Preface to the Wood Rooster Collection by Song Wéntiānxiáng

Author: Shanghai Shuhua Publishing House
Publisher:
Publishing Date: July 1, 2003
Features: Wen Tianxiang (1236–1282) was a renowned minister of the Southern Song Dynasty. Born in Jishui, Jizhou. His courtesy name was Songrui, also known as Lushan, and he styled himself Wenshan. At the age of twenty-eight, he passed the imperial examination and was personally selected by Emperor Lizong. The examiner Wang Yinglin praised his essay as follows: [This essay is as ancient and profound as a tortoise mirror, and his loyalty is as firm as iron and stone. I dare to celebrate such a worthy talent.] Wen Tianxiang later fell into enemy hands but refused to surrender, proving that Wang Yinglin was indeed a farsighted examiner.
Wen Tianxiang's calligraphy followed the style of the Two Wangs (Wang Xizhi and Wang Xianzhi) and used the Preface to the Holy Teaching as a model, incorporating some structural principles from Mi Fu. In brushwork, he drew inspiration from Huang Yan's graceful and lingering style. The thickness of his strokes varied little, but he paid close attention to the spacing and arrangement, creating a sense of a clear spring flowing, with elegance and a scholarly air.
Regarding the innovative spirit of the "Four Masters of the Song Dynasty," many opposed it starting from Zhu Xi. As a result, calls arose to return to the orthodox style of the Two Wangs, and Wen Tianxiang undoubtedly stood on this side. However, no calligrapher could entirely escape the influence of outstanding predecessors. Thus, despite his alignment with the Two Wangs, Wen Tianxiang was somewhat influenced by the Four Masters of the Song.
In this work, his brushwork is precise and subtle, with light and deliberate starts and ends, appearing clear, sparse, and upright, exuding a divine and gaunt demeanor. In terms of structure, he paid great attention to negative space, making each character appear ethereal. Even in the connection between characters, the flow of (spiritual momentum) was emphasized over explicit brush connections. Additionally, he lowered the center of gravity for each character, giving them a steady yet poised appearance—clearly influenced by Mi Fu.
In terms of writing speed, he maintained a steady, unhurried rhythm, exuding an air of elegance and composure, much like a master calligrapher. This handling of brushwork and line flow may be related to his use of seal script and cursive script, as he was familiar with both. Thus, we can confidently say that Wen Tianxiang was inclined toward the ancient and simple calligraphic styles of the Wei and Jin periods.
Within the broader context of Song Dynasty calligraphy, Wen Tianxiang's style did not hold a prominent position. However, his upright and unyielding character set an example for later scholars. often linked moral integrity with calligraphic quality, so later evaluations of him were largely based on this principle. For instance, Wang Ao of the Ming Dynasty said: [Your unwavering loyalty and great virtue shine like the sun and moon, and even in the smallest details of brush and ink, you are meticulous.] This referred to his strict and conscientious conduct. Meanwhile, Li Shimi of the Ming Dynasty observed: [From your letters, one can sense your loyal and righteous spirit, as if it were palpable. In admiration and reverence, it feels as though you are before one's eyes.] These remarks hold significant lessons and reminders for those who seek to improve their moral character through calligraphy.
Preface to the Wood Chicken Collection is a manuscript by Wen Tianxiang from the late Southern Song Dynasty, written in running and cursive script. The brushwork is lean, dynamic, and vibrantly colored, reproduced through color printing.