Gems of Small Regular Script Through the Ages: A Collection of Six Dynasties Buddhist Texts

Author: Xue Jianhua
Publisher:
Publish Date: 2002-08-01
Features: In the history of China, the Kingdom of Wu during the Three Kingdoms, Eastern Jin, and the Southern Dynasties of Song, Qi, Liang, and Chen all used today's Nanjing as their capital. These dynasties are collectively known as the "Six Dynasties" in history, referring to a broad period of over three hundred years from the early 3rd to the late 6th century. During this era, emperors and high officials were fond of Buddhism, leading to a flourishing of Buddhism, numerous Buddhist temples, and a thriving tradition of copying Buddhist scriptures. Additionally, the blending of northern and southern calligraphy styles, coupled with the transition of clerical script to regular script, greatly advanced the art of small regular script, resulting in many exquisite examples of script from Buddhist manuscripts. The present collection represents the artistic achievements of small regular script during this period. These manuscripts were meticulously copied by dedicated Buddhist scribes, showcasing skillful and reverent calligraphy with profound mastery, reflecting high artistic standards and the historical evolution of script styles. Most of the manuscripts in this collection originate from the Dunhuang Grottoes. The "Records of the Three Kingdoms: Wu" was selected from fragments unearthed in Shanshan County, Xinjiang in 1924, believed to be the work of a Western Jin dynasty scribe.
Examining the characteristics of these small regular scripts, each exhibits its own unique charm. The brushwork is strong and vigorous, with natural and precise movements. However, most retain a strong influence of clerical script, particularly in the heavy use of the "n" stroke, reflecting the historical transition from clerical to regular script. Some manuscripts, such as the "Lotus Sutra," "Ten Recitations of the Bhikkhu Precepts," "Seventh Scroll of the Upanishad Sutra," "Sixteenth Scroll of the Nirvana Sutra," and "First Scroll of the Bhikkhunī Karmavācaka," also contain elements reminiscent of Han dynasty bamboo slips. Western Jin manuscripts, though still retaining clerical script influences, undeniably bear the distinct brushwork of Zhong Yao and Wang Xizhi, enhanced by the scribes' skillful and free expression, revealing elegant and refined calligraphic charm. The "Records of the Three Kingdoms: Wu," for instance, features heavy and powerful "n" strokes, often transforming right hooks into "n" strokes, with clear clerical script influences but pronounced brushwork reminiscent of Zhong Yao and Wang Xizhi. The composition is concise and compact, with natural and varied spacing, making it particularly outstanding.
Manuscripts like the "Sutra on the Joyful Perfection of Wisdom" and "First Scroll of the Vinaya" demonstrate refined and elegant calligraphy, with subtle traces of the fusion of northern and southern calligraphic styles evident in their turns, hooks, and overall composition. Those with more Northern Wei influences, yet also affected by the styles of the Jin dynasty, include the "Seventh Scroll of the Lōcaka Sutra," "Thirty-first Scroll of the Nirvana Sutra," "Fifth Scroll of the Ten Bases," and "Lower Scroll of the Bodhisattva's Precious Garland Sutra." These manuscripts feature swift and sharp brushwork, with distinct angularity and a clear, vigorous style. In contrast, manuscripts like the "Tenth Scroll of the Lotus Sutra" exhibit more spontaneous brushwork, with fewer clerical script influences in their turns and "n" strokes, reflecting the Hanization of Northern Wei calligraphy.