Yusi Nan writing before Wang Xizhi's Orchid Pavilion Preface

Author: Shanghai Shuhua Publishing House
Publisher:
Publish Date: 2001-12-01
Features: Mi Fu once said in Haiye Mingyan, "Carved inscriptions cannot be learned; only by having them inscribed by oneself can one truly call it one's own work. Therefore, one must view the original to appreciate its charm." This is why many say that learning calligraphy requires copying the original, not just looking at carved inscriptions. When characters are carved into stone, they lose much of their original charm. With the advancement of science and technology, the development of printing technology has allowed some originals of famous calligraphers to be preserved. Wang Xizhi was a renowned calligrapher of the Eastern Jin Dynasty. His Preface to the Orchid Pavilion Collection is known as the "Heavenly Running Script." On the third day of the third month of the ninth year of the Yonghe era, Wang Xizhi and forty-one other scholars gathered at the Orchid Pavilion, set up a banquet by the curved water, drank wine, and composed poems, enjoying themselves immensely. After the poems were completed, everyone unanimously asked Wang Xizhi to write a preface for them. In a state of slight intoxication and high spirits, Wang Xizhi wrote down these immortal lines: "Gathering of the virtuous, young and old alike, clear sky, crisp air, gentle breeze, and pleasant atmosphere." His thoughts soared, filled with profound emotions. When writing this preface, his intention was not primarily calligraphy, yet his achievement in calligraphy was truly remarkable—truly "excellent without striving for excellence, and skillful without seeking perfection." This reached the highest realm of calligraphy. Later, this preface was buried with Emperor Taizong of the Tang Dynasty. However, Emperor Taizong once ordered the famous calligraphers Ouyang Xun, Yu Shennan, and Chu Suiliang to each copy it, so their copies provide excellent models for studying Wang Xizhi's calligraphy. This volume features Yu Shennan's copy of the Preface to the Orchid Pavilion Collection. Yu Shennan's calligraphy is extremely similar to Wang Xizhi's, embodying the style of the Wei and Jin dynasties directly. This copy has a warm and refined brushwork, with strong yet graceful force, giving an artistic sense of simplicity and tranquility. Open it up and savor it carefully.
The Preface to the Orchid Pavilion Collection, hailed as the "Heavenly Running Script," is a representative work of the renowned Eastern Jin calligrapher Wang Xizhi. On the third day of the third month of the thirty-fifth year of the Yonghe era (353 AD), Wang Xizhi and famous figures such as Xie An, Xie Wan, and Sun Chuo gathered at the Orchid Pavilion (now in the suburbs of Shaoxing City) for a poetic gathering to celebrate the Qixi festival. They set up a banquet by the curved water and composed poems by the river. After the poems were completed, everyone unanimously asked Wang Xizhi to write a preface and sign it. In a slightly tipsy yet inspired state, Wang Xizhi wrote this immortal masterpiece on the spot. That day, the virtuous gathered, young and old alike, under clear skies and crisp air, with a gentle breeze. Wang Xizhi gazed at the vastness of the universe and the richness of life, reflecting on the brevity of existence and feeling deeply moved. Thus, this preface is not only beautifully written and emotionally touching but also features extraordinary calligraphy, perfectly harmonizing with the text, creating a timeless masterpiece.
When Wang Xizhi wielded a mouse-hair brush dipped in Zuo Bo ink on silk paper, it seemed as if the three realms were in harmony, and the five elements converged, as if aided by the divine. Upon waking, he tried to rewrite it dozens or hundreds of times, but the divine brushwork could never be replicated again. The reason was that when writing this preface, Wang Xizhi's focus was not on calligraphy, so the heavens moved effortlessly, and everything was natural—a true "excellence without striving for it, and skill without seeking perfection." This can be said to be the highest realm of calligraphic art. Zhang Huaiquan praised in Shu Yi, "Yishao's brushwork is vigorous and refined, uniquely beautiful, natural in talent, and unparalleled in spirit." Fang Xiaoru also remarked, "Calligraphers view the Orchid Pavilion Collection as scholars view the Classic of Confucianism and the Mencius. Wang Xizhi's other works are not inferior, but this one is natural and embodies all virtues, like a person of great virtue and benevolence who moves gracefully within the rites—unattainable for those who force perfection."
Jin Dynasty calligraphy excelled in charm, transcending rigid rules while achieving the realm of doing as one pleases without overstepping bounds. It was a style of elegance and freedom, and Wang Xizhi's Preface to the Orchid Pavilion Collection perfectly embodies this realm and style. When this scroll was obtained by Emperor Taizong of the Tang Dynasty, he cherished it deeply, often practicing it by candlelight at midnight. Eventually, it was buried with Emperor Taizong in the Zhaoling Mausoleum. During his lifetime, Emperor Taizong ordered the famous calligraphers Ouyang Xun, Yu Shennan, and Chu Suiliang to each copy it. All three studied Wang Xizhi's style, and Emperor Taizong once tasked them with identifying the authenticity of Wang Xizhi's works. Thus, in the absence of any original characters by Wang Xizhi, their copies are undoubtedly the best models for studying his brushwork. Among these three copies, Ouyang Xun's is lost, while Yu Shennan's and Chu Suiliang's, along with Feng Chengsu's copy, have been preserved, collectively known as Three Copies of the Orchid Pavilion Collection. This volume features Yu Shennan's copy, which is extremely close to Wang Xizhi's style, embodying the charm of the Wei and Jin dynasties directly. The calligraphy contains both gentleness and strength, with profound intent, elegant color, and a relaxed yet refined demeanor. Though it does not overly display the sharpness of brushstrokes, it is rich in meaning, inviting contemplation. This copy has warm and refined brushwork, strong yet graceful force, blurring the sharpness and angles of strokes, giving an artistic sense of simplicity and tranquility. It contrasts sharply with the style of Feng Chengsu's copy and Chu Suiliang's copy, which reveal more pronounced brushwork. Moreover, this copy has thick and dense brushstrokes, a refined essence, and a subtle elegance, closely resembling Wang Xizhi's regular script. Calligraphers can explore the essence of Wang Xizhi's inner brushwork from this copy and gain inspiration.