Huang Tingjian's Pine Wind Pavilion

Author: Shanghai Shuxue Publishing House Editorial
Publisher:
Publish Date: 2001-05-01
Features: The calligraphy of the Song Dynasty valued artistic intent. The phrase "the Song valued artistic intent" refers to the fact that, based on technique, the calligraphers of the Song Dynasty each sought to innovate and emphasized the free expression of artistic personality. Huang Tingjian was one of the most creative calligraphers, whose running script and cursive script were unique and had a profound influence on later generations. Huang Tingjian (1045–1105), styled Luzhi, was born in the fifth year of the Zongqing era, styled Shanshan Dao Ren, and later known as Huang Shanggu in later generations. He was also called Fu Weng in his later years and was from Fengning, Hongzhou (now Xiushui, Jiangxi). He was a poet and calligrapher of the Northern Song Dynasty. He passed the imperial examination in the fourth year of the Yizheng era of Emperor Yingzong (1067). In the third year of the Xining era of Emperor Shenzong (1070), Wang Anshi became the prime minister and implemented the New Policies, which were fiercely opposed by the conservatives led by Sima Guang. Later, the struggle between the New and Old Parties intensified and continued until the fall of the Northern Song Dynasty. In this struggle, Huang Tingjian stood with the Old Party. Although he did not actively participate in the struggle, he was always caught in the whirlpool of the conflict throughout his life. Huang Tingjian was excellent in both poetry and prose. He studied under Su Shi and was known as one of the "Four Scholars" along with Zhang Lei, Chao Buzhi, and Qin Guan. His calligraphy was renowned alongside Su Shi, Mi Fu, and Cai Xiang, earning the title of the "Four Great Calligraphers of the Song Dynasty." At the age of sixteen, Huang began studying calligraphy, initially under Zhou Yue (a Northern Song calligrapher), and later, after seeing the calligraphy of Su Caiweng and Su Shuqin (both Northern Song calligraphers), he grasped the essence of ancient calligraphy. His cursive script was influenced by Zhang Xu, Huai Su, and Gao Xian, while his running script was inspired by Yang Ningshi. In his later years, while traveling through the gorges, he observed longshoremen rowing their boats and rowing their oars, which enlightened him to the subtleties of brushwork. He was further inspired by the "Epitaph for the Stork" and the "Stone Gate Inscription," which allowed him to innovate and create a bold, expansive style of calligraphy that conveyed a sense of grandeur and openness.