Tang Huaisu's Selected Calligraphy Works Through Generations - Self-Portrait Scroll

Author: Jiang Yin / Mo Xiaobu (editors)
Publisher: Xiling Shupu Press
Publication Date: 2006-01-01
Features: Huai Su (737—? AD), styled Zangzhen, was born in Lingling. His "Self-Composition Scroll" also states: "Huai Su is from Changsha." Due to his own conflicting claims, there have been two schools of thought throughout history. Ancient texts such as The National History Supplement, The Xuanhe Manual of Calligraphy, and The Continuation of the Book Critique described Huai Su as a "native of Changsha," while works like The Unified Gazetteer and Su Huan's poetry referred to him as a "native of Lingling." Modern scholars such as Feng Jingchang's Analysis and Interpretation of Huai Su's Self-Composition Scroll, Yin Sun's On Huai Su, and the Preface of Hong Kong's On Huai Su's Calligraphy claim Huai Su was a "modern resident of Changsha, Hunan"; whereas works like Zhu Guantian's Investigation into Huai Su's Self-Composition Scroll and Xiong Fei's Authenticity Examination of Huai Su's Self-Composition Scroll assert he was "born and raised in Lingling." Thus, whether Huai Su was truly from Changsha or Lingling remains an unresolved mystery to this day. Today, when we study Huai Su, we must first clarify this issue. Art China. "Self-Composition Scroll" by Huai Su in cursive script. Paper, height 28.3 cm, width 775 cm, comprising 126 lines and 698 characters. Written in the 12th year of the Dali era (777 AD) of the Tang Dynasty. Currently housed in the Palace Museum, Taipei. The first six lines are damaged and were later supplemented by Su Shunqin of the Song Dynasty. At the beginning of the scroll is a seal script preface by Li Dongyang of the Ming Dynasty, reading "Zangzhen's Self-Composition," and at the end is an inscription by Shao Zhou and Wang (name illegible) from the Southern Tang's Shengyuan era (940 AD), recording the reinstallation of the scroll. The scroll is stamped with seals such as "Jianye Wenfang's Seal," "Descendant of the Six Ministers," "Four Generations of Ministers," "Heir to Xu State," "Wuxiang's Seal," "Zhao Family's Collection," "Qiuhè's Library," "Xiang Yuanbi's Seal," "Anqi's Seal," "Qianlong," and "Xuantong Appreciation." The content reflects Huai Su's experiences and insights in writing cursive script, as well as critiques of his calligraphy by contemporary scholars such as Yan Zhenqing and Dai Xuren, who praised his cursive style. "Self-Composition Scroll" is the longest surviving work by Huai Su and a masterpiece of his late cursive script. Wen Zhengming of the Ming Dynasty wrote: "Zangzhen's calligraphy is like a mad monk entering sainthood—his (crazy and strange) brushwork is perfectly in harmony with the rules." Anqi of the Ming Dynasty described the scroll as: "The ink and paper exude a captivating brilliance, with dynamic transformations emerging from the tip of the brush, creating an ineffable and miraculous artistic effect." The scroll was once collected by the Southern Tang imperial collection, Su Shunqin, Shao Ye, Lü Bian of the Song Dynasty, Xu Qianzhai, Wu Kuan, Wen Zhengming, Xiang Yuanbi, Xu Yuheng, Anqi, and the Qing imperial collection. The original is now housed in the Palace Museum, Taipei. According to Zeng Xinggong's inscription, the scroll once bore inscriptions by Mi Yuanzhang, Xue Daizou, and Liu Jujì, but these are now lost. It is recorded in works such as Mi Fu's Treasures for Collection, Huang Bosi's Remains of Eastern Observations, and Anqi's Compendium of Ink and Rhymes. Photographic reproductions exist in Shanghai's Yan Guang Room, the Palace Museum in Beijing, and the Cultural Relics Publishing House.