Dong Qichang's Poem on Purple Eggplant

Author: Lin Tao
Publisher:
Publishing Date: 2003-11-01
Features: Dong Qichang (1555-1636), styled Xuanzhai, styled Sibai, also styled Xiangguang Jushi, was a native of Songjiang Huating (now Songjiang County, Shanghai). He held the position of Minister of Rites in Nanjing and was posthumously honored as Wenmin. He was known as "Dong Xiangguang," "Dong Wenmin," and "Dong Huating" and was renowned for his calligraphy and painting in the late Ming Dynasty.
Dong Qichang's journey in calligraphy was extremely challenging. It began with poor performance in an examination, which motivated him to study diligently and eventually become a master. This is recorded in his (Notes from the Studio of Painting and Chan), where he describes his calligraphy studies: "Initially, I studied Yan Wenyuan's Multi-Buddha Pagoda, then switched to Yu Yongxing, believing that Tang calligraphy was inferior to that of the Jin and Wei dynasties. I then imitated the Yellow Court Classic and Zhong Yuanchang's Xuanshi Table, Limi Table, Huishi Table, and Shebing Table for three years, believing my work was close to the ancients. Later, while traveling to Jiaxing, I saw all the authentic calligraphy in Xiang Zijing's collection and also encountered Wang Xuan's Guanun Table in Jinling, only then realizing how arbitrary my previous self-assessments had been." This shows that he diligently studied the calligraphy of ancient masters, fully mastering the techniques of brushwork, ink, and composition by integrating the strengths of various schools. He learned from the ancients and followed their methods. His calligraphy achievements were partly due to his hard work and deep understanding and reflection, but he could not ignore his interactions with the great collector Xiang Yuanbing, which allowed him to study many authentic calligraphy and painting works.
By Dong Qichang's time, calligraphy had reached a peak of integrating ancient techniques. He mastered all aspects of the "Six Types" and "Eight Methods" and was already "famous abroad, with his short letters and notes spreading among people, eagerly sought after as treasures" (from the Biography of Literary Figures in the Ming Shi). His success in official life was unparalleled among the first few calligraphers of the Ming Dynasty. In the Qing Dynasty, Emperor Kangxi held him in even higher esteem, favoring his calligraphy so much that he personally copied it, often placing it beside his seat for morning and evening appreciation. The famous Qing calligrapher Wang Wenji once praised him in his Quatrain on Calligraphy: "Dong Huating, a divine master of calligraphy, with paper and ink permeating his spiritual essence. Except for Yan Wenyuan, none can rival him; why mention Zhang Xing?" At the time, scholars all studied Dong Qichang's graceful and soft style, and the Qing Dynasty's calligraphy scene was dominated by him, leading to a decline in calligraphic quality—a tragedy for the art world.
Many critics also attacked Dong Qichang, including Bao Shichen and Kang Youwei, who were particularly harsh. In his Wang Yi Zhou Jie (Double Oar of the Art Boat), Kang Youwei wrote: "Although Xiangguang enjoys great fame, he is like a fasting Taoist, lacking vigor. If he were to face a great general marshaling his troops with disciplined might, walls reaching the sky, and banners changing color, he would surely hesitate to descend the mountain." His calligraphy excelled in running and cursive scripts. His running script followed the style of the "Two Wangs" (Wang Xizhi and Wang Xuanzhi), while he was also influenced by Yan Zhenqing, Mi Fu, Yang Ningshi, and Zhao Mengfu. His cursive script was rooted in Yan Zhenqing's Zhenzuo Table and Elegy for His Nephew, incorporating the roundness and strength of Huai Su and the dynamic flourishes of Mi Fu. His brushwork was precise, always maintaining a proper angle, with few weak or clumsy strokes. His ink control was also meticulous, masterfully handling dry, wet, thick, and thin tones. His style was elegant, natural, and harmonious, possibly linked to his calm temperament and deep understanding of Chan philosophy. Many of his works blend running and cursive scripts. The piece shown here, for example, carries the sincerity of Yan Zhenqing's brushwork, the leaning posture of Mi Fu, and the leisurely layout of Yang Ningshi, with a spirit and charm reminiscent of Zhao Mengfu—light, agile, and self-sufficient.
Dong Qichang was also quite proud of his regular script, especially his small regular script. This scroll, Poem of Purple Eggplant, is a long scroll in running and cursive script. Dong Qichang's inscription dates it to "the 15th day of the third month in Bingzi year," which is the ninth year of the Chongzhen era in the Ming Dynasty (1636 AD), the year he passed away at the age of 82. Thus, this scroll is his final work, making it particularly precious. The scroll is inscribed at the beginning by the modern calligrapher Xie Ziliu and accompanied by a postscript by Yang Renkai—adding to its already brilliant value.