of Longqing (1571) and held various positions, including Minister of Rites, Director of the Ministry of Works, Deputy Director of the Palace Security Office, and Minister of Rites in Nanjing. After exposing the unlawful actions of eunuchs, he was persecuted and returned to Changzhou, where he taught at the Donglin Academy.
Sun Shenxing (1565–1636)
Sun Shenxing, courtesy name Wensi, also known as Qiao and Xuan Yan Zi, was the grandson of Tang Shunzhi and a native of Changzhou, Jiangsu. A renowned politician and Confucian scholar of the Ming dynasty, he was one of the eminent officials known for his outspokenness during the Chongzhen period. He authored several works, including "The Doctrine of Caution" and "Historical Left Compilation."
"Buddhist Texts in Running Script"
Due to his distinguished image as a virtuous official and the rarity of his surviving works, Sun Shenxing's calligraphy has received limited attention from scholars. This piece showcases his energetic and spontaneous style, with broad and sweeping brushstrokes that reflect his grand demeanor. His work aligns with Su Dongpo's calligraphic pursuit of "easy execution without meticulous planning." The structure primarily derives from Liu Gongquan and Huang Tingjian, adopting tight central compositions and expansive strokes, also integrating elements of Li Yong and Yan Zhenqing, creating a unique, unrestrained style. Calligraphy often reflects one's spirit and temperament. Sun Shenxing, known for his upright and candid nature, conveys an imposing and unyielding spirit through his forceful and angular brushstrokes, embodying his fearless and open-minded character. He is regarded as a prominent figure in romanticist calligraphy of the Ming dynasty.
Zhao Hengguang (1559–1625)
Zhao Hengguang, courtesy name Fanfu and Shuichen, and pseudonym Guangping, was a descendant of the Song dynasty royal family, from Taicang, Jiangsu. He never sought official positions, living reclusively with his wife, Lu Qingzi, studying ancient texts, earning fame as a noble scholar in the Suzhou region. Skilled in poetry, prose, and calligraphy, he was particularly renowned for his seal script, with both he and his wife being celebrated figures of their time.
Zhang Ruitu (1570–1641)
Zhang Ruitu, courtesy name Chang Gong, pseudonyms Ershui, Guoting Shanren, Jiezi Jushi, Pingdeng Jushi, among others, was from Jinjiang, Fujian. He achieved the highest scholarly honor in the 35th year of Wanli (1607) and was appointed as a compiler at the Hanlin Academy. Recognized by Wei Zhongxian, he entered the cabinet as the Minister of Rites in the 6th year of Tianqi (1626). Zhang Ruitu was renowned for his calligraphy, and alongside Dong Qichang, Xing Tong, and Mi Wanzhong, he was highly esteemed. Many of the inscriptions on Wei Zhongxian's temples were penned by him.
"Han Yu's "Mountain Rock" Poem in Running Cursive Script" (1628)
Compared to his calligraphy on scrolls, Zhang Ruitu rarely dated his hanging scrolls. This piece of running-cursive script features Han Yu's poem "Mountain Rock," dated the summer of the first year of Chongzhen (1628) and written on a boat in the Jihe River, which is quite rare. At the age of 59, Zhang was returning home after resigning from office. Han Yu's poem describes the perilous mountain paths and difficult travel, perhaps reflecting Zhang's own uncertain future after Wei Zhongxian's execution. The instability of the boat led to errors in some characters, and the cramped space restrained his usually bold style, resulting in a calm and substantial work with high artistic value.
