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Chinese Fine Arts

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  • Translated by Hing Jia Wen

  • PrefaceThe Chinese has a long history and an impressive arts culture. There are countless masters in the various disciplines who have established themselves as mountain peaks in a landscape of Chinese fine arts. Ancient Chinese fine arts possess distinctive characteristics which have impacted and influenced human civilization to different extents. Vigorous calligraphy, mesmerising paintings, melodious music, charismatic opera, lyrical folk arts and magnificent sculptures reflect the ancient Chinese perception of the universe and understanding of life. They put emphasis on harmony and the presentation of a persons inner world and individuality. Chinese fine arts are highly valued for their brilliant freehand techniques in calligraphy and painting.

    Chinese calligraphy is the most representative of all Chinese arts. Chinese calligraphers use brush, ink and paper to create graceful characters. They write with a force that punctuates the paper with incomparable exquisiteness. In their brush strokes lie their philosophical understanding of life. It can be said that calligraphy is a soundless music, an abstract painting and a dance on paper. In The Path of Beauty, Mr Li Zehou regarded calligraphy as embodying the spirit of Chinese arts: Even though it is more closely related to painting and sculpture, calligraphy is comparable to music and dance. Calligraphy is not derived from painting. Instead, it is painting that has to absorb calligraphys experience, techniques and power. The strength, smoothness, power and rhythm of calligraphy can be applied to music. These features have become the soul of various Chinese visual and performing arts.

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  • Another important element of ancient Chinese arts is music. Performing arts that involve music and dance have been practised in China for a long time. The two were once considered inseparable. When poetry was created, the three were combined. Musical performance have dominated the performing arts from the ancient times to the Sui and Tang dynasties. A later conception, Chinese opera was an evolved form of traditional musical performance, and is considered to be another brilliant and popular performing art.

    Ancient Chinese fine arts have come a long way. Ten thousand years ago, cavemen made beads and decorative pieces from stones and bones. They mastered grinding and drilling techniques, and started to produce painted pottery during the late Neolithic period. Painted pottery unearthed from Banpo were decorated with images of dogs, fish, frogs and birds, while pottery discovered at Majiayao had geometric motifs on them. These creations are the earliest forms of Chinese sculpture art, and also represent the roots of Chinese painting.

    The spectrum of traditional Chinese fine arts is as vast and as deep as the ocean. This volume propounds Chinese arts from a fresh perspective for young and interested readers. You will gain a comprehensive and multi-layered analysis of the subjects. The book introduces calligraphy, painting, music, dance, opera and other Chinese arts in a systematic order, and is supported by a total of 300 paintings and photographs.

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  • Zhong You and the Zhong Font 2Lu Ji and Pingfu Tie 4Wang Xizhi and Preface to The Story of the Orchid Pavilion 6Wei Bei: Tablets from the Northern Dynasties 8Ouyang Xun and Nine Palace Fountain Inscriptions 10Yu Shinan: Emperor Taizongs Calligraphy Mentor 12Chu Suiliang and The Sacred Teachings of Monk Tripitaka of the Great Tang Dynasty

    14

    Sun Guoting and Treatise on Calligraphy 16Li Yangbing: Li Bais Talented Relative 18Yan Zhenqing: A Student of Zhang Xu 20Liu Gongquan and Monument of the Great Strategy Army 22Zhang Xu: The Madman 24Huai Su: The Drunk Monk 26Su Shi: The Artist in Exile 28Mi Fu: The Diligent Student of Calligraphy 30Wen Zhengming: A Master of Small Kaishu 32Zhu Yunming: The Unwilling Official 34Huang Daozhou: The Patriotic Martyr 36Wang Duo: The Imposing Calligrapher 38Fu Shan: The Best Calligrapher of Early Qing 40Deng Shiru: Master of Inscription of the Qing Dynasty 42

    Calligraphy Contents

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  • Pottery Art 46Paintings on Silk During the Warring States 48Han Dynasty Murals 50Gu Kaizhi: Excellent, Gifted and Eccentric 52Zhang Sengyao: Innovator of Traditional Chinese Painting 54Zhan Ziqian and Spring Outing 56Wang Wei: The Finest Artist of the Tang Dynasty 58Yan Liben and Pace of Emperor 60Wu Daozi: Sage of Chinese Painting 62Guan Tong: Master of Landscape Painting 64Dunhuang Murals: Religious Images Inspired By Mortal Life 66Zhang Xuan and Zhou Fang: Masters of Court Lady Paintings

