Introduction
Chinese characters are individual linguistic symbols constructed with such core elements as pictographs, ideographs, and phono-semantic compounds. The abstract nature of the structure of Chinese characters is deemed as the fount of calligraphy. With long-standing practice of writing in social life and different compositions of Chinese characters as the backbone, calligraphers use a brush to create points and lines with rhythm and dynamism, which endow characters with profound aesthetic value.
The period spanning from the Shang dynasty to the Wei, Jin, Northern and Southern Dynasties witnessed the continued and long evolution of script writing styles, giving birth to seal, clerical, running, regular, and cursive scripts. Thus, a multi-script writing system was established and further evolved into a multitude of variants and distinctive styles in later periods.
The inscriptions on the oracle bones and bronze vessels in the Shang and Zhou dynasties entered an early stage of aesthetic awareness. In the Han and Wei dynasties, the aesthetic awareness developed further from spontaneity of a natural style to consciousness of deliberate expressions. In the Jin, Sui and Tang dynasties, certain rules and models for the running script and the cursive script were established.
The calligraphers of the Song, Yuan, and Ming dynasties continued the conventions of the Jin and Tang dynasties calligraphy with innovations on skills and artistic conceptions, which inspired various calligraphic schools and styles.
The literati in the Qing dynasty devoted close and careful attention to the study of ancient inscriptions on steles and bronzes, with focus on the bronze inscriptions of the Shang and Zhou dynasties, steles of the Qin and Han dynasties, epigraphs from the Six Dynasties period, and so on. Calligraphy in this period also saw a shift from the model calligraphy study to the study on rubbings of stone steles. The modern calligraphers combined these two calligraphy studies, enhancing the distinctiveness of individual expressions.
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Rectangular Sheng (standard measure) with Emperor Qin Shi Huang's Decree
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Stele Engraved with The Book of Changes in the Xiping Era
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Rubbing of the Diamond Sutra Stele Assembled with Characters from Wang Xizhi's Calligraphies, running script, album leaves
Wang Xizhi (303-361), also known by his zi (designated name) Yishao, was a native of Linyi in Langya. He later moved to Shaoxing. Serving as the General of Youjun, Wang was also called "Wang Youjun". Wang Xizhi absorbed the expertise of many master calligraphers and had a profound learning of various scripts of calligraphy. He pioneered new trends in running and cursive scripts. The inscription on this stele was composed of characters selected from Wang Xizhi's calligraphy works and was erected in 832 (the sixth year of the Dahe period) at the Xingtang Temple in Xi'an. The original stele has long been lost. This is a Song dynasty rubbing and was previously collected by Wu Zhen of the Ming dynasty.
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One Thousand Characters, cursive script, handscroll
Gaoxian, active during the Dazhong era (the 9th century) of the Tang dynasty, was a monk. A native of Wuxing (nowadays Huzhou, Zhejiang province), he was adept in cursive script and running script. He learned his style from Huaisu. In his youth, he became a monk at Kaiyuan Temple and later moved to Chang'an, residing in temples such as Jianfu and Ximing. He was bestowed the title "Shiwang Dade" (the virtuous monk of the ten regions). This work exhibits bold and expansive brushworks with a firm and vigorous appeal. The work was once attached with another piece of One Thousand Characters by Xianyu Shu supplementing its missing part, which is now housed in the Liaoning Provincial Museum.
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Gist of Surangama-Sutra, running script, handscroll
Wang Anshi (1021-1086) is also known by his zi (designated name) Jiefu and his hao (literary name) Banshan. He was a native of Linchuan in Jiangxi. He became a jinshi (a successful candidate in the imperial examination) in the second year (1042) of the Qingli era, and rose to the chief minister of the court. He was adept in cursive script and running script. This scroll is an excerpt related to the bodhisattva Avalokiteśvara from the Surangama-Sutra. Written with light ink and swift strokes, the brushwork conveys a sense of ease and tranquillity. Wang Anshi wrote this piece in the eighth year (1085) of the Yuanfeng era, at the age of 65.
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Letter to the Son Huang Xiang, running script, album leaf
Huang Tingjian (1045-1105), a native of Fenning in Hongzhou (nowadays Xiushu, Jiangxi province), is also known by his zi (designated name) Luzhi and his hao (literary name) Shangu Daoren. A jinshi (a successful candidate in the imperial examination) in the fourth year (1067) of the Zhiping era, he later became an official historiographer. He, together with Su Shi, Mi Fu and Cai Xiang, shares the fame of "the Four Master Calligraphers of the Song dynasty". This work was written to his son Huang Xiang. The brushstrokes are firm, strong, and thick, yet exuding a detached and unrestrained style, close to that of his late works.
