Masterpieces of Calligraphy by Famous Chinese Artists Through the Ages: Qing Dynasty. He Shaoji

Author: Wang Xian
Publisher:
Publishing Date: 2002-05-01
Features: The series "Exquisite Calligraphy of Famous Masters in Chinese History" is a collection of published calligraphy treasures from museums and private collectors both domestically and internationally, aiming to showcase the depth and breadth of Chinese calligraphy. The entire series is published in batches, providing enjoyment and reference for calligraphy enthusiasts. The series "Exquisite Calligraphy of Famous Masters in Chinese History" is a collection of published calligraphy treasures from museums and private collectors both domestically and internationally, aiming to showcase the depth and breadth of Chinese calligraphy. The entire series is published in batches, providing enjoyment and reference for calligraphy enthusiasts.
He Shaoji (1799-1873) [Qing], styled Zizhen, styled Dongzhou Jushi, styled Wan suo (also written as Yuan suo). The inscription on the seal forest describes his grip as using the elbow like opening a strong bow and arrow, taking the meaning of Li Guang's bear arm bowing. Born in Daozhou, Hunan (now Dao County), he was the son of Ling Hanzi. In the 16th year of Daoguang (1836), he passed the imperial examination and became a compiler. He was skilled in classics and poetry, especially in the study of Shuowen Kaodeng, and also engaged in inscriptions on stone and bronze artifacts. His calligraphy emulated Yan Zhenqing and traced back to the Seal and Clerical scripts of the Zhou, Qin, and Han dynasties, as well as the steles of the Northern and Southern Dynasties of the Six Dynasties, all of which he meticulously studied and pursued, forming his own distinct style. His cursive calligraphy was particularly renowned as the best of his generation. He wrote thousands of couplets for others, each unique. In his later years, he used the methods of Seal and Clerical scripts to paint orchids, bamboo, and stones with just a few strokes, exuding the aura of stone and bronze artifacts. Occasionally, he painted landscapes, refusing to imitate appearances, instead freely wielding his brush to create desolate and cold scenes, capturing the essence of Shitao in his later years. His paintings were always accompanied by long inscriptions, many of which were excellent lines, but he rarely created them, only doing so when inspired, and often destroyed them himself, so few have survived. In the early years of the Tongzhi reign, he resided in Shanghai and later died in Wu County at the age of 75. He left behind works such as "Corrections to the Annotations of Shuowen" and a collection of poems and essays.