Qing Wang Wenzhi's Regular Script Inscription for the Tomb of the Second Son, Wei Xing

Author: Shanghai Shuhua Publishing House
Publisher:
Publish Date: 2005-06-01
Features: Paperbound, one volume with eleven pages, each page measuring 28.2 cm vertically. Regular script. Wang Wenji was born in the eighth year of the reign of Emperor Yongzheng of the Qing Dynasty (1730) and passed away in the seventh year of the reign of Emperor Jiaqing (1800), aged 73. His courtesy name was Yuqing, and his style name was Menglou. He was from Danpu, Jiangsu (now Zhenjiang). From a young age, he harbored extraordinary ambitions and was renowned for his poetry, prose, calligraphy, and painting. He excelled in painting plum blossoms, with a charm reminiscent of ancient masters. His poetry followed the styles of the Tang and Song dynasties, forming his own unique style, and he was also skilled in music theory. He was once sent as an envoy to Ryukyu, where local scholars and officials treasured his calligraphy, spreading his reputation overseas. In the thirty-fifth year of the reign of Emperor Qianlong (1760), he passed the imperial examination as the third-ranked zhuantou (prospect). He served as a compiler of the imperial archives and was later promoted to the position of assistant librarian in the Hanlin Academy. Later, he was appointed as the magistrate of Yao'an County in Yunnan. Due to disciplinary actions against his subordinates, he was demoted and requested to resign. From then on, he wandered the world, traveling between Danpu and Hangzhou. He once served as a lecturer at the Zhenjiang Literary Academy. When Emperor Qianlong visited a temple in Qiantang, he admired his inscriptions and summoned him, but Wang refused to attend. He authored works such as "Shangyu Studio Annotations," "Kuayu Studio Annotations," "Menglou Poetic Collection," and "Thirty Poems on Calligraphy." Wang Wenji's calligraphy drew inspiration from Chu Hanshan, Li Yong, Zhang Jizhi, and Dong Qichang, with particular emphasis on Li and Dong. He also extensively studied Wang Xizhi and Wang Xianzhi. His running script emulated the "Holy Teaching Preface" and "Preface to the Orchid Pavilion" while capturing a refined and elegant spirit. He preferred soft, long brushes, focusing on posture, creating a style that was both clear, sharp, and exquisite. Ding Wenjun, in "Essentials of Calligraphy," noted that Wang Wenji shared a similar style with Yao Nai, Liang Tongshu, and Liang at the time, all of whom were "renowned for their grace and elegance." Liang Shaorong, in "Notes from the Rainy Autumn Studio," remarked that "calligraphers of our dynasty, Liu Shadian, the Grand Secretary, focused on charm, while Wang Menglou, the magistrate, prioritized spirit." During his time, there was the saying "thick-inked Grand Secretary (Liu Dongyou) and light-inked prospect (Wang Wenji)," and he was collectively known with Liu Dongyou, Liang Tongshu, and Weng Fanggang as the "Four Masters of the Qing Dynasty." He was also paired with Liang Tongshu as the "Liang Wang."