Song Dai, Shaoxing Rice Slips, One: Mi Fu

Author: Wang Haoming
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Publication Date: 2005-01-01
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Cai Shu (1051-1107), styled Yuanzhang, was known as Xiangyang Manshi and Haiye Wai Shi. His ancestral home was in Shanxi, but he moved to Xiangyang, earning the title "Cai Xiangyang." Historical accounts describe him as eccentric, fond of Tang-style clothing, and obsessively clean. He revered stones, calling them "brothers" and worshipping them, hence the nickname "Cai Dian." At the age of six, he had memorized over a hundred poems; by seven, he began studying calligraphy, and by ten, he was composing inscriptions. At twenty-one, he entered the officialdom, proving himself a prodigious talent. In calligraphy, he was one of the "Four Calligraphers of the Song Dynasty" (Su Shi, Cai Shu, Huang Tingjian, and Cai Jing), and the most outstanding among them. His style was unrestrained yet disciplined, earning Su Dongpo's admiration: "In regular, cursive, clerical, and seal scripts, he is like a gale-swept warship, steady and powerful." On the other hand, he pioneered the "Cai Family Cloud Mountains" technique in landscape painting, skillfully using blurred brushwork to depict the misty Jiangnan scenery. His use of varying shades of thick and dry ink, as well as scattered dots and clusters, recreated layered mountains, earning him the name "Cai Dian." He became a revered figure for later painters, who emulated his style. His son, Cai Youren, left behind numerous works, ensuring the continuation of this artistic tradition and elevating the "literati painting" style to new heights, celebrated in art history. Whether Cai Shu prioritized calligraphy or painting, historians held differing views. As a calligrapher, painter, appraiser, and collector, he amassed a vast collection and possessed a broad perspective, making his writings invaluable for later studies of art history. His works include Bao Zhang Dai Fang Lu, Shu Shi, Hua Shi, Yan Shi, and Haiye Tie Ba. Bao Zhang Dai Fang Lu, compiled in the first month of Yuanyou (1086), is divided into "Witnessed" and "Hearsay" sections, recording eighty-four works from the Jin and Tang dynasties, setting a precedent for later catalogues and influencing many imitations, such as Zhang Chou's Zhangshi Si Biao. Shu Shi is even more detailed, serving as a reference for later appraisers. Haiye primarily reflects his personal insights, which are highly pertinent. This book is generally believed to have been compiled from his remarks by later scholars. Cai Shu dedicated himself deeply to calligraphy, with his greatest achievements in running script. Although few of his paintings survive, many of his calligraphic works remain. In the renowned Northern Song dynasty anthologies since the Southern Song, most include his running script, spreading widely and leaving a profound impact. Among the "Four Great Calligraphers of the Northern Song," he stands out as the most influential. Kang Youwei once remarked, "The Tang valued structure, while the Song cherished spirit." This meant Northern Song calligraphers emphasized individuality and creativity, and Cai Shu exemplified this exceptionally, making him the outstanding representative of the four. Cai Shu claimed to "collect ancient characters" in his calligraphy, which some mocked, while others praised: "His natural talent surpasses all, yet he still finds his own way through collecting ancient styles" (Wang Wenji). This partly explains the success of his calligraphy. According to Cai Shu's own account, before studying Jin dynasty calligraphy under Su Dongpo, he was deeply influenced by five Tang calligraphers: Yan Zhenqing, Ouyang Xun, Chu Suiliang, Shen Chuanshi, and Duan Jizhan. He adopted many unique brush techniques, such as the rounded turn at the right corner of the character "men," the abrupt rise of the vertical hook, and the crab-claw hook—all derived from Yan's running script. His slender, upright style likely came from imitating Ouyang's characters, a practice he maintained for a long time. Shen Chuanshi's running script resembled Chu Suiliang's; Cai Shu's large characters were influenced by Duan Jizhan, with his "four-sided" and "brush-like" style possibly originating from this. Chu Suiliang's dynamic brushwork and lively composition suited Cai Shu's taste, who once praised his characters: "Like a skilled commander leading his army, they move effortlessly yet carry a proud spirit." After 1082, he began seeking Jin dynasty calligraphy, acquiring Wang Xuanzhi's Mid-Autumn Letter within a year. This masterpiece deeply influenced him, as he always believed Wang Xuanzhi was inferior to his son. However, the unrestrained Cai Shu was never content with the younger Wang. As early as the Shaosheng era, he declared, "I am tired of Wang's slave script and will not exchange a goose for it," and "I will wash away the faults of the two Wangs." It is said he studied Yang Xin, and Li Zhiyi remarked, "The immortal of Haiye does not expect me, yet Yang Xin's brushwork is even more extraordinary." If Cai Shu did study Yang Xin, it was likely after settling in Haiye An, around 1091. Nevertheless, his calligraphy remained unrefined. Works like Tiao Xi, Bi Lingming's Temple Inscription, and Shu Su were written within a month of each other in 1093, yet their styles varied significantly, showing he had not fully escaped the influence of ancient characters. Only when he "finally formed his own style at fifty, and others saw it but could not discern its essence" did he fully establish his style, likely after fifty. This mature calligraphic style, however, was marred by his unrestrained pursuit of "power"—even in small characters like Xiang Taihou's Eulogy, he experimented recklessly. While "power" was an asset, it also became his flaw. As Huang Tingjian aptly summarized, "He excelled only in running script, while regular and cursive scripts were mediocre." The term "regular script" at the time was not strictly defined as modern zhengkai, but if it referred to seal or clerical scripts, it would be fitting. His extant seal and clerical scripts were indeed not refined, and his cursive script was average. Later, he criticized Tang dynasty cursive scripts and was limited in his understanding of Jin dynasty cursive, resulting in mediocre achievements. Cai Shu approached calligraphy with great seriousness, unlike some who imagined him writing carelessly without thought. He himself said, "When I wrote Hai Tai Po, I revised it three or four times, and only a few words pleased me. Trusting in calligraphy is indeed difficult" (Fan Mingtai, Cai Xiangyang Wai Ji). A poem took three or four revisions, yet only a few words met his satisfaction. The struggles behind this are known only to those who practice calligraphy, revealing his rigorous creative attitude. This book is a comprehensive introduction to Cai Shu, featuring the Song Shao Xiang Cai Tie, a collection of ten volumes also known as Song Taizong's Carved Cai Shu. The original stone existed in the imperial collection during the Ming dynasty, and only half a piece remains after the Qianlong era.