Huai Su's "On Bitter Bamboo" Calligraphy Scroll

Author: Compiled by the Press
Publisher:
Publishing Date: 2002-06-01
Features: This book is one volume of "Classics of Chinese Ink Painting and Calligraphy," featuring the "Commentary on Bitter Bamboo" by the Tang Dynasty calligrapher Huaisu. The book is printed in a large 16-page format, with exquisite printing that well-represents the essence of the original work, making it an excellent choice for calligraphy enthusiasts to study and practice. Huaisu, styled Zangzhen, was of the secular surname Qian and the nephew of the famous Tang Dynasty poet Qian Qi. He was from Changsha, Hunan. According to the postscript in "Thousand Characters in Small Grass," he was born in the 25th year of Emperor Xuanzong's Kaiyuan era (737), but according to the postscript in "The Pure and Quiet Sutra," he was born in the 13th year of the same era (725). His death year is unknown, estimated to be around the 15th to 17th year of the Zhenyuan era.
Huaisu entered the Buddhist monastic order in his childhood and, while devoted to Buddhism, also loved calligraphy. In his youth, due to poverty, he planted numerous banana trees near the temple to provide space for practicing calligraphy, calling it "Green Heaven." He also placed a lacquered tray for writing, which he later had pierced and filled with discarded brushes, calling it "Brush Mound." His dedication to calligraphy was thus evident. Huaisu was naturally unrestrained and unconcerned with trivial matters. Whenever he was drunk and inspired, he would write on temple walls, inner and outer walls, clothing, and utensils without hesitation. After gaining fame, he often traveled among the officials of Chang'an and Luoyang, composing the preface "Preface to the Calligraphy of Master Huaisu" and thus greatly enhancing his reputation for cursive script.
It is said that Huaisu initially learned calligraphy from his master Wu Tong, who in turn learned the cursive script technique from Zhang Xu. Later, he studied under Yan Zhenqing and, inspired by the phrase "Summer clouds have many peaks," he realized that cursive script should prioritize momentum, like flowing clouds and water, changing with the wind. Huaisu himself stated that his regular script originated from Zhong Yao, while his cursive script drew from Zhang Zhi and Zhang Xu, showing his deep roots in calligraphic tradition.
The "Commentary on Bitter Bamboo" and "Commentary on Calligraphy" in this volume are Huaisu's surviving small cursive script masterpieces. The former exhibits a dynamic interplay of strokes, lively character forms, and a smooth, flowing style, with the entire piece harmoniously unified. It is deeply contemplative, giving a sense of elegance and natural leisure. As Xiang Yuanbi remarked: "When Huaisu was drunk, he would wish for each stroke to move as if flying, with the magic of smooth rotation, as if divinely inspired. The 'Commentary on Calligraphy' follows the rules yet avoids (wildness), and in its best moments, it rivals the works of Wang Xizhi and Wang Xianzhi. Every stroke has a source, and it is unclear how he achieved such skill with his hands. Those who call him 'wild' may not truly understand his art." This shows that the essence of cursive script lies in the balance between separation and connection, expansion and restraint. Expansion brings freedom, while restraint brings elegance. As Zhao Mengfu stated in his preface to the "Commentary on Calligraphy": "The brilliance of Huaisu's calligraphy lies in its spontaneous, unrestrained, and ever-changing forms, yet it never deviates from the rules of the Wei and Jin dynasties."
From this perspective, the way of calligraphy should prioritize steadiness and mastery of technique before entering the realm of unrestrained expression. As the saying goes, "From the heart's desire, without exceeding the rules." The "Commentary on Bitter Bamboo" is now housed in the Shanghai Museum, while the "Commentary on Calligraphy" is in the Liaoning Museum. These two works are particularly suitable for beginners, especially as ink rubbings that reveal the subtleties of brushwork. They are now published in facsimile to delight the (vast) number of cursive script enthusiasts.