[스크랩] 서예 6 점
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Lu Chien-chih (seventh century) was a native of Wu-hsien (Soochow). He was the nephew of Yu Shih-nan, and is counted as one of the Four Great Calligraphers of the early T'ang dynasty along with Yu Shih-nan, Ou-yang Hsun and Ch'u Sui-liang. This work, which is a transcription of the famous theory on prose by Lu Chi also included in Wen-hsuen, an anthology of ancient belles-lettres, shows a faithful transmission of Wang Hsi-chih's calligraphy style. The inscriptions by Yuan and Ming dynasty masters enhance the grandeur of the work, which is an invaluable extant example of T'ang dynasty calligraphy. |
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Sun Kuo-t'ing (648?-698?) was a native of Fu-yang, Chekiang province. His style name was Ch'ien-li. This work is a masterpiece celebrated from olden times as a paragon of the cursive script. The piece, written in beautiful sentences of alternating four-and six-character phrases, not only comments on ancient masters, discusses calligraphy styles, explains techniques and indicates the method of studying calligraphy, but is also a representative theory on calligraphy from the T'ang dynasty. The calligraphy evolves magnificently, indicating a rich variety from the regulated style at the beginning to the fluent brush strokes from the middle to the end sections. |
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Yen Chen-ch'ing (709-785) was a native of Lin-i, Shantung province. His style name was Ch'ing-ch'en. He died a martyr to his honor as the most loyal subject of the T'ang dynasty. He cultivated a calligraphy style which opened a radically new phase. In particular, this handscroll, the most famous among his "Three Drafts" in semi-cursive script, stands out eternally as the only authentic work by Yen Chen-ch'ing. It is the manuscript of the funeral address for his nephew Chiming, who was killed during the rebellion of An Lu-shan. The intense emotion of sadness seems to break forth from the tip of his brush. |
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Wang Hsi-chih (307 ?-365 ?) was a native of Lin-i, Shantung province. His style name was I-shao. He administered with considerable success as an official, but later resigned and enjoyed himself among the mountains and streams. He excelled in calligraphy from an early age, and studied the various styles from the Han dynasty and kingdom of Wei. He was revered in later periods as the Immortal Calligrapher. This album was treasured by the Ch'ieng-lung Emperor of the Ch'ing dynasty together with the scrolls Chung-ch'iu-t'ieh by Wang Hsien-chih and Po-yuan-t'ieh by Wang Hsun, which were stored in a room named San-hsi-t'ang ("Hall of Three Rarities"). |
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Tung Ch'i-ch'ang (1555-1638), highly reputed as a genius and prodigy since his childhood, was so passionate about calligraphy and painting that he was oblivious of eating and sleeping. He developed his own style in his middle years after awakening to the exquisite. His adroitness in the standard, semi-cursive and cursive styles of calligraphy stood unparalleled in his days. Although this work is a copy of Hsu Hao's transcription of Tu Fu's poetry, the keen thrusts of his brushstrokes overwhelm the viewer |
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Wang Yang-ming (1472 1528) was a native of Yu-yao, Chekiang province. His original name was Shou-jen and his style name was Po-an, and he was known to the world as Yang-ming hsien-sheng. He is famous as the founder of the Yang-ming-hsueh school of philosophy, and is said to be a descendant of Wang Hsi-chih. He was well versed in the methods of calligraphy and excelled in the semicursive script which was acclaimed to be incomparable for its purity and strength. This piece, produced when he was forty-three, is an inscription of a poem composed by himself. It is a consummate work with an atmosphere that transcends worldliness. |
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