Qing Wang Wenzhi's Regular Script Inscription for the Tomb of the Second Son, Wei Huan

Author: Shanghai Shuhua Publishing House
Publisher:
Publish Date: 2005-08-08
Features: Paperbound, one volume with eleven pages, each page measuring 28.2 cm vertically. Regular script. Wang Wenji was born in the eighth year of the reign of Emperor Yongzheng of the Qing Dynasty (1730) and passed away in the seventh year of the reign of Emperor Jiaqing (1800), at the age of 73. His courtesy name was Yuqing, and his style name was Menglou. He was from Danpu, Jiangsu (now Zhenjiang). From a young age, he harbored extraordinary aspirations and gained fame in the world for his poetry, prose, calligraphy, and painting. He excelled in painting plum blossoms, with a charm reminiscent of ancient masters. His poetry followed the styles of the Tang and Song dynasties, forming his own unique style, and he was also skilled in the study of music theory. He once served as an envoy to Ryukyu, where local scholars and officials treasured his calligraphy, spreading his reputation overseas. In the thirty-fifth year of the reign of Emperor Qianlong (1760), he passed the imperial examination and ranked third in the palace examination, earning the title of "Third Place Graduate." He was appointed as a compiler of the imperial archives and later promoted to the position of Assistant Reader in the Hanlin Academy. Later, he served as the magistrate of Yao'an County in Yunnan. Due to disciplinary actions against his subordinates, he was demoted and requested to resign. From then on, he wandered the world, traveling between Danpu and Hangzhou. He once served as a lecturer at the Zhenjiang Literary Academy. When Emperor Qianlong visited a temple in Qiantang, he admired his inscriptions and summoned him, but Wang refused to attend. He authored works such as "Commentaries on Rain Appreciation," "Commentaries on Fast Rain," "Menglou Poetic Collection," and "Thirty Poems on Calligraphy." Wang Wenji's calligraphy drew inspiration from Zhu Hengnan, Li Yong, Zhang Jizhi, and Dong Qichang, with particular emphasis on Li and Dong. He also extensively studied Wang Xizhi and Wang Xianzhi. His running script emulated the "Preface to the Holy Teaching" and the "Preface to the Orchid Pavilion" while capturing a refined and elegant spirit. He preferred using soft, long brushes and focused on posture, achieving a clear, graceful, and exquisite style. Ding Wenjun, in "Essentials of Calligraphy," noted that Wang Wenji shared a similar style with Yao Nai, Liang Tongshu, and Liang at the time, all of whom were "known for their elegance and refinement." Liang Shaorong, in "Notes from the Rainy Autumn Studio," remarked that "calligraphers of our dynasty, such as Liu Shadian, focused on charm, while Wang Menglou, the magistrate, prioritized spirit." During his time, there was the saying "thick-ink prime minister (Liu Dongyou) and light-ink third-place graduate (Wang Wenji)," and he was often referred to alongside Liu Dongyou, Liang Tongshu, and Wang Fanggang as the "Four Masters of the Qing Dynasty." He was also paired with Liang Tongshu as the "Liang Wang."