Zhong Yunming's "Retirement Ode"

Author: Zhu Yunming
Publisher:
Publication Date: 2003-01-01
Features: In the history of Chinese calligraphy, Zhu Yunming and Wen Zhengming are regarded as the two peaks of the "Wu Gate Calligraphy School." Zhu Yunming's calligraphy is also considered a pivotal turning point in the evolution of calligraphic styles for over two hundred years after Zhao Mengfu. This achievement is related to his early study of ancient masters, followed by assimilating the strengths of various calligraphers, and finally creating his own unique style in his later years. On this point, Wang Shiwei of the late Ming Dynasty clearly elaborated, stating that Zhu Yunming, in his youth, practiced regular script under Zhong Yao, Wang Xizhi, Wang Xianzhi, Zhi Yong, Yu Shiren, Ouyang Xun, Chu Suiliang, and Zhao Mengfu, and cursive and semi-cursive script under Wang Xianzhi, Zhi Yong, Chu Suiliang, Zhang Xu, Huai Su, Li Yong, Su Shi, Huang Tingjian, and Mi Fu, "none of which he failed to master perfectly. In his later years, his style transformed and varied unpredictably, with a flamboyant and unrestrained spirit, truly worthy of comparison with Wu Xing. This is what he did not concern himself with." It was precisely because Zhu Yunming, after returning to his hometown due to illness in his later years, embraced the unrestrained and free-spirited style of the Jiangdong school with a strong and distinct personal calligraphic identity, that he broke free from the conventions of his predecessors. While maintaining the foundation of learning from the ancients, he differed from his teachers such as Shen Zhou, who solely studied Huang Shangu, and Wu Kuan, who focused exclusively on Su Shi. He also distanced himself from his peers like Wen Zhengming, who were pure and refined. This is Zhu Yunming's true calligraphic value and historical significance.
Since this volume lacks an inscription, appraisers, based on its calligraphic style not yet reaching the unrestrained and unrestrained peak of his later years, have mostly dated it to Zhu Yunming's middle age, which is reasonable. The section of running script in this volume embodies the influences of Su Shi, Huang Tingjian, Mi Fu, and Zhao Mengfu, particularly Zhao Ziyang, but it is not a complete imitation. The intention was to trace the aesthetic of the Jin and Tang dynasties through Zhao's style. The section of cursive script remains disciplined and measured, without unrestrained brushwork. Both sections use the same paper, suggesting they were written during the same period. In a sense, this volume should be considered a work where Zhu Yunming attempted to integrate the aesthetic of the Song and Yuan dynasties into the rules of the Jin and Tang.
In terms of calligraphic style, it is similar to his work "Epoem Scroll" (preserved at the Princeton University Art Museum in the United States), which he wrote in the fifth year of the Zhengde reign (1510). Therefore, these works should be from the period around Zhu Yunming's fiftieth birthday, before he entered official service, and can be regarded as fine examples of his calligraphy in his middle age.