Song Dynasty book theory

Author: Chinese Calligraphy and Painting Theory Series
Publisher:
Publishing Date: 1999-12-01
Features: The prosperity and flourishing of Song Dynasty calligraphy, along with the exceptionally rich calligraphy theory materials, were closely related to the interest in painting and calligraphy among the emperors of the Song Dynasty. The Song Dynasty established the Imperial Academy of Calligraphy and Painting, and those skilled in either calligraphy or painting were often summoned to serve as court officials such as Attendants, Art Scholars, Calligraphy Scholars, or Students, providing calligraphers and painters with opportunities to rise to prominence. Among them, the most notable were Emperor Huizong and his son, Emperor Gaozong. Huizong was a renowned calligrapher and painter, with both calligraphy and painting styles of his own. He even ordered imperial officials to compile the Xuanhe Shupu (Xuanhe Calligraphy Spectrum) and the Xuanhe Huapu (Xuanhe Painting Spectrum), which were likely intended for teaching purposes in the Imperial Academy. This book is undoubtedly valuable, but reading it today always leaves a bitter taste in our mouths. This is because, externally, the Jin invaders were pressing hard on the borders, yet as the reigning emperor, Huizong was deeply engrossed in painting and calligraphy. When the Jin forces advanced further and threatened the capital, Huizong was forced to abdicate in favor of his son, Emperor Qinzong, and along with him, they became captives of the Jin, ultimately dying in Wuguo City—a tragic fate indeed.
Emperor Gaozong Zhao Gao, the ninth son of Huizong and the younger brother of Qinzong, was also a calligrapher and personally wrote the Hanmo Zhi (Record of Calligraphy and Painting), which revealed profound insights. Lu You’s Weinan Ji (Weinan Collection) and Wang Yinglin’s Yuhai (Jade Sea) both praised it. However, reading it today, we feel not only bitterness but also despair. As the ruler of a nation, with the country lost, his father and elder brother captured, and himself forced to establish his court in Shangqiu, he failed to consider measures for self-strengthening. Instead, he moved the capital to Yangzhou, then to Hangzhou, settling in the southern Jiangnan region, and spent his days obsessively practicing calligraphy. Zhao Gao even claimed, “From the Wei and Jin dynasties to the Six Dynasties, I have diligently copied all the calligraphic styles.” He also said, “For fifty years, unless severely hindered by great gains or losses, I have never spent a day without holding a brush.” The heroic general Yue Fei was executed by him, and the loyal general who stayed behind to defend the capital died of frustration. Yet he still claimed, “Unless severely hindered by great gains or losses!” Every time peace negotiations were held, he supported the faction advocating surrender, resulting in the cession of northern Huai River regions and bowing to the Jin as a vassal state, paying tribute. Some say he feared that calligraphy was a “pursuit of the trivial at the expense of the essential.” In reality, his daily calligraphy practice was a form of self-escapism. Zhao Gao’s calligraphy style admired the Eastern Jin Dynasty, which was also an era of regional autonomy in the Jiangnan region, much like Zhao Gao’s own decision to settle in the southern Jiangnan area. However, to be fair, his and his ancestors’ love for calligraphy provided crucial conditions for the prosperity and richness of Song Dynasty calligraphy and the abundance of calligraphy theory materials. The book (collected) here is only a part of the calligraphy theory of the Song Dynasty.