Sun Qifeng's Regular Script Works Collection

Author: Sun Qifeng
Publisher:
Publish Date: 2006-01-01
Features: Sun Qifeng, also known as Qi Feng, styled as Qiushi Louzhu. Born in 1920 in Zhaoyuan County, Shandong Province. He is a renowned contemporary painter and art educator, with comprehensive artistic cultivation. Beyond painting, he excels in calligraphy, seal carving, and stone carving, earning widespread praise from the calligraphy community.
From a young age, Sun Qifeng was deeply passionate about calligraphy, influenced by his family's tradition. His grandfather and father were both skilled calligraphers renowned in their hometown, which greatly inspired him. After starting primary school, he practiced the regular script styles of Yan and Zhao, earning admiration from his teacher, Hao Guoxuan, who was adept in the running script and cursive script of He Shaoji. This had a significant impact on Sun, deepening his interest in calligraphy. During his middle school years, Sun continued to immerse himself in calligraphy, gaining a local reputation and even writing couplets for the townspeople.
In the 1940s, to support himself, Sun worked as a shop assistant in Beijing. As the cultural center of the nation, many shop signs in Beijing were written by renowned calligraphers, and Sun carefully observed and studied them. He also frequently attended painting and calligraphy exhibitions in Beijing, where he absorbed knowledge and broadened his horizons. In his spare time, Sun practiced calligraphy diligently, beginning to explore Han Dynasty clerical script and studying the Shichen Stele.
In 1944, Sun was admitted to the National Art College of Beiping (Beijing), where he majored in Chinese painting. This marked a major turning point in his life and the beginning of a new chapter in his artistic career. At the college, he studied under masters such as Xu Beihong, Huang Binhong, Li Kuchan, Qin Zhongwen, Wang Youshi, and Wang Shensheng, all of whom were accomplished in both calligraphy and painting. He also benefited from the teachings of Shoushi Gong, Luo Fugang, and Jin Yumin, who were renowned for their calligraphy, seal carving, and stone carving. During this period, Sun not only continued his study of Han clerical script but also began learning running script and cursive script, focusing on the works of the Wang Xizhi and Wang Xianzhi (fathers and sons) and Sun Guoting's Shupu.
Sun's clerical script is distinctive, characterized by vigorous brushwork and a bold, unrestrained charm. Among contemporary calligraphers specializing in clerical script, his style stands out, earning widespread acclaim. The Qing Dynasty achieved remarkable success in clerical script, marking another peak after the Han Dynasty. Many talented calligraphers emerged during this time, including Deng Shiru, Yi Bingshou, and He Shaoji, who were considered giants. Qipeng once remarked on clerical script: "Calligraphers like Deng Shiru, Yi Bingshou, and He Shaoji from the Qing Dynasty were truly masters. It is not difficult to achieve technical precision in clerical script after them, but the challenge lies in breaking free from convention."
The value of Sun's clerical script lies in its "breaking free from convention." Since the 1940s, he has devoted significant effort to Han clerical script, practicing famous steles such as the Zhang Qian Stele, Shichen Stele, Cao Quan Stele, and the Mount Hua Stele, achieving a level of "technical precision."
After the 1980s, Sun's clerical script developed horizontally, with dynamic wave-like strokes, forming a unique style. Yet, he remained unsatisfied and incorporated the brushwork of Han Dynasty bamboo slips. Bamboo slips, as ink traces from the Han Dynasty, had been discovered before, but they were rarely studied by calligraphers. Since the early 20th century, numerous slips have been unearthed, more than ever before. The calligraphy on bamboo slips varies in style, with clear brushwork and a natural, spontaneous charm, attracting the interest of many calligraphers who study them for inspiration. Sun particularly favored bamboo slips from Juyan, Wuwei, and Gangu in the western regions, meticulously copying and analyzing their distinctive brushwork. Thus, he developed a deep understanding of Han bamboo slip calligraphy.
The scribes of Han bamboo slips were often lower-ranking officials, soldiers, and common calligraphers. Their works provide a clear view of the authentic essence of Han clerical script, dispelling confusion caused by the eroded and faded strokes on steles. However, it must be noted that some bamboo slips are overly rough, and those who lack skill in studying them may exaggerate certain strokes, forming bad habits, or emphasize eccentricity to the point of becoming. Sun believed, "Bamboo slips are not the work of skilled calligraphers; they are uneven, and when learning, one must distinguish between the good and the bad, selecting the essence while discarding the dross."
Sun approached Han bamboo slip calligraphy with both reference and discernment, avoiding mere imitation and instead capturing its spirit. He merged the essence of bamboo slips with steles, resulting in a clerical script that is both rustic and unrestrained, deeply captivating.