Chinese Stele and Inscription Classics -- Zhao Mengfu's Running and Cursive Thousand Characters: Zhao Mengfu's Running and Cursive Thousand Characters

Author: Shanghai Shuhua Publishing House
Publisher:
Publishing Date: 2005-03-01
Features: This book is one of the "Classics of Chinese Stele and Manuscript" series, showcasing the Running and Cursive Thousand Characters by Zhao Mengfu. The calligraphy in this volume is well-proportioned, with smooth and flowing brushstrokes, and elegant and refined composition. This copy not only holds great artistic and collectible value but also allows calligraphy enthusiasts to appreciate the ideal realm of classical Chinese calligraphy, embodying gentleness within strength, outwardly soft yet inwardly firm. Beginners can study and practice each character's brushwork, structure, and arrangement. This copy is truly a rare treasure and can be considered the best model for beginners.
In general, Yuan Dynasty calligraphy was an era that innovated through reviving the past. The calligraphers of the Yuan Dynasty, based on the styles of Tang Dynasty regular script, strove to emulate the models of the Jin Dynasty, creating a distinct trend. After Kublai Khan, the founder of the Yuan Dynasty, unified China, he, with his exceptional talent and vision, extensively befriended talented Han Chinese and recommended them for positions across various fields. He also sought to restore the old systems with slight modifications. Although he was relatively open-minded in culture and thought, he imposed strict restrictions on Han Chinese in military, financial, and imperial examination recruitment. As a result, the learned and talented found it difficult to achieve success in official positions and turned instead to the arts. In the field of calligraphy, Zhao Mengfu was one of the most outstanding representatives.
Zhao Mengfu (1254–1322), styled Zian, was known as the "Pine Snow Immortal" and was a native of Wuxing, Huzhou, Zhejiang. He was the ninth-generation descendant of Prince Defang, the fourth son of Emperor Taizu of the Song Dynasty. At the age of fourteen, he entered the civil service through his father's influence and later passed the imperial examination to become an official in the Ministry of Personnel. He was appointed as a county magistrate in Zhenzhou. After the fall of the Southern Song Dynasty, he retired to seclusion and devoted himself to self-study. At the age of thirty-three, Cheng Jufu, an censor of the circuit, was ordered to search for hidden talents in Jiangnan, and Zhao Mengfu was selected to attend the court, where he was appointed as a minister in the Ministry of War. Later, he was promoted to a direct scholar at the Jixian Academy and held various positions, including the chief administrator of Jinzhou, the chief inspector of Confucian education in Jiangnan, and the scholar-in-attendance at the Hanlin Academy. After his death, he was posthumously honored as Duke of Wei and posthumously titled Wenmin.
From a young age, Zhao Mengfu was exceptionally intelligent, memorizing what he read and writing essays effortlessly. In his early years, he studied calligraphy under Emperor Gaozong of the Song Dynasty, Zhao Gao. In middle age, he focused on emulating the calligraphy of Zhong Yao and the Wang brothers (Wang Xizhi and Wang Xianzhi) of the Jin Dynasty. In his later years, he paid attention to Li Beibei's style. According to Song Lian, he studied calligraphy with great diligence: "[He devoted himself to calligraphy with great care, and he practiced the Xian and Xuan scrolls a hundred times]." He also traced back to the Qin and Han dynasties, studying seal script from the Stone Drums and "Chu Chu Wen," and clerical script from Liang Huo and Zhong Yao. By absorbing the strengths of various styles, he eventually developed a calligraphic style that was graceful, dynamic, warm, and elegant. Yu Jie remarked that his regular script was deeply influenced by the Luoshen Fu, capturing its essence, his running script entered the realm of the Shengjiao Xu, and his cursive script was as refined as the Seventeen Treatises. His mastery lay entirely in the two words "diligence and dedication," making him a rare multi-talented calligrapher. The Biography of Zhao Mengfu in the History of the Yuan Dynasty states: "[Zhao Mengfu excelled in seal script, clerical script, regular script, running script, and cursive script, surpassing all predecessors and contemporaries, and thus gained fame for his calligraphy throughout the world.] Among these, his running and regular scripts were particularly outstanding, and his small regular script was the best of his works."
It is said that when he wrote, his brush moved swiftly like the wind and rain, and he could write ten thousand characters a day with great proficiency. As a descendant of the Song imperial family who later served the Yuan Dynasty, his loyalty was questioned, and his calligraphy was criticized as being overly subservient to the times. This was an unfair judgment based on personal bias rather than calligraphic merit.
Zhao Mengfu's calligraphy is like a charming and elegant Jiangnan scholar, belonging to the graceful and refined style, extremely smooth and round. Beginners who merely imitate his appearance without working on the underlying strength often fall into a path of subservience and frivolity. This is something to keep in mind.
Zhao Mengfu left behind numerous calligraphic works and printed copies. The Running and Cursive Thousand Characters by Zhao Mengfu in this volume does not bear a date of creation. Its brushwork is exceptionally warm, round, and strong, with precise and delicate strokes, elegant and simple compositions. As it is regular script, it is also dignified and rigorous, intended to teach the principles of calligraphy. It is undoubtedly an excellent model for beginners. It is now published in a photolithographic edition for the appreciation and study of calligraphy enthusiasts.