Jin Nong's Calligraphy on the Western Peak of Mount Hua: Essence of Chinese Legal Calligraphy

Author: Lin Tao
Publisher:
Publish Date: 2003-01-01
Features: Jin Nong (1687-1763), originally named Si Nong, styled Shoumen, also known as Jijin. He was known as Mr. Dongxin, with numerous other aliases such as Jiliushanmin, Qujiang Wai Shi, Xiyeyaju, Xinshu Jia’an, Zhofan Seng, Bai’er Yan Tian Fuqiong, Jin Shi Liu Lang, etc. He was from Renhe, Zhejiang (now Hangzhou). In his youth, he gained fame for his poetry and was recognized by Zhu Yizun and Mao Qiling, studying under He Chuo. Starting from the first year of the Yongzheng reign (1723), he traveled extensively across various regions, including Qi, Lu, Yan, Zhao, Qin, Jin, Chu, and Yue. In the thirteenth year of the Yongzheng reign (1735), he was recommended to take the Imperial Examination for Scholars with Outstanding Literary Talent. It is said that at the time, Jin Nong expressed his dilemma as "neither advancing nor retreating." The following year, he was recommended again, and this time Jin Nong finally went to the capital to take the exam but ultimately declined. The circumstances surrounding this remain unclear and are subject to differing accounts, making it difficult to ascertain the truth today. From then on, Jin Nong resided in Yangzhou, occasionally returning to his hometown in Renhe, continuing his career as a professional artist. With his solitary and aloof temperament, he became one of the "Eight (Unconventional Masters) of Yangzhou." Although Mr. Dongxin was a prominent figure in the Yangzhou School of Painting, he gained fame for his paintings relatively late, around his fifties. His reputation was more so built upon his poetry and calligraphy. Jin Nong excelled in calligraphy, particularly in clerical script (Lì) and regular script (Kai). He enjoyed exaggerating the variations in line thickness and intensity, while emphasizing the sharpness and severity of his brushwork. Combined with his use of thick, ink-black strokes resembling those of a lacquer brush, his style was known as "Lacquer Calligraphy." Regarding this style, the New History of the Qing Dynasty·Biographies of Artists also attributes it to "cutting the tip of the brush," a technique associated with fiction rather than practical knowledge. Cutting off the tip of the brush does not necessarily produce sharp lines; with proper control and slight adjustments to the start and end of the stroke, ordinary brushes can achieve the effect of "Lacquer Calligraphy." The lines of "Lacquer Calligraphy" are rich in decorative elements and somewhat resemble Song-style woodblock prints. However, its structure is ancient, awkward, and extraordinary, often breaking conventional norms and surprising viewers, offering inspiration to later generations. Coupled with his profound erudition expressed through his brushwork, his style achieves a very high level. In my opinion, during the Qing Dynasty, the study of inscriptions and seals flourished, and numerous masters of clerical script emerged. Before him, there was Zheng Gukou, and after him, there was Yi Meiqing. Mr. Dongxin stood on equal footing with them, while the rest, though admirable, were merely "merchants and artisans." As for the origins of the "Lacquer Calligraphy" technique, it is generally believed to have been inspired by the Zenith Mountain Stele and the Heavenly Revelation Stele, but in reality, Jin Nong deeply studied many Han Dynasty steles. The Western Peak Mount Hua Stele is one such example. From his thirties until his later years, he left behind numerous copies of this stele. In one of his poems on calligraphy, he expressed his journey of learning: "The Inner Minister of Kuaiji carried an unconventional demeanor, his calligraphy skills were neglected, yet he laughed at those who rushed recklessly. He refused to be a slave to calligraphers, for a piece of the Mount Hua Stele was his master." In the calligraphy inscription for his Four Screens of the Birds and Cranes Classic, written at the age of seventy-two, Jin Nong stated: "At the age of seventy, I began to practice 'thirsty brush clerical script.' This technique was unknown to the Han and Wei dynasties, nor was it used in the Tang, Song, Yuan, or Ming dynasties. During the Kangxi reign, Zheng Lan of Jinling did practice this style, but it cannot be called true clerical script. Those who imitated him were even less qualified to be called masters of 'thirsty brush clerical script.'" This reveals that his later works often employed the "thirsty brush" technique, giving them a dynamic quality. Although this copy occasionally shows flying white (uneven ink distribution), it appears warm and harmonious, lacking the vigorous style of his later works. Additionally, the three seals attached to it are all those he commonly used between his forties and fifties, indicating that this is a mid-career piece. While its style is not particularly strong, it remains relatively faithful to the original stele. Scholars can appreciate the charm of Jin Nong’s calligraphy while also using it as a reference for practicing Han Dynasty steles.