Song Keshu's Discussion on Ten Methods of Using the Brush: Quick Completion Scroll

Author: Compiled by the Editorial Committee of "Classics of Chinese Ink Rubbing"
Publisher:
Publishing Date: 2002-06-01
Features: "Ten Methods of Using the Brush in the Theory of Calligraphy by Song Ke" is one of the series of "Classics of Chinese Ink Rubbing." The content of this series is based on representative works of influential calligraphers from various dynasties in China, whose calligraphic styles hold a significant position in the history of Chinese calligraphy and remain exemplary and instructional to this day. This book aims to enhance learners' interest in copying stone inscriptions and tablets, guiding them quickly into the realm of practical application, emphasizing the combination of study and practice. It is worth referencing, studying, and using for learners of calligraphy. This book features the calligraphy of Song Ke, a format for practicing calligraphy that incorporates the strengths of various styles while avoiding their weaknesses. It selects passages and couplets according to practical requirements, thereby increasing learners' interest in copying inscriptions and tablets. It enables learners to quickly grasp the structural and writing principles of Chinese characters, making it a highly practical approach to calligraphy practice. Song Ke's calligraphy played a pivotal role in the development of Chinese calligraphy, serving as a bridge between past and future generations and exerting a profound influence on later calligraphers. His calligraphy exudes a majestic and grand aura. His brushwork is light on the horizontal strokes and heavy on the vertical ones, with strong and thick force. In terms of structure, it is upright and dense, with square elements subtly rounded. The vertical strokes are slightly curved inward, blending stiffness and flexibility, giving a sense of elasticity. Combined with heavy and forceful brushstrokes, the central thrust further enhances the beauty of his calligraphy, which is、 and profound. This book enhances learners' interest in copying inscriptions and tablets, enabling them to quickly master the structural and writing principles of Chinese characters, making it a highly practical approach to calligraphy practice. It is learners to study and draw inspiration from. This book enhances learners' interest in copying inscriptions and tablets, guiding them quickly into the realm of practical application through a combined approach of study and practice, achieving twice the result with half the effort.
Zhangcao originated during the Jianchu period of Emperor Zhang of the Eastern Han Dynasty. Tang Zhang Huaiwan's "Book Judgment" said: "Zhangcao is a simplified form of Clerical Script, and Cao is the ultimate form of Zhangcao." Song Gong Bo Si's "Remnants of East Observations" stated: "Zhangcao should be the first in the realm of cursive script." In reality, Zhangcao is a quick-handled form of ancient Clerical Script that began to circulate among the people, becoming standardized and later evolving into modern cursive script and. The characteristics of Zhangcao are that each character is independent, with slightly flat shapes containing square and round transitions. The finishing strokes of each character often feature waves, strokes, and soaring flights, giving the script a strong Clerical Script influence. This ancient and concise style is a must-study for those learning cursive script, with masters like Du Cao, Cui Yuan, Zhang Zhi from the Han Dynasty, Huang Xiang from the Three Kingdoms, Su Jing, Lu Ji, and the Two Wangs all being proficient in Zhangcao. Between the Tang and Song dynasties, fewer calligraphers specialized in Zhangcao, and it was not until the Yuan Dynasty that Zhao Mengfu and Yang Weizhen began to pay attention to it, but they only practiced it alongside other styles without significant impact. The true master of Zhangcao during the early Ming Dynasty was the renowned calligrapher Song Ke. Song Ke was born in the fourth year of the Taiding era of the Yuan Dynasty (1327) and died in the twentieth year of the Hongwu era of the Ming Dynasty (1387). His courtesy name was Zhongwen, also known as Kewen, and he styled himself Nan Gong Sheng. He was from Changzhou (Wuxian), Jiangsu. He came from a very wealthy family. "He was a man of who loved to fight with swords and roosters." In his youth, he raised guests and often gambled, losing all his family's wealth. When he encountered the turmoil of the Yuan Dynasty's late years, he decided to achieve fame and fortune by studying military arts and planned to march north to the Central Plains, raise a banner, and start a rebellion. However, he was blocked midway and instead traveled along the Yangtze River to Jinling, then entered the famous mountains of Kuaiji and Jinhua, expanding his horizons. After returning home, Zhang Shicheng, impressed by his character, repeatedly sent people to invite him to become a counselor, but Song Ke declined. He instead set up a separate room at home, filled with and Zhou and Han dynasty inkstones, practicing calligraphy day and night. "The Ming Dynasty History's Biography of the Literary Artists" described: "Song Ke shut himself off to practice calligraphy, spending ten sheets a day, and thus became famous for his skill in calligraphy throughout the land." In the early Hongwu era, he served as the assistant governor of Fengxiang in Shaanxi but soon resigned and returned home, dying at the age of sixty-one.