Zhang Ruitu's "Autobiographical Poem Album": Essence of Chinese Calligraphy ((Full-Color Printing))

Author: Lin Tao
Publisher:
Publish Date: 2003-01-01
Features: Chinese calligraphy, possessing profound and extensive practical value as well as strong artistic expression, exhibits a notable phenomenon in the course of history: from the Han to the Tang dynasties, the various feudal regimes did not exert strong aesthetic guidance in the realm of practicality to dominate calligraphers. Many calligraphers, starting from different functions, naturally demonstrated their talents within the realms of either practicality or expression.
Take the Wang Xizhi family as a typical example. They had both rigorous and disciplined works like Huangting, Leyi, and the Yuban Shisanhang in small regular script, as well as lyrical and unrestrained pieces like Shi Qianti and Zhongqiu Tie. As for Zhang Xu of the Tang Dynasty, his regular script Langguan Shizhuji followed the strict rules of Ouyang Xun, while his large cursive script "like divine dragons soaring at night" was purely self-generated. Whether in expressive and dynamic calligraphic styles, they all held irreplaceable aesthetic value. Precisely because of this, regular script with strong practical functions actually gave rise to great masters like Ouyang Xun, Yu Shennan, Chu Suiliang, Xue Ji, Ouyang Tong, Xu Hao, Yan Zhenqing, and Liu Gongquan, each with their own unique styles. Moreover, those who inherited the tradition of running script and cursive script also had their individualities. Although most were influenced by Emperor Taizong of Tang Li Shimin and studied Wang Xizhi, they each developed their own styles and expanded them. Therefore, it can be said that Emperor Taizong’s preference for Wang Xizhi did not lead to vulgarization.
Zhang Ruitu (1570–1641), styled Wuhua, was also known as Changgong, Ersui, Guoting Shanshi, Jiezi Jushi, and Baihao An Daoshi. He was a native of Jinjiang, Fujian. In the 35th year of the Wanli era of the Ming Dynasty, he passed the imperial examination and ranked third as a taitai in the palace examination, serving as a compiler. Later, he became a vice director of the Ministry of Rites and held positions such as Grand Tutor of the Crown Prince, Minister of Revenue, Grand Secretary of the Wuying Palace, and Grand Secretary of the Zhongji Palace.