    68

    Bian Luan: Pioneer of Bird-and-Flower Painting 70Gu Hongzhong and Night Revels of Han Xizai 72Zhao Ji: The Incompetent Emperor Huizong 74Zhang Zeduan and Along the River during the Qingming Festival

    76

    Liang Kai: The Transgressive Painter 78Wen Tong: Master of Bamboo Paintings in Ink 80The Four Great Artists of the Southern Song Dynasty 82Li Gonglin: Pioneer of Line Painting 84Zhao Mengfu: Top Artist of the Yuan Dynasty 86Ni Zan: The Unconventional Artist 88Huang Gongwang and Dwelling in the Fuchun Mountains 90Shen Zhou: Founder of the Wu School 92Qiu Ying: Prominent Artist of the Ming Dynasty 94Tang Yin: Thousand Mile Tour 96Xu Wei: The Talented Painter Who Went Mad 98Chen Hongshou: The Great Printmaking Master 100Dong Qichang: A Prominent Art Figure During Late Ming 102Bada Shanren (Mountain Man of the Eight Greats): Painting with More Tears than Ink

    104

    Paintings

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  • Kun Can: The Artist Who Lived in the Woods 106Shi Tao: Pioneer of Splash-Ink Painting Style 108Yun Shouping: Injecting Life into Flowers 110Zheng Banqiao: The Peculiar Artist 112The Eight Eccentrics of Yangzhou 114The Shanghai School: Prologue to Modern Chinese Painting

    116

    The Lingnan School: Combining the East and West 118Ren Bonian: The Chinese Van Gogh 120Wu Changshuo: Expert Seal-Cutter 122Zhang Daqian: Master of All Styles 124Qi Baishi: Realistic Bird-and-Flower Painting 126

    Classic of Poetry: Ancient Music Lyrics and Songs 130Bianzhong: The Grand Set of Bells 132

    Li Yannian and Song for the Beauty 134Cai Wenji and 18 Songs of a Nomad Flute 136Ji Kang and Music from Guangling 138Three Movements of Plum Blossoms 140Su Zhipo: The Music Theorist 142King Qin Breaking up the Enemys Front 144Melody of White Feather Garments 146Buddhist Music: Tranquil and Elegant 148Washe, Goulan and Shuochang: Theatre, Stage and Narrative Songs

    150

    Quzi Ci: Folk Music Lyrics 152Misty Rivers of Xiaoxiang: Describing Landscape with Music

    154

    Haiqing Preying on the Swan: Oldest Pipa Melody 156Ambush from Ten Sides: Music of the Chu-Han Contention

    158

    Sanqu: Folk Music of the Yuan Dynasty 160Folk Songs of the Ming Dynasty 162

    Music

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  • Baixi: Pioneer of Chinese Opera 184Jiaodixi: The Battling Performance 186Canjunxi: Ancient Chinese Comedy 188Gewuxi: Musicals of the Tang Dynasty 190Zaju: Mixed Opera of the Song Dynasty 192Four Great Playwrights of the Yuan Dynasty 194Guan Hanqing and Injustice to Dou E 196Wang Shifu and Romance of the West Chamber 198Tang Xianzu and The Peony Pavilion 200Li Yu: Founder of the Suzhou School of Opera 202Hong Sheng and the Palace of Eternal Youth 204Kong Shangren and Peach Blossom Fan 206Peking Opera: Epitome of Modern Chinese Theatre 208Yuju: Modern Theatre of the Ordinary Folk 210

    Chinese Opera

    The Earliest Primitive Dance: Full of Mystery and Character

    166

    Baixi: Spectacular Multi-Genre Performance 168Qingshangyue: Han Folk Music and Dance 170Huxuan Dance: Spinning Like the Wind 172Huteng Dance: Full of Strength 174Jianwu and Ruanwu: Robust and Gentle Dances of the Tang Dynasty

    176

    Tage Dance: To Sing and Dance at the Same Time 178Duiwu and Wudui: Group Dances of the Song Dynasty

    180

    Chinese Dance

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  • Tanci: Pastime of Upper Class Ladies 214Xianzishu: Storytelling with Rhymes 216Drum Song of Peking: Stories in Songs 218Plum Blossom Drum Ballad: The Five Petals of the Plum Blossom

    220

    Majie Folk Artist Fair 222

    Folk Arts

    Bronze Sculptures: Chinas Bronze Age 226The Terracotta Army: Imposing Warriors 228Stone Sculptures at Huo Qubings Tomb: Patriotic Spirit Set in Stone

