Huang Tingjian’s Sayings in Running Script《行书黄庭坚语轴》

Weng Fanggang (1733–1818)
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.

Weng’s meticulous study of inscriptions on bronze and stone tablets set a standard for later generations, as he rigorously analyzed and compared rubbings to discern even the subtlest differences in strokes. His contributions significantly shaped the field of calligraphy and the study of epigraphy during the Qing dynasty. His calligraphy stood alongside that of luminaries such as Prince Cheng Yongyan, Liu Yong, Liang Tongshu, Tie Bao, and Wang Wenzhi, reflecting a distinctive scholarly style rooted in tradition.

Weng was a perfectionist in his art, advocating that every stroke should be derived from classical sources and adhering strictly to established rules. While some critics considered his work overly cautious and lacking in spontaneity, others acknowledged its profound technical mastery. His running and cursive scripts, although slightly more dynamic, remained disciplined and restrained, embodying his scholarly demeanor.

“Huang Tingjian Sayings in Running Script”
This scroll is one of Weng Fanggang’s late masterpieces, displaying his characteristic balance between scholarly precision and artistic expression. The content is drawn from Wanxiangtang Su Tie but features omitted or rearranged text, likely due to memory lapses. Despite this, the fluidity of the work remains intact, with smooth transitions and deliberate, harmonious strokes.

The brushwork reflects a deep understanding of Yan Zhenqing and Su Shi’s styles, marked by a confident and steady hand. The wax paper’s smooth surface enhances the flowing quality of the lines, which are both robust and serene. The structure, while predominantly slender and tightly centered, achieves a sense of vitality that tempers Weng’s usual rigidity. This piece stands as a testament to Weng Fanggang’s mature skill and embodies his lifelong commitment to the art and scholarship of calligraphy.

翁方纲（1733—1818），字正三，号覃溪、苏斋，顺天大兴（今北京大兴）人。乾隆十七年（1752）进士，授编修，累官至内阁学士。治学用功至勤，对经学、诗文、赏鉴、金石考据之学造诣颇深，著有《经义考补正》《两汉金石记》《复初斋诗文集》等多部。他研究金石碑版，重旧拓、精拓，考据辨析点画毫厘异同，深深影响了后来书家鉴藏、研习碑版的风气。书法与成亲王永瑆、刘墉、梁同书、铁保、王文治齐名。

翁方纲一生治学谨严，大概性格亦如此，属于学者型书家。他主张与古为徒，无一笔无来历，恪守法度。后世论者基本都认为其书结实端谨有余，性情韵致不高。行草书稍活泼，而内质精神仍显拘束。然不可否认的是，其书法功夫还是很深的，遇有心手相合之作，亦颇有客观之处，此《行草黄庭坚语》即为其晚年佳作。此轴内容出自《晚香堂苏帖》，而翁氏此作文字有省略颠倒，文辞大体尚可通，或是背临时记忆产生偏差。作品一气呵成，加上蜡笺较为滑腻，行笔厚重之中更为流畅自然，显得气定神闲，颇见颜真卿、苏轼精神。只是结体仍以欧虞瘦长为主，中宫紧收。不过整体而言，常见的拘谨之态已大为减轻，是他年高手硬的上乘之作。