Check the ascending and holy teaching order

Author: Compiled by the Press
Publisher:
Publishing Date: 2004-05-01
Features:
Zhao Janshi Ming Zhao Sheng (1650–1707) was a figure during the Shunzhi and Kangxi reigns of the Qing Dynasty. He was from Haining, Zhejiang. His courtesy name was Zhongwei, and his style name was Shengshan. He belonged to the Zhenxing clan and passed the imperial examination as a jinshi in the year Kangxi Wuchen. He held the position of Shaofanshi in the Janshifu and later became a Shizhanshi in the Hanlin Academy. He was skilled in poetry and calligraphy, following the style of Dong Qichang. Wang Yangbin said in Zai Piao Ou Bi: "[Shengshan is deeply rooted in Dong, and his spiritual elegance is also similar.] He wrote Tanyuan Tang Ji. Fang Bao composed a Biography of Janshifu Shaofanshi and Hanlin Academy Shizhanshi Zhao Gong for him. The Draft History of the Qing Dynasty, Volume 484, has an entry on him.
Zhao Sheng's copy of this piece exhibits an extremely lively and ethereal brushwork, tightly capturing the essence of the character "xiu" (elegance). In terms of structure, it remains largely faithful to the original, reproducing the natural and unrestrained spirit of the character Wang. The brushwork flows effortlessly, creating a sense of unity and spontaneity, avoiding the limitations of assembling characters from different sources. It appears as if it was born naturally.
Zhao Sheng's brushwork is highly proficient, with almost no flaws. The brush movements are continuous and interconnected, with harmonious left and right interactions, fully demonstrating the art of calligraphy. It is graceful yet expressive, expressive yet spiritual, spiritual yet divine, evoking a sense of pleasure and delight—truly not an exaggeration.
The challenge of writing the character Wang lies in maintaining composure amidst liveliness, which naturally requires a degree of restraint. Flimsy and slippery brushwork is a major taboo in writing Wang. Yet Zhao Sheng's piece manages to retain stability and precision within its elegance, truly awe-inspiring.
An outstanding calligraphic work flows with a divine and clear aura, revealing not just technical skill but also the scholar's cultivation, demeanor, and spirit. Zhao Sheng's piece radiates a bright and refreshing aura, as if the brushwork breathes with effortless elegance. While flipping through The Great Dictionary of Chinese Calligraphy, I noticed another of his running-script couplets shared this quality. Observing his characters feels like meeting a celestial traveler, or watching the ever-changing, unpredictable movements of Tai Chi swordsmanship. The liveliness and precise modulation of pressure and release demonstrate the calligrapher's profound mastery.
Although Zhao Mengfu and Dong Qichang were equally skilled in technique, Zhao's calligraphy was more about mastery, while Dong's possessed a spiritual depth. Dong excelled at distilling the essence and had a transcendent spiritual aspiration, writing with ease and naturalness, without any artificial or contrived. Combined with his deep theoretical understanding, his works reached a higher level of refinement. Zhao Sheng, by learning from Dong, captured this essence perfectly, skillfully reproducing the character Wang in Dong's style. This can be considered an exceptional model for copying The Holy Teaching Preface.