    230

    Maijishan Grottoes: Oriental Sculpture Gallery 232Yungang Grottoes: Images of the Performing Arts 234Longmen Grottoes: Entering an Ancient World of Buddhism 236Creatures Before the Southern Dynasties Mausoleums: Majestic Mythological Beasts

    238

    The Six Steeds of Zhao Mausoleum: Glory Set in Stone 240Qian Mausoleum: Tomb of Emperor Gaozong and Empress Wu Zetian

    242

    The Thirteen Tombs of the Ming Dynasty: Magnificent Imperial Mausoleums

    244

    Ancient Sculptures

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  • 2

    About the CalligrapherZhong You (153230) was a calligrapher in the Wei nation during the Three Kingdoms. He was born into a prominent family during the Eastern Han Dynasty. His father Zhong Di, who had never been in an official position due to political constrain, passed away when Zhong You was young. He was brought up by his uncle.

    Zhong was a handsome and intelligent child. Once, while he was on the way to Luoyang with his uncle, they encountered a physiognomist. The fortune-teller predicted that Zhong would be rich in the future, but told the duo to be wary of a water-related accident. Zhong and his uncle continued on with their journey for a few more miles before Zhongs horse went into a sudden fit and threw him into a river, causing him to nearly drown. Since part of the fortune-tellers words came true, his uncle realised that Zhong was meant for greatness. He provided Zhong with a good education so that he could succeed in the future. Zhong lived up to expectations by studying hard, and eventually became a master.

    During the Battle of Guandu, Zhong sent Cao Cao more than a thousand horses during a crucial moment, which put Cao Cao at an advantage. For his assistance during the battle, Zhong enjoyed a close relationship with the Cao family. He was appointed as Grand Tutor, and was one of the important officials during the Cao Wei times. When he passed away in 230, Emperor Cao Rui donned funeral garb to mourn for him.

    Obsession with CalligraphyZhong You studied the styles of Cao Xi, Liu De, and Cai Yong, famous calligraphers of the time, to hone his own skill. An extremely bright and passionate student, his study of calligraphy was intense. He claimed: Throughout my 30 years of calligraphy study, I always had a book close by

    Zhong You (), widely considered to be the pioneer of Chinese

    calligraphy, has influenced

    the art form greatly. He

    standardised calligraphy

    with the kaishu style, a

    font that has contributed

    largely to the development

    of Chinese characters. He

    later created a font named

    zhong which was widely

    studied, and it continued to

    impact the development of

    the kai font.

    Zhong Youand the Zhong Font

    Limingbiao

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  • CHINESE FINE ARTS

    3

    so that I could study at anytime. Sometimes, I even went to bed with the books! Zhong Yous passion for calligraphy was manical. According to a folk tale, during a visit to Wei Dans, he found a book illustrating Cai Yongs secrets to calligraphy, and requested for Wei Dan to lend him the book. Despite Zhongs pleads, Wei Dan refused as the book was too valuable. In his frustration, Zhong hit his own chest and almost died as a result. He was rescued only when Cao Cao sent a doctor. Despite the dramatic incident, Wei Dan remained firm on his decision not to lend Zhong You the book. Eventually, Zhong stole the book from Wei Dans grave after his death.

    StyleZhong Yous calligraphy is simple, elegant and neat. In 12 Meanings of Zhong Yous Calligraphy, Emperor Wudi of the Liang Dynasty praised Zhongs work as a delicate, ingenious and heavenly creation. His work was compared to another famous calligrapher of that period, Hu Zhao, and the duo were referred to as Fat Hu and Thin Zhong. Another comparison was made with Wang Xizhi, a great calligrapher from the Jin Dynasty, and they were called Zhong Wang. Zhong's kaishu calligraphy was outstanding during his time for its portrayal of beauty, elegance and depth. His small kaishu is slightly flat and compact. Its stipples are heavy, but the strokes fresh, which gave it a natural feel. His work Memorial Recommending Ji Zhi () is respected by calligraphers even today. Lu Xingzhi of the Yuan Dynasty called this piece of work the best, unprecedented calligraphy work on Earth.

    Zhong You is a prominent figure in the history of Chinese calligraphy, and an influential person in calligraphy academia. The Bookstore Essence documented these words about him: The master behind these brushstrokes has conquered Heaven and Earth. He often used the relationship between Heaven, Earth and Man to describe the art of calligraphy. He believed that nature was the essence of calligraphy, and tried to incorporate the spirit of nature into his calligraphy. He was diligent student of calligraphy, and also a teacher who has affected the development of Chinese calligraphy.