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Yangsheng Lun (Essays on Nourishing Life), cursive script, handscroll
Emperor Gaozong of Song, Zhao Gou (1107-1187), also known by his zi (designated name) Deji, was the ninth son of Emperor Huizong. He ascended the throne in the second year (1127) of the Jingkang era and changed the era name to Jianyan. Later, he abdicated in favour of Emperor Xiaozong and retired to Deshou Palace. Skilled in calligraphy, he excelled in regular, running, and cursive scripts. This transcription of Ji Kang's Yangsheng Lun (Essays on Nourishing Life) from the Western Jin dynasty demonstrates a calm and forceful brushwork, elegant and brisk. The seal "Deshou Yushu" indicates that it was created in his later years.
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Poem on Returning Home, running script, handscroll
Zhao Mengfu (1254-1322) is also known by his zi (designated name) Zi'ang and hao (literary name) Songxue Daoren. A native to Wuxing (nowadays Huzhou, Zhejiang province), he was a Hanlin scholar (the emperor's literary retinue). Adept in calligraphy, he was skilled in all scripts and led a profoundly influential trend in the art of calligraphy. This scroll, transcribing Tao Yuanming's poem on returning home from the Eastern Jin dynasty, showcasing a smooth and round brushwork that is refined and elegant. Zhao Mengfu wrote this work in the first year (1297) of the Dade era at the age of 44.
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Zhongzhou Tie, running script, handscroll
Guan Yunshi (1286-1324, Uighur name Sävinč Qaya), originally named Xiao Yunshi Haiya, was also known by his zi (designated name) Fucen and his hao (literary name) Suanzhai. His family came from Beiting in the Western Regions (present-day Jimsar, Xinjiang Uygur Autonomous Region) and was of Uyghur ethnicity. Skilled in calligraphy, he excelled in cursive and clerical scripts. This work is his only surviving large-character piece. The calligrapher wrote firmly with fluctuating and bold brushstrokes arranged in dramatic structures. The characters exhibit an archaic style, showing influence from seal and clerical scripts.
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Eight Poems of Spring, running script, handscroll
Liu Ji (1311-1375), also known by his zi (designated name) Bowen, a native of Qingtian in Zhejiang. He became a jinshi (a successful candidate in the imperial examination) in the 1st year (1333) of the Yuantong era under the reign of the Emperor Shun of the Yuan. He later joined Zhu Yuanzhang, serving as a key figure in establishing the Ming dynasty. In the fourth year (1371) of the Hongwu era, he retired as a scholar in Hongwenguan (court library and archive). Adept in running and cursive scripts, he learned his style from Zhiyong. The calligrapher wrote this work with smooth strokes and elegant style, profoundly influenced by Zhao Mengfu.
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An Imitation of Zhang Xu's Qiushen Tie, cursive script, hanging scroll
Chen Bi (active in the late 14th century) is also known by his zi (designated name) Wendong and his hao (literary name) Guyangsheng, native to Huating (nowadays Songjiang district, Shanghai). A xiucai (an intellectual passing the county-level examination) during the Hongwu reign, he was an auxiliary administrative official in Xiezhou. He was adept in all kinds of scripts, especially the cursive script. Chen was one of the founders of the Yunjian School. This work is an imitation of Qiushen Tie (In Late Autumn) by the Tang dynasty calligrapher Zhang Xu. The calligrapher wrote with continuous brushstrokes and occasionally used the side of the brush. The work shows influence from the early cursive script.
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Poem for Shuncheng, running script, handscroll
Tang Yin (1470-1523) is also known by his zi (designated names) Bohu and Ziwei and hao (literary name) Liuru Jushi, a native of Wuxian county (nowadays Suzhou, Jiangsu province). When obtaining the first place in the provincial civil-examination in the 11th year (1498) of the Hongzhi reign, he was called Tang Xieyuan (first-ranking juren). This is a hepta-syllable poem by Tang Yin for his friend Yao Shuncheng, rendered with firm and vigorous brushstrokes in dynamic movements. Tang Yin wrote this scroll in the second year (1523) of the Jiajing reign when he was 54, probably his last work.
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Nineteen Ancient Poems, various scripts, handscroll
Song Jue (1576-1632) is also known by his zi (designated name) Biyu and hao (literary name) Puyang Laoren. He was a native of Puyang in Fujian province but later moved to Jinling (today's Nanjing, Jiangsu province). Song Jue was a student in Guozijian (the Imperial Academy). He was adept in clerical script and copied Stele of Xiacheng, an Eastern Han dynasty stone stele. This scroll was once reworked by purpose as Dong Qichang's work. Further studies have proved that this work is Song Jue's copy of Dong Qichang's Nineteen Ancient Poems after Various Masters. It was calligraphed between 1610 to 1632.
