南宋

Southern Song Dynasty

The Southern Song, based in the south, developed a refined and restrained cultural taste. Calligraphy continued the Song emphasis on expressive intent through letters, colophons, and the collecting of inscriptions and model books.

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Southern Song Dynasty

Preface to the Muji Collection

Preface to the Muji Collection is a small cursive work on paper. It was written by Wen Tianxiang as the preface to a poetry collection by his fellow townsman and close friend Zhang Jiang. According to tradition, it was Wen Tianxiang?s final major work before he set aside the brush and joined the military at the age of thirty-eight. Its composition closely follows Wang Xizhi, while its brushwork draws strength from Huaisu. The writing is natural and unrestrained, clear and open, upright in spirit, and graceful in its distant, restrained elegance.

Southern Song Dynasty

Zhang Jizhi: Record of the Wang Family Baoben Hermitage

Zhang Jizhi?s Record of the Wang Family Baoben Hermitage is an ink-on-paper handscroll. Written in small characters across thirty-eight lines and totaling 688 characters, it is one of Zhang?s finest surviving works and is held by the Liaoning Provincial Museum. The brushwork is smooth yet strong, clear and vigorous without vulgarity. Its handling of the brush is exceptionally precise and refined, with dots and strokes responding to one another in a polished and carefully balanced manner.

Southern Song Dynasty

Yue Fei: Man Jiang Hong

According to tradition, in the sixth year of the Shaoxing reign, 1136 CE, Yue Fei led his army north to recover lost territory and appeared close to reclaiming the Central Plains. Emperor Gaozong of Song, however, was intent on negotiating peace and ordered Yue Fei to return to court. Deeply pained that the humiliation of the Jingkang Incident could not be avenged, Yue Fei wrote the stirring poem Man Jiang Hong amid intense emotion. Yue Fei was skilled in both literary composition and calligraphy, using them to express his ideals and loyalties. His writing drew from Tang masters such as Yan Zhenqing and the monk Huaisu, while gradually forming a personal style of bold, soaring energy. The brushwork is firm, vigorous, mature, and highly controlled, with lines that move freely and powerfully across the surface. In the history of Song calligraphy, besides the Four Great Masters Su, Huang, Mi, and Cai, Yue Fei also stands as an independent and distinguished calligrapher. Kang Youwei of the Qing dynasty praised the strength and depth of Yue Fei?s writing.

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