    Zhong You versus Guo Yan

    Zhong You never avoided his enemies. After the Guandu war, he became a prominent figure in Cao Caos camp. Once, he led an army to fight Guo Yuan. He was a strong opponent, and Zhongs subordinates persuaded him to retreat. He said, If we were to retreat now, Guo Yuan would believe that we are afraid of him. The people hate Guo Yuan. If we were to retreat, what would happen to them? We would lose the heart of the people before battling. Besides, Guo Yuan would think that he stands a chance against us with the little number of people we have here. Once he crosses over Fenshui to encamp, we shall cross over to exterminate them. Things turned out just as Zhong had predicted. Guo Yuans army was exterminated. After that, Zhong defeated many others and claimed their lands. His exploits were celebrated.

    Memorial Recommending Ji Zhi

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  • 4

    Lu Ji () was a famous writer and an outstanding calligrapher

    of the Western Jin Dynasty.

    Pingfu Tie (), which

    was written by him, is the

    earliest recovered piece of

    Chinese calligraphy work.

    Lu Ji is a respected figure

    in the history of Chinese

    calligraphy. He was known

    as the King of Ink, and

    his work as Imperial

    Notes.

    About the CalligrapherLu Ji (261-303), whose courtesy name was Shiheng, was said to be born in either Wujun (todays Suzhou) or Huating (todays Songjiang of Shanghai province). Lu came from a family of officials. His grandfather, Lu Xun, and his father, Lu Kang, were famous generals who represented Dongwu during the Three Kingdoms. Lu Ji served as the Interior Minister of Pingyuan, a libationer (the Imperial winetaster), and a Gentleman of Writing. He was also known as Lu Pingyuan. He was put to death during the War of the Eight Princes on false charges.

    Lu Ji has been described as a rare genius, with unsurpassable masterpieces. He had many prominent literary accomplishments. He left later generations with many poems and literary criticisms, which were his strengths. When he was 20, he wrote Wen Fu (On Literature), a literary monograph that became the first of its kind. The monograph systematically analysed the nature of literary and creative accomplishments, its motivation, ideas, aesthetic expressions, literary patterns and style.

    Lu Ji was known for being an eminent calligrapher. His Pingfu Tie was a major influence in Chinese calligraphy.

    StyleLu Ji once wrote a letter to his friend, explaining that he was in a weak condition and might not recover. The letter was later referred to as Pingfu Tie (Letter of Recovery). The letter is made up of nine rows and 84 characters. The strokes start off rounded and end up pointed, and the characters are higher on the left than the right. Lu did not practise the usual standard of Chinese calligraphy, which required the the head of silkworm to be joint with the tail of phoenix and the silver hook of a scorpion. This standard used a balanced strength throughout the stroke, yet felt casual at the same time. Despite the lack of consistent

    Wen Fu (On Literature)

    Lu Jiand Pingfu Tie

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  • CHINESE FINE ARTS

    5

    formatting, the characters reflected Lus psyche. Concise and simple, the strokes project smooth, wavy-like shapes that resemble the Li font the lines are short and plump, and there is obvious spacing between the characters. The thought flow is also continuous and cohesive. Pingfu Tie shows a transition from caoshu (running style) to lishu (official style), integrating features of the two. The strokes are wavy, but not as distinct as those in lishu.

    Pingfu Tie is a difficult piece to analyse, in terms of both language and calligraphy. Lu used dry ink to create an effect many calligraphers call the old vine, which is different from the usual wet ink style. There have many reviews of Pingfu Tie throughout the different dynasties. Chen Yi of the Song Dynasty described it as a rare ancient piece with illegible writing; Dong Qichang of the Ming Dynasty called it a few lines as precious as gemstones, written in an era between two famous calligraphers Yuanchang and Youjun, while Gu Fu of the Qing Dynasty regarded the piece as old-fashioned, imperfect and unreadable. The piece has become an inspiration for caoshu font masters including Huai Su and Yang Ningshi.

    Pingfu Tie and Zhang BojuPingfu Tie was passed down through nobles and feudal intellectuals who kept it as part of their private collections.During WWII, the Japanese imperialists plundered Chinese wealth and national treasures. At that time, someone wanted to present Pingfu Tie as a gift to the Japanese. When Zhang, a well-known calligrapher and collector at that time, heard about it, he was furious and anxious to protect the precious artefact. He sold all his possessions and bought Pingfu Tie together with some other ancient treasures. Pingfu Tie itself cost him 40,000 yuan at that time. After the Republic of China was founded, Mr and Mrs Zhang donated the 1,700 year-old Pingfu Tie to the government.

