Tang Lu Canzhi's Writings

Author: None
Publisher: Xiling Press
Publish Date: 2005-11-01
Features: ig">Lu Jianzhi (1045–1105), from Wu County, Jiangsu (now Suzhou, Jiangsu), was the nephew of Yu Shinan. He held the positions of Chao San Daofu, Taizi Siyi, and Chongwen Shishu Scholar. In his early years, he learned calligraphy from his uncle, and later studied the works of the "Two Wangs" (Wang Xizhi and Wang Xianzhi). His style was characterized by "harmonious and complete brushwork, avoiding the frivolous and overly ornate trends," earning him the reputation of "outshining his predecessors." His most famous calligraphic works include the engraved edition of "Five-Character Poem on the Orchid Pavilion" and the ink rubbing of "Calligraphy on Lu Ji's 'Prose on Literature'." Zhang Huaiquan praised his calligraphy in "Book Judgment" by saying, "In his later years, he practiced the style of the 'Two Wangs,' particularly valuing its antiquity. His works from middle age still showed some hesitation, but after the 'General Chapter,' they were well-structured and displayed a distinctive simplicity, avoiding excessive finery. He was ashamed of his flaws, though, and though he was criticized by his contemporaries, his calligraphy revealed his true character." His calligraphic legacy is scarce, making it difficult to appreciate his full style today. However, a passage by the Yuan Dynasty calligrapher Ouyang Xuan is worth pondering. Ouyang Xuan said, "Li Gong (Li Tuo) remarked that Lu Jianzhi's calligraphy had a unique style, which was indeed the essence of Lu Jianzhi's brilliance. In the modern era, Mi Yuanzhang (Mi Fu) had a calligraphic style that was bold and dynamic, and the world praised him for creating a new method. Yet, they did not know that he had entirely learned from Lu Jianzhi's 'Stele of the Head-Tribute Temple.' Mi Yuanzhang kept this secret, as Lu Jianzhi's works were rare and not widely known." This passage explains that Mi Fu's calligraphic style was not his own invention but was entirely derived from Lu Jianzhi's 'Stele of the Head-Tribute Temple.' Due to the scarcity of Lu Jianzhi's works, Mi Fu kept this influence a secret. This indicates that Lu Jianzhi's calligraphic style, apart from the 'Prose on Literature,' also included a bold and dynamic path. The 'Prose on Literature' is a paper-based ink rubbing scroll and one of the few genuine works by renowned calligraphers from the early Tang Dynasty. It is a work written with great care by Lu Jianzhi, as the 'Prose on Literature' was Lu Ji's masterpiece, and Lu Jianzhi was a descendant of Lu Ji. Therefore, Lu Jianzhi approached the 'Prose on Literature' with immense reverence. It is said that when Lu Jianzhi was young, he deeply admired Lu Ji's 'Prose on Literature' and wanted to write a version in his own hand. However, he feared that his calligraphy might not be refined enough to "dishonor the great works of his predecessors" and hesitated to start until he was a renowned calligrapher in his later years. The composition and artistic spirit of the ink rubbing of the 'Prose on Literature' were more influenced by Wang Xizhi. The entire work consists of 144 lines and 1,658 characters, primarily in regular and running scripts, with occasional cursive elements. Though it combines the three scripts, they are harmoniously balanced, creating a natural and cohesive whole. The brushwork is smooth and refined, revealing a serene and tranquil artistic conception. The strokes are fluid and unrestrained, free from hesitation or obstruction, exuding a transcendent and elegant charm, deeply rooted in the artistic spirit of the Jin Dynasty. The Yuan Dynasty calligrapher Jie Xisi once commented on this piece, saying, "The right scroll of Lu Jianzhi's running script 'Prose on Literature' is a Tang Dynasty masterpiece with a strong structure and the style of the Jin Dynasty. Such works are rare, and even if compared to the calligraphy of the Sui Dynasty monk Zhi Yong, it is still lacking in charm and excessive neatness. This scroll alone deserves three exclamations." The Yuan Dynasty calligrapher Zhao Mengfu once studied this scroll and deeply appreciated the brushwork and structure of the Jin Dynasty, benefiting greatly from it. Sun Chengze, in his preface to the ink rubbing of the 'Prose on Literature,' wrote, "Zhao Wenmin (Zhao Mengfu) once studied this scroll and learned the brushwork and structure of the Jin Dynasty, gaining immense benefit. This scroll has a clear lineage of transmission and was once owned by Zhao Mengfu. It is a rare and valuable work, reflecting the artistic spirit of Wang Xizhi. This scroll has been carefully preserved and passed down through generations, and its artistic value is unparalleled."