Clear Ming Zhengming selected running script of generations Running script Thousand Characters

Author: Jiang Yin / Mo Xiaobu (editors)
Publisher: Xiling Press
Publish Date: 2006-01-01
Features: Wen Zhengming (1470-1559), originally named Bi (or Bi), styled Zhengming, styled Tingyun, styled Hengshan Jushi, known as Wen Hengshan. Born in Changzhou (now Suzhou, Jiangsu), he was one of the founders of the "Wumen Painting School." Together with Tang Bohu, Zhu Zhishan, and Xu Zhengqing, he was known as one of the "Four Talents of Jiangnan," and together with Shen Zhou, Tang Bohu, and Qiu Ying, he was known as one of the "Four Masters of the Ming Dynasty." At the age of 54, he was appointed as a (attendant scholar) in the Hanlin Academy, hence the title "Wen Daitao." After serving in office for four years, he resigned and no longer sought official positions, avoiding contact with powerful figures and devoted himself to poetry, calligraphy, and painting for over thirty years. His poetry, prose, and calligraphy were all exquisite. He was known as a master of the "Four Perfections" and had a very high reputation in his later years. After gaining fame, people from all directions sought his poetry, calligraphy, and paintings, coming one after another. Wen Zhengming refused to give his works to officials and wealthy individuals, saying, "This is forbidden by the rules." The Zhou and Huizhou kings gifted him with precious antiques and artifacts, which he returned unopened. Foreign envoys seeking an audience were often refused by Wen Zhengming. His calligraphy was initially learned from Li Yingzhen (Wen Zhengming's father-in-law) and later widely studied from the masterpieces of previous generations. He excelled in seal script, clerical script, regular script, running script, and cursive script. He was particularly skilled in running script and small regular script, which were warm, elegant, and vigorous, with strict rules yet lively expressions. Although lacking the grandeur of (spirit), he possessed the elegance of Jin and Tang calligraphy and had his own distinct style. His small regular script was modeled after Jin and Tang styles, striving for strength and vigor. The strokes were graceful, with a gentle rhythm, earning him the title "Ming Dynasty's ."" Xie Zaihang of the Ming Dynasty praised Wen Zhengming's small regular script: "There is no true regular script in the world. The 《》 and 《》 passed down from Zhong and Wang all carry running script. By the Tang Dynasty's 《》 and 《》 steles, the characters became strict and precise, yet the flaws of being too fat or too thin still remained. It was not until Wen Zhengzhong (i.e., Zhengming) of our dynasty that he devoted himself entirely to structure, with balanced density and appropriate positioning. Like the Eight-Faced Guanyin, he possesses all aspects. He is also one of the greatest calligraphers in the history of calligraphy." His large characters had the style of Huang Tingjian, combining both bone and charm. He was highly regarded alongside Zhu Yunming and Wang Chong during his time. Many descendants and disciples of Wen Zhengming achieved great success, such as his son Wen Peng, Wen Jia, and his nephew Wen Bobrin, who were all renowned painters. Among his disciples, those well-known included Qian Gu, Lu Shidao, Lu Zhi, Chen Daofu, Ju Jie, and Zhu Lang, forming the "Wumen Painting School," which had a profound influence. His calligraphy of the "Thousand Characters" in the four scripts became an excellent model for later learners. This running script "Thousand Characters" was created when Wen Zhengming was 89 years old, truly embodying "the person and the calligraphy both aged." The brushwork was heavy yet slightly unrestrained, maintaining a robust and vigorous yet harmonious and relaxed sense. The running script blends the legacy of Wang Xizhi's 《》 with the style of Su Dongpo, Huang Tingjian, and Mi Fu of the Song Dynasty. The lines were either lean and upright or round and full, creating rich textural contrasts and rhythmic variations. Some cursive script structures and rhythms were incorporated into the running script, with round and square forms complementing each other, achieving a high degree of harmony and unity. When writing this piece, Wen Zhengming, though already elderly (dying a year later), his brushwork vibrated, with dynamic fluctuations, filling the entire piece with vitality, making it hard to associate him with an elderly man. From this, one can also see the life will expressed through calligraphy that Wen Zhengming transcends time to convey to later generations. The piece published in this volume is his typical running script "Thousand Characters." It is said that he wrote the "Thousand Characters" as a daily task, completing ten copies each day, and many of his works have been passed down by friends and relatives. This "Thousand Characters" has a black silk border, but its size and storage location are unknown. The calligraphy is clear and elegant, robust yet vigorous. The long piece of over a thousand characters is written in one breath, from beginning to end, without any weak strokes, making it one of the representative works of Wen Zhengming's "Thousand Characters" in circulation.