Dong Qichang's "Song Ci", Copying the "Seventeen Postures"

Author: Dong Qichang
Publisher:
Publishing Date: 2003-01-01
Features: Dong Qichang was described as "a genius with exceptional talent, renowned from a young age." His calligraphy was praised as "originating from Mi Fu, later forming his own style, becoming famous abroad. His short letters and notes were widely sought after and treasured by people" (from the Biography of Literary Figures in the Ming Shi). He once recounted his learning journey: "Initially, I studied the Dapota Ta by Yan Zhenqing, then switched to learning from Yu Yongxing. I believed that Tang calligraphy was inferior to that of the Jin and Wei dynasties, so I imitated the Huangting Jing, Zhong Youchang's Xuanyuan Table, Limi Table, Huishi, and Shebing for three years. I considered myself to be close to the ancients. Later, when I traveled to Jiaxing and had the opportunity to view the authentic works in Xiang Zijing's collection, and when I saw Wang Xingzhe's Guanun in Jinling, I finally realized that my previous self-assessed evaluations had been arbitrary." (from Hua Chan Shi Biao). This demonstrates his extensive collection and study of ancient masters' calligraphic works. In terms of brushwork, ink usage, and composition, he integrated the strengths of various schools: his regular script brushwork drew inspiration from Yan Zhenqing's expansive style, his composition reflected Yang Ningshi's sparse and leisurely aesthetic, while his artistic spirit and charm resembled Zhao Mengfu's. He also learned from Ou Yangxi's simplicity, Wang Xingzhe's elegance, and others, combining these influences into his own style.
Regarding the study of tradition, predecessors only mentioned "learning from the highest." Inspired by Chan Buddhism, Dong Qichang consciously proposed the idea of "tracing the flow to its source, surpassing one's teachers," indicating a deeper understanding of tradition than his predecessors. For a calligrapher, his understanding and creation in calligraphy primarily benefit from tradition and are rooted in the style of the era. In the history of calligraphy, the phenomenon of "tracing the flow to its source" as a teaching method is widespread precisely because it is effective. Calligraphers can recreate based on their understanding of predecessors' creative experiences and make reasonable modifications where necessary to form their own styles. Therefore, Dong Qichang further emphasized that learning from tradition is not just about "taking" but also about "letting go": "One must choose what others have not yet, and discard what others have already. Take the new and discard the old."
Copying ancient calligraphic masterpieces was an important way for Dong Qichang to practice "taking the new and discarding the old." He once compared it to encountering an extraordinary person: "When copying a manuscript, you don't need to observe the person's ears, eyes, hands, feet, or face, but rather focus on their demeanor, laughter, and the spirit that emanates from them—this is what Zhuangzi referred to as 'perceiving the Dao in a single glance.'"
If one understands Dong Qichang's philosophy, it becomes clear that only after fully grasping and integrating tradition can one engage in spontaneous creation and achieve true innovation. This is evident when viewing the facsimile of Copying the Seventeen Treatises and the running script Song Ci scroll in this volume.