    Pingfu Tie

    Ancient Celebrities

    Lu Ji came from a prestigious family during the Three Kingdoms period that declined after the Jin Dynasty was established. He retreated to his hometown with his younger brother, Lu Yun, where they spent ten years studying. In 289, the brothers went to Luoyang, the capital of the Jin Dynasty, which aroused a lot of public attention. They were considered as geniuses that were more talented than three famous scholars of the time Zhang Zai, Zhang Xie and Zhang Kang. When the Lu brothers arrived at Luoyang, people started to idolise them instead, and the Zhangs were quickly forgotten. Celebrity worship were common in the ancient days too.

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  • 6

    Wang Xizhi and Preface to the Story of the Orchid Pavilion

    Wang Xizhis () calligraphy is characterised by his

    delicate style and changing

    structures, which was quite

    different from calligraphy

    from the Han and the

    Western Jin dynasties.

    He developed Chinese

    calligraphy into a real art

    form by emphasising on

    its mood and aesthetic

    factor. His success won him

    the title of The Saint of

    Calligraphy.

    About the CalligrapherWang Xizhi (303-361 or 321-379), whose courtesy name was Yishao, also known as Danzhai, was born in Langya of Linyi (todays Linyi of Shandong Province). He grew up in one of the most prominent families of the Eastern Jin Dynasty. His father, Wang Kuang, had served as the Governor of Taishou and the court historian of Huiji.

    Wang avoided entering the Imperial Court until General Yu Liang invited Wang to join the army as his advisor. He rose up the ranks rapidly and eventually became General You (you literally means the direction right), one of the three major generals during the Jin Dynasty. He later resigned, giving the reason of bad health, which was an excuse to avoid contact with a disagreeable colleague. He retreated into seclusion until his death.

    Wang was a great admirer of calligraphy. He practised it diligently and became a master. His work, Preface to the Story of the Orchid Pavilion (), is considered a classic masterpiece.

    StyleWang Xizhi often practised calligraphy by a pond, and it became a habit for him to rinse his inkstone in the pond. As time passed, water in the pond turned black, and the

    Preface to the Story of the Orchid Pavilion

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  • CHINESE FINE ARTS

    7

    pond was named the Ink pond. He specialised in a variety of fonts, including lishu, caoshu, kaishu and xingshu. His works are calm and natural, his movements subtle, powerful and handsome. His work has been described as an energetic dragon leaping over the heaven gate and the calm tiger crouching in the phoenix chamber.

    None of Wang's original works survive today, but a few block-printed copies were preserved, including Sangluan Tie () and Preface to the Story of the Orchid Pavilion, his most influential work.

    Preface has been admired by calligraphers throughout history, and is considered the best xingshu manuscript on Earth. According to legend, Emperor Taizong of the Tang Dynasty named Wang's masterpiece as a national treasure and called upon calligraphers to mimic his writing style.

    Preface to the Story of the Orchid PavilionDuring the Eastern Jin Dynasty, 41 people, including Wang Xizhi, wrote a poem during an event held at the orchid pavilion at Shaoxing. Wang was responsible for writing the preface. He described the beautiful scenery surrounding the orchid pavilion and the joyous moments he had there. Following that, he lamented the transcience of happiness and the impermanence of life. Preface consists of 28 rows and 324 characters. With perfect composition, structure and stroke, the piece represents his finest creation at age 50.

    The copy of Preface that is the most widely circulated today was created during the Tang Dynasty. This copy meticulously adhered to Wangs style, and is widely recognised as the best copy of masterpiece. A stone inscription of the poem was recently discovered, but was later identified to be unauthentic. It is suspected to be a copy made during the Sui or Tang dynasties.

    Wang Xizhis son, Wang Xianzhi, was also a famous calligrapher. He started learning calligraphy from his father at a young age. He was famous for his xingshu and caoshu styles later in his life. They are often referred to as the Two Wangs.

