Selected Calligraphy of Cai Xiang

Author: Shanghai Shuhua Publishing House
Publisher:
Publish Date: 2001-12-01
Features: Most of the calligraphy of famous masters throughout history, especially the ink scrolls from the Tang, Song, and Yuan dynasties, were stored in the imperial palaces. After the fall of feudal monarchy, these authentic works were mostly collected by major museums, with very few scattered among the general public. Ancient calligraphers had no access to the real works of renowned masters and had to rely on engraved woodblock prints for practice. However, once carved by craftsmen, the brushwork lost its original essence. Later, these prints were repeatedly copied, further distorting their appearance. This is why Kang Youwei advocated for the study of Northern Stele calligraphy while suppressing the study of woodblock prints. As a result, after the Qianlong and Jiaqing reigns in the Qing Dynasty, the study of woodblock prints gradually declined, while the study of stele calligraphy flourished. The popularity of studying seal script, cursive script, and Northern Stele calligraphy reached its peak at the time. This was also an attempt to correct the weak and overly stylized brushwork of woodblock prints, though it went to an extreme. In the past century, with the advancement of printing technology, the authentic works of famous masters have been reproduced and passed down, though they are inferior to the originals, they remain virtually identical to the originals in every detail. This is indeed a blessing for the calligraphy world, giving new life to the study of woodblock prints. In reality, both stele calligraphy and woodblock print calligraphy have their strengths. Stele calligraphy strengthens the structure, while woodblock print calligraphy nurtures the spirit. When learning seal script, cursive script, or regular script, stele calligraphy should be the primary focus, while learning running script or cursive script requires woodblock print calligraphy. Neither should be neglected. In the past decade, simulated printing has emerged, with its effects nearly indistinguishable from the originals, such as the simulated prints by Japan's Nishien Society. However, they are extremely expensive, making them inaccessible to most readers. To address this, our publishing house plans to release a series of simulated print calligraphy books at affordable prices, making them accessible to fellow enthusiasts. Selected Calligraphy of Cai Xiang is one such color-printed simulated calligraphy book.
Cai Xiang (1012–1067) was a calligrapher of the Northern Song Dynasty. His courtesy name was Junmo. His ancestors were originally from Guangzhou but later settled in Xianyou, Xinghua (now part of Fujian), and eventually moved to Putian. He held the position of Academician of the Endymion Hall and served as the governor of Hangzhou. Posthumously, he was given the title Zhonghui. He was skilled in calligraphy, excelling in regular, running, and cursive scripts, as well as seal script. His calligraphy was influenced by Yu Shinan and Yan Zhenqing, while also drawing inspiration from the styles of the Jin Dynasty. His regular script was dignified and profound, his running script warm and graceful, and his cursive script incorporated the flying white technique. He was renowned alongside Su Shi, Huang Tingjian, and Mi Fu as one of the "Four Masters of the Song Dynasty."
In Su Shi's Annotations, it is said, "‘Cai Junmo stands alone in his era.’ This is a profound assessment. His running script is second only to his small regular script, and his cursive script is third; however, his large characters are somewhat loose. With such natural talent, coupled with diligent study, it is no wonder he stands alone in his era!" Mi Fu, in Haiye's Remarks, praised his calligraphy as "like a young woman, graceful in form and slow in step, adorned with excessive finery." His surviving calligraphic works include A Poem Dedicated to the Imperial Calligraphy and letters, drafts, etc. His stele carvings include The Record of Wan'an Bridge and The Record of Zhujin Hall, among others. He also wrote The Tea Record, The Lychee Record, and later compiled The Collection of Cai Zhonghui Gong.
A Poem Dedicated to the Imperial Calligraphy, also known as Autographed Letter with Poem or Submission of Poem, is a regular script ink scroll by Cai Xiang. The content recorded in the scroll is the emperor's bestowal of the characters "Junmo" on Cai Xiang, who was deeply grateful and composed a poem to present to the emperor as a token of thanks. The work is on paper, in regular script, with a single scroll containing the official letter and an accompanying poem. It has 38 lines, with varying numbers of characters per line, totaling 320 characters. The dimensions are 24.8 cm in height and 107.9 cm in width. It is now preserved in the Palace Museum, Taipei. It is recorded in The Comprehensive Examination of Shuguo and Huaxie and The Collection of Ink Connections. The regular script in this scroll is a masterpiece of Cai Xiang. Due to his exceptional talent, extensive knowledge, and upright character, his script is meticulous and elegant, striving for a harmonious and restrained style.
Gu Fu of the Ming Dynasty, in The Splendor of a Lifetime, remarked: "Written in white paper, without the flaw of stiffness, graceful and flowing. This is the master's regular script."