Four-Screen Series of Zhang Heinu’s Epitaph《临张黑女墓志四条屏》

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.”

曾熙（1861—1930），初字嗣元，更字子缉、季子，号俟园，晚号农髯，湖南衡阳人。清末民国时期著名的书画家、教育家，海派书画领军人物。光绪二十九年（1903）进士，曾任兵部主事、提学使等。后主讲衡阳石鼓书院、汉寿龙池书院，任湖南教育会长。书法自称“南宗”，与李瑞清的“北宗”颉颃，世称“南曾北李”。

曾熙为碑学书家，于篆隶北碑多有临摹取法。在北碑上，他醉心于《张黑女墓志》，首先是因为此志为何绍基所藏的孤本，何绍基书法多得益于此，曾氏十分推崇何绍基，故自己亦勤于临习。其次，《张黑女墓志》仍保留较多的隶书笔意，显得格外古雅，这点也非常吸引他，所以他的传世临作颇多。需要明确的是，曾熙并非亦步亦趋的临摹，而是以临为创，其中掺入了许多个人的笔法与风格面目。此四条屏纸白墨精，运笔轻重有度，一气呵成，当为其精品之作。