Zhao Mengfu's Record of Rebuilding the Pagoda at Guangfu

Author: Shanghai Shuxue Publishing House
Publisher:
Publish Date: October 9, 2001
Features: This book is one of the "Classics of Chinese Stele and Calligraphy" series, showcasing the "Record of Rebuilding the Pagoda at Guangfu" by Zhao Mengfu. The calligraphy in this volume is evenly spaced, with graceful and flowing strokes, and a dignified and elegant layout. This copy not only holds immense artistic and collectible value but also allows calligraphy enthusiasts to appreciate the ideal realm of classical Chinese calligraphy, embodying softness within strength, outward gentleness yet inner resilience. Beginners can study each character's brushwork, structure, and composition for practice. This copy is truly a rare gem and can be considered the best model for beginners.
Zhao Mengfu was born in the second year of the Baoyou era of the Southern Song Dynasty (1254 AD) and died in the second year of the Zhizhi era of the Yuan Dynasty (1322 AD), at the age of 69. He was a descendant of Zhao Defang, the son of Emperor Taizu of the Song Dynasty. His courtesy name was Ziyang, and he was also known as the "Snow Path Taoist" and the "Crystal Palace Taoist." Born in Huzhou, Zhejiang, which was historically known as Wuxing, he was called "Zhao Wuxing." During the reign of Emperor Renzong of the Yuan Dynasty, he was appointed as the Chief Scholar of the Hanlin Academy, hence the nickname "Zhao Chengzhi." After his death, he was posthumously honored as Duke of Wei and posthumously titled "Wenmin," earning the later name "Zhao Wenmin."
From a young age, he accompanied his mentor in studies, memorizing texts by heart and composing essays with ease. At the age of 12, he lost his father and was appointed to an official position at the age of 14 due to his father's legacy. Despite his youth, he devoted himself to studying and practicing calligraphy, gaining fame in his hometown by the time he reached adulthood. People sought even fragments of his calligraphy as treasures. In 1279, when Kublai Khan ascended the throne, he searched for scholars in Jiangnan and Zhao was selected to attend the court, marking the beginning of his official career. He was promoted to the position of Scholar of the Jixian Academy in the third year of the Dade era (1299 AD) and was repeatedly promoted thereafter. As a descendant of the imperial family, he possessed a refined appearance, upright character, profound knowledge, and exceptional literary and artistic talent. His calligraphy and painting were unparalleled, and he was also versed in Buddhist and Daoist philosophy, earning the favor of the emperor. On the surface, he held the highest rank and enjoyed immense wealth and honor, with his benevolence extended to his ancestors. However, in reality, he had no real power and faced suspicion from the Mongol nobility as a Han Chinese in the court. He could only find solace in calligraphy and painting and immerse himself in Buddhist and Daoist studies, leaving behind a vast collection of calligraphy, painting, and Buddhist manuscripts for posterity.
Zhao Mengfu began studying calligraphy at a young age. Initially, he learned from Emperor Gaozong of the Song Dynasty and quickly surpassed his teacher. Later, he focused on the works of Wang Xizhi and Wang Xianzhi. Yu Jie, in his preface to Zhao's copy of the "Thousand Characters by Zhiyong," praised: "Zhao's calligraphy is both fluid and profound in learning. His brushwork is natural and effortless, with each stroke forming meaningful characters. His regular script deeply embodies the essence of the 'Luo Shen Fu,' while his running script harmonizes with the 'Holy Teaching,' entering its realm. As for cursive script, he studied the 'Seventeen Treatises' and transformed its form. He can be said to have combined learning, talent, and profound artistic refinement to an unparalleled degree."
He not only pursued the styles of Wang Xizhi and Wang Xianzhi, innovating through revival, but also drew inspiration from ancient seal script, clerical script, and running script, generalizing and integrating various techniques. In his later years, he incorporated the influence of Li Zhaobo's running script and regular script. Building upon the foundations of his predecessors, he selectively absorbed the strengths of different styles, accumulating and refining his skills to form a unique calligraphic style that was both fluid and elegant, setting him apart in the art world. Yuan Dynasty calligraphy was almost entirely dominated by him.