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."
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.
Yang Yisun, also known as Yongchun, Haoziyu, and late Haosou, was born in Changshu, Jiangsu Province. In the 23rd year of Daoguang (1843), he was promoted to the magistrate of Fengyang. His calligraphy style resembles that of Li and Deng Shi with a touch of simplicity, though his Feng Shen work surpasses even theirs. Yang Yisun's elegant and refined seal style is also noteworthy.
Yang Yisun's calligraphy scroll is a unique blend of Yan and Liu Zhikai's styles, incorporating the strengths of each school. His style seamlessly combines the power of roundness and sharpness with the power of hidden edges, resulting in a style that is skillful yet clumsy. He draws inspiration from past styles to create a style that is relevant to the present, and his profound calligraphy skills are evident in the powerful strokes and rigorous layout of his handwriting, which still maintains a spacious, elegant, and refined style.
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, a renowned scholar and calligrapher born in Zhucheng, Shandong, is widely recognized for his contributions to the art of calligraphy. Known by the courtesy name Chongru and the nickname Shi'an, Liu Yong's father was Wen Zhenggong (Tongxun). He passed the Jinshi examination in the late Xin Dynasty of Qianlong and became a bachelor of Tiren Pavilion. Liu Yong was considered one of the Four Masters of Qianlong, alongside other notable calligraphers Weng Fanggang, Liang Tongshu, and Wang Wenzhi. He was often referred to as the "Thick Ink Prime Minister" due to his preference for using thick ink.
Liu Yong learned calligraphy from renowned calligraphers Zhao Mengfu and Dong Qichang, and was also inspired by Su Shi's writing style. He was skilled in regular script and running script, and could also write list script and small regular script. Liu Yong's calligraphy was rich, honest, and generous, reflecting his magnanimous personality. Throughout his life, Liu Yong's calligraphy underwent several changes. When he was young, his calligraphy was round and polished. In his middle age, his pen was strong and powerful. The writing style of his later years was rich in ancient meaning, powerful in appearance, and deep in spirit, making it unique and transcendent. One of his masterpieces is a true reflection of 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, also known as Yingde and Yixiu, was a renowned writer during the mid-Ming Dynasty hailing from Wujin, which is now known as Changzhou in Jiangsu. He was considered one of the "Three Great Masters of Jiajing," and his military accomplishments were celebrated as well.
