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Timely Clearing After Snowfall
Wang Hsi-chih, style name I-sao, was a native of Lin-i in Lang-ya (Shantung province) and a member of the nobility. At the end of the Western Chin (265-316), he accompanied his father in moving south. During his career, he held various official positions. In 351, he was appointed as General of the Right Army and Administrator of K'uai-chi. Sometime between 355 and 356, he chose to resign from all positions and joined other figures of renown on scenic excursions.

Wang Hsi-chih was versed in poetry, music, and calligraphy. In the latter, he studied the works of all the masters past and present, frequently changing his models and expanding his repertoire in the process. He was especially gifted in the study of script forms. He took different brush styles, such as Ch'in dynasty (221-206 BC) seal script and Han dynasty (206 BC-220 AD) clerical script, and fused them into standard, running, and cursive scripts to create ideal calligraphy forms. Therefore, later generations in the T'ang dynasty (618-907) praised him as "taking the best of all styles and compiling them into one to become the master of all time." For this reason, he became known as the "Sage Calligrapher".

In this short letter written in running script, Wang Hsi-chih sends greetings to a friend after a snowfall. The Ming dynasty connoisseur Chan Ching-feng (1520-1602) pointed out that the round, forceful, elegant nature of the brushwork here has a leisurely spirit that influenced the running script of Chao Meng-fu (1254-1322), an influential calligrapher of the Yuan dynasty. Much of the brushwork appears round and blunt, the dots and hooked strokes not revealing the tip of the brush. The characters are even and balanced, revealing a straightforward elegance and introverted harmony. The Ch'ien-lung Emperor (reigned 1736-1795) in the Ch'ing dynasty especially prized this work, praising it as "The one and only; a masterpiece for all time." In 1747, he had it and "Mid-Autumn" by Wang Hsi-chih's son (Wang Hsien-Chin) and "Po-yuan" by Wang Hsun mounted together to form what he called "The Three Treasures" and housed in a special building--"The Three Treasures Hall".

 

 

Essay on Calligraphy
Although there is some controversy historical texts over Sun Kuo-t'ing's actual name and native place, it would appear from his signature on this work that Sun Kuo-t'ing indeed was his name and that he was from Wu-chun. Although of humble origins, he eventually went on to serve in high position at court. Since he was of high moral integrity, however, he resigned from officialdom after he was slandered at court. He then turned to focus on the study of calligraphy.

The first column of this handscroll at the right translates as follows:" Chapter One of Essay on Calligraphy. By Sun Kuo-t'ing of Wu-chun." The end of the scroll at the left states, "Record written in the third year of the Ch'ui-kung era [687 AD]." The content itself deals mainly with the author's experiences in calligraphy, an essay on essential points, and some basic principles of calligraphy. This handscroll is generally considered to be the preface to a longer work. Sometime from the 10th to 15th century, it was cut into two pieces. Coming into the hands of the Ming dynasty collector Yen Sung (1480-1565), it was remounted as a single work again. It is believed to have been originally composed of two chapters, the second of which was the main essay that the author did not finish.

Sun Kuo-t'ing specialized in cursive script using the style of Wang Hsi-chih (ca. 303-361). Sun's style is exceptionally accomplished, and it remained unparalleled throughout the T'ang dynasty (618-907). The paper and ink of this work are in a remarkable state of preservation, providing a detailed and clear account of his dazzling brushwork. This is not only an exceptionally insightful essay on the study of calligraphy, but it is also an ideal model for the art of cursive script. It represents a style that fuses a straightforward quality with beautiful elegance.

Sun Kuo-t'ing sometimes held the brush straight and other times at an angle. The tip of the brush is occasionally exposed. The brushwork dashes forth, changing constantly in a way that never ceases to amaze the viewer. The force is strong yet.

 

 

Autobiography
Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. Born in Ling-ling County, Hunan, he later moved to Ch'ang-sha. Even as a youth, he was interested in Buddhism, eventually taking the tonsure. Huai-su was also a devotee of the art of cursive script. At around 772, he traveled north to the capital Ch'ang-an and Loyang. His cursive script was similar in spirit to his free and unrestrained personality. It was therefore greatly admired by famous contemporaries, poets, and other calligraphers, such as Yen Chen-ch'ing (709-785), who all presented him with gifts of prose and poetry. In 777, Huai-su transcribed some of these gifts with a preface in "wild" cursive script to create this handscroll.

In this work, Huai-su used a fine brush to write out often quite large characters. The strokes are rounded and dashing, almost as if they were steel wires curled and bent. The tip of the brush is exposed where it lifts from the paper, leaving a distinctive hook-hence the description "steel strokes and silver hooks" for his calligraphy. A continuous cursive force permeates the entire piece. The brush skirts up, down, left, and right as it speeds across the paper. The crescendos of the brush, as if it were a sword, reveal varying speeds. The calligraphy also appears heavy and light in places. In other words, this work appears very much like a symphony with distinct rhythms, harmonies and sections where the instruments are all wonderfully orchestrated for an overall sense of feeling and depth. In addition to the strokes, the dots suggest breaks for the flowing strokes. In the relentless force of the brushwork, the centered brush swirled and danced to create character after character and line after line, only to be punctuated by the impeccably placed dots. Despite this piece being "wild" cursive script, it also has a sense of regularity. Thus, this handscroll represents the ultimate in cursive script-control with freedom and spirit with restraint.