    Sangluan Tie

    The Talented and Carefree Son-in-law

    Wang Xizhi was a carefree man who was not bound by convention. Fame and fortune did not appeal to him at all. He appeared in a story recorded in the New Anecdotes. Xi Jian, the Grand Commandant of the Jin Dynasty, wanted to marry his daughter to the prestigious Wang family. He sent an aide to the Wang residence to select a suitable candidate. The aide reported, All young men looked modest, except for one, who was lying topless on the bed enjoying a snack even when there were guests in the house. At this moment, Xi Jian declared, That is the son-in-law I am looking for! He had picked Wang Xizhi, and this is the famous story about the talented and happy-go-lucky son-in-law.

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  • 8

    Weibei (), literally Northern tablets, refers to inscriptions

    made on tablets during

    the Northern Dynasties.

    The strong and stiff font

    used on weibei became

    a standard for the future

    generations. Weibei

    usually employed the

    kaishu style, which is why

    some people refer to the

    calligraphic font used for

    the inscriptions as weikai.

    Brief Description The three main types of kaishu are weikai, jinkai and tangkai (from the Jin and Tang Dynasties respectively). Weibei displays the transition from lishu to kaishu. Kaishu emerged some time between the Wei and Jin dynasties. Zhong Yous Proclamation and Wang Xizhis The Yellow Emperor Classic are examples of the kaishu manuscript. After a large group of scholars migrated from Western Jin to the South, calligraphy style in the Northern and Southern started to develop in different directions. Most weibei available today are products of peasant calligraphers, while tablets from the Southern dynasties are the refined works of scholars. Zhong You and Wang Xizhi were crucial to the shift from lishu to kaishu. When the Jin migrated to the South, the works of these two masters were brought along. Hence, peasant calligraphers of the Northern Dynasties did not have the chance to learn from Zhong You and Wang Xizhi, but instead, continued to focus and develop on lishu calligraphy from the Han Wei period.

    There are two types of weibei: inscriptions on Buddha statues and on tombstones. The Longmen Grottoes, a UNESCO World Heritage Site created in AD 492, holds more than 3000 inscriptions on Buddhist statues. Among those, The Twenty Artworks of Longmen is the most well-known.

    Northern Wei has more epitaphs than any preceding dynasty. The inscriptions represent a continuation of lishu from the Han Dynasty, that was made up of a square and compact structure with steady strokes.

    The Twenty Artworks of LongmenThe Twenty Artworks of Longmen is an important demonstration of weibei calligraphy. 19 of them are located in Guyang Cave and the last piece is located in Cixiang Cave. Kang Youweis Extension of Two Volumes on Composition and

    WeibeiTablets from the Northern Dynasties

    Weibei

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  • CHINESE FINE ARTS

    9

    Calligraphy and Fang Ruos Notes from an Examination of Inscriptions were the two earliest literary works to discuss the 20 artworks. The inscriptions on these 20 pieces were mostly prayers to avoid misfortune. The calligraphic style of the inscriptions combined the composition of lishu and the uniqueness of kaishu, creating a result that was dignified yet simple.

    Kang Youweis Comments on WeibeiKang Youwei () was a Chinese scholar, a noted calligrapher and a prominent political thinker of the late Qing Dynasty. His ideas inspired a reform movement that made the government resent him, and he was forced to turn to calligraphy. Although his political views were never put into practice, his calligraphic theories were widely accepted. He wrote Extension of Two Volumes on Composition and Calligraphy (), a book that is considered important research into Chinese calligraphy. It praised weibei as the only reliable calligraphic inscription besides nanbei (the Southern monuments). The monograph also described the Ten Beauties of weibei. Its calligraphic style contains bold and powerful strokes, a simple and practical style, writing that is fluid, thick and vigorous stipples, unique conceptions, a swift and upright spirit, an intoxicated enthusiasm, a deep understanding, a heaven-made structure and is beautiful inside and out.

    His summary of weibei s beauty attracted many scholars to study the calligraphic style. From then on, those who studed kaishu were no longer limited to the Jin and Tang dynasties, as its realm of study started to include weibei.

    Kang You Wei

    Premier Zhou Enlai and The Twenty Artworks of Longmen

    Premier Zhou Enlai was a great admirer of the Longmen artworks. On 14 October 1973, Premier Zhou went to Guyang Cave together with the Canadian Prime Minister Trudeau. As the two important figures strolled through the caves, Premier Zhou stopped at a stall selling ink rubbings of the inscriptions of The Twenty Artworks. After finding out that each piece costs 500 yuan, he continued walking through the park. When he saw another store selling the same items, he asked Han Xu, the Chief of Protocol, how much money he had with him. Han Xu replied, Not enough. Someone suggested sending money from Beijing after they got back to the city. Premier Zhou replied with only two words No way!

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