Wen Zhengming's Small Regular Script "The Front and Rear Memorial on Sending Out the Troops" and "The Front and Rear Odes on the Red Cliffs", Calligraphy Practice in Fountain Pen

Author: Department of Calligraphy
Publisher:
Publishing Date: 2005-08-01
Features: Wen Zhengming (1470–1559) was originally named Bi (also written as Bi), with Zhengming as his courtesy name. Later, he changed his courtesy name to Zhengzhong and took the sobriquet Hengshan, referring to himself as a Hengshan Resident. He was from Changzhou (now Suzhou). At the age of fifty-four, he became a minor official as a (attendant) in the Hanlin Academy. In his early years, he was not allowed to participate in the provincial examinations because his calligraphy was poor, which motivated him to strive for excellence and eventually became a master of poetry, literature, calligraphy, and painting. In painting, he and his disciples formed the "Wumen School"; he was also known as one of the "Four Masters of the Ming Dynasty" alongside Shen Zhou, Tang Yin, and Qiu Ying. His calligraphy was exquisite in all styles, particularly his running script and regular script, which were highly praised. He was renowned both at home and abroad during his time. Due to his long life (nearly ninety) and high status, he had many disciples who greatly influenced later generations. His sons, Wen Peng and Wen Jia, also achieved notable success in calligraphy. Wen Peng was a master of seal carving during the Ming and Qing dynasties. Wen Zhengming's small regular script is exceptionally fine and meticulous, drawing inspiration from Zhong Yao, Wang Xizhi, Wang Xianzhi, Yu Shennan, Chu Suiliang, and Ouyang Xun. His works are characterized by strict adherence to rules, sharp and elegant brushwork, and dignified forms, with a refined and graceful style. His small regular script, especially after the age of eighty, demonstrates remarkable skill. His running script was influenced by the Holy Teaching Preface collected by Huairan and Zhi Yong, with strong and flowing brushwork. In his later years, he studied Huang Tingjian's large characters, which gave his style a (: vigorous and robust; : elegant and unrestrained) character. He left behind many masterpieces, including small regular scripts such as The Former and Later Red Cliff Odes, Gu Chunqian, and The Nine Songs of Li Sao, as well as running scripts like the early Nan Chuang Ji, the mid-career Five Poetic Manuscripts, and the late West Garden Poems. Every stroke in his works is meticulously executed, even when he was nearly ninety, a rare feat among calligraphers in China. Learning regular script with classical small regular scripts passed down through generations is a wise approach. Ancient small regular scripts were both practical and artistic, serving both functional and ornamental purposes. They reached their peak during the Wei and Jin dynasties, pioneered by calligraphers like Zhong Yao and Wang Xizhi. The Tang and Song dynasties saw further refinement, with numerous calligraphers and scripture copiers contributing to the perfection of small regular script, achieving a comprehensive "method." The revival of classical calligraphy by Zhao Mengfu and other calligraphers during the Yuan Dynasty, along with the subsequent resurgence and inheritance by masters like Zhu Yunming, Wen Zhengming, Wang Hong, and Dong Qichang in the Ming Dynasty, led to the emergence of many master-level calligraphers and countless classic works. As learning models, original calligraphic works are undoubtedly the best choice. However, the engraved and printed copies () produced under ancient printing conditions, as important forms of preserving and disseminating ancient calligraphy, are irreplaceable. The two calligraphic works selected in this book are Ming Dynasty prints, though they show some wear, thankfully without damaging the characters, making them particularly precious. Below each model character, there are brush-written examples that can serve as reference for practice.