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Bao Ding Ge (Poem on a Treasured Ding), running script, hanging scroll
Dong Qichang (1555-1636), a native of Huating (present-day Songjiang, Shanghai), is also known by his zi (designated name) Xuanzai and hao (literary name) Xiangguang Jushi. A jinshi (a successful candidate in the imperial examination) in the 17th year (1589) of the Wanli reign, he was the Minister of Rites in Nanjing. He obtained the posthumous name Wenmin. Skilled in calligraphy, Dong was adept in regular, running and cursive scripts. This scroll, a transcription of the poem Bao Ding Ge by Ban Gu of the Han dynasty, was calligraphed in Dong's later years. The characters are executed in a stately and forceful style as that of Yan Zhenqing.
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Lingbao Yao (Folk Songs and Idioms), clerical script, hanging scroll
Zheng Fu (1622-1693) is also known by his zi (designated name) Ruqi and hao (literary name) Gukou, native to Shangyuan (nowadays Nanjing, Jiangsu province). Continuing his family tradition, Zheng made a living as a doctor and never led an official career. Adept in clerical script, he learned from Song Jue in his early years. Later, he learned from Han dynasty stele inscriptions. This scroll, a transcription of pre-Qin (before 221 BCE) lyrics and idioms, was written with dynamic brushstrokes, exhibiting an archaic and intriguing style. The calligrapher wrote this work in the 30th year (1691) of the Kangxi reign at the age of 70.
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On Huang Tingjian's Calligraphy, running script, hanging scroll
Liu Yong (1719-1805) is also known by his zi (designated name) Chongru and hao (literary name) Shi'an, native to Zhucheng in Shandong. A jinshi (a successful candidate of imperial examination) in the 16th year (1751) of the Qianlong reign, he was once the Grand Secretariat and endowed with the title taibao (Grand Guardian of the heir-apparent) and the posthumous name Wenqing. Adept in calligraphy, he wrote with firm strokes and thick dark ink. Thus, he was also known as "Prime Minister of Thick Ink". This work discusses Huang Tingjian's calligraphy that transcribes Liu Yuxi's poem Visiting the Fubo Temple, written with thick ink and constrained brushstrokes.
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On Calligraphy, running script, hanging scroll
Weng Fanggang (1733-1818), also known by his zi (designated name) Zhengsan and hao (literary names) Tanxi and later hao Suzhai, was a native of Daxing (present-day Beijing). He became a jinshi (a successful candidate in the imperial examination) in the 17th year (1752) of the Qianlong reign and rose to the position of Grand Secretary in the Grand Secretariat. A skilled calligrapher, connoisseur, and expert in epigraphy, Weng learned his calligraphy after Ouyang Xun and Yu Shinan, developing an unadorned and solid style. This work is a transcription of a colophon by Su Shi discussing calligraphy, written with smooth and fluid brushstrokes and meticulously structured characters.
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Letters, running script, album leaves
Weng Tonghe (1830-1904), also known by his zi (designated name) Shuping and hao (literary names) Songchan and, in his later years, Ping'an Jushi, was a native of Changshu in Jiangsu. He was the zhuangyuan (the top scorer in the imperial examination) in the 6th year (1856) of the Xianfeng reign and rose to the position of Minister of Revenue. He served as the imperial tutor for both the Tongzhi and Guangxu emperors. This piece is a letter album addressed to Zeng Guoquan and others. The brushwork is bold and vigorous, with characters that are broad and expansive, capturing the essence of Yan Zhenqing's calligraphic style.
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Lü Shang Preparing to Meet King Wen of the Zhou, seal script, hanging scroll
Deng Shiru (1743-1805), originally named Yan, is also known by his zi (designated name) Shiru and hao (literary name) Wanbai Shanren, native to Huaining in Anhui. Later he changed his zi to Wanbo and used his zi widely, instead of using Yan which was also the name of Emperor Jiaqing; otherwise, it would be considered a serious breach of decorum. Deng was skilled in calligraphy and seal engraving, especially adept in seal and clerical scripts. This work, Lü Shang Preparing to Meet King Wen of the Zhou, is one of his seal script works transcribing the poems Four Extolments by Yu Xin. The calligrapher integrated the seal script with the clerical script, featuring characters with well-balanced structures in a dignified appeal.
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Namo Amitābha and Quotes of the Monk Lianchi, seal script, hanging scroll
Li Shutong (1880-1942), also known by his zi (designated name) Xishuang, later became a monk with the monk name Yanyin and the hao (literary name) Hongyi. His ancestral home was in Pinghu in Zhejiang, but he was born in Tianjin. A skilled calligrapher, Li excelled in seal and clerical scripts. In his early years, he often modelled his work after Northern Wei stele inscriptions, but in his later years, he developed a unique style of his own. This scroll, created in 1928 when the artist was 49 years old, features brushwork that is round and smooth, embodying a sense of rustic simplicity and harmonious completeness.
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Heptasyllabic Couplet, running script, hanging scroll
Tan Yankai (1880-1930), also known by his zi (designated name) Zu'an and hao (literary name) Wuwei, was a native of Chaling in Hunan, but was born in Hangzhou in Zhejiang. A modern politician and calligrapher, he was celebrated alongside Chen Sