Chu Feng Ink Traces

Author: Lu Fusheng
Publisher:
Publish Date: 2003-07-01
Features: The Great Series of Folk Calligraphy in China. Since the mid-Spring and Autumn period, some powerful vassal states developed their cultural and artistic expressions according to their own aesthetic views and regional customs, leading to a regional trend in culture and art. As this trend continued to evolve, by the late Spring and Autumn period and the early Warring States period, the regional characteristics of cultural and artistic expressions in these powerful states had become quite distinct, evident in the shapes, patterns, and other aspects of a large number of unearthed artifacts from that era. At that time, the scripts of each state, influenced by different political, cultural, and artistic developments in practice, had begun to take on a regional diversity. The phenomenon of script diversity by region became increasingly severe in the middle and late Warring States period. For this reason, the square scripts of the Warring States period, when classified by their structural and morphological features and combined with their different regional relationships, can be divided into five major categories: the Yan, Qi, Jin, Qin, and Chu systems. Among the five Warring States script systems, the most distinct and easily identifiable are the Chu scripts. The Chu scripts, primarily based on the script of the Chu state, also include the scripts of neighboring states that shared similar features with the Chu script. In the early Warring States period, the regions used for Chu scripts included the states of Chu, Yue, Cai, and Zeng. Before the mid-Warring States period, the states of Cai, Zeng, and Yue were successively annexed by Chu, and the scripts used in these regions gradually evolved into Chu scripts. By the late Warring States period, the state of Lu was conquered by Chu, expanding the use of Chu scripts to Lu. However, this expansion lasted only for about three decades. Most of the Chu scripts seen today are indeed Chu scripts. In terms of brushwork, Chu scripts seek a sense of spontaneity. The starting points of strokes are not deliberately hidden; instead, they often begin with forceful, exposed brushwork. The endings of strokes vary: some extend to the very end, while others sweep off smoothly. What is particularly noteworthy is that some strokes are exceptionally refined, ensuring a seamless flow and momentum between them, employing techniques such as "serving" (a method of guiding the brush) and "returning" (a technique of trailing the brush), even connecting the next stroke with a faint line, perfectly embodying a running script style. As a result, the strokes in Chu scripts often exhibit a flowing and elegant beauty. From a microscopic perspective, different scribes in the Chu state each infused their unique artistic sensibilities into their brushwork, revealing their personalities. For this reason, the Chu scripts from the Warring States period, such as the "Chu Bamboo Slips from Changsha's," "Chu Bamboo Slips from Xinyang's," "Chu Bamboo Slips from Yati Lake," "Chu Bamboo Slips from Baoshan," and the "Chu Bamboo Slips from Shanghai Museum (bought from Hong Kong to the mainland)," naturally exhibit varying styles. Despite being anonymous works, many of them are the creations of skilled calligraphers, standing out in writing, structure, and brushwork while embodying exceptional craftsmanship. They hold significant value for research, study, reference, and appreciation. It is no wonder that they have captivated many calligraphers who cherish their ancestors' legacy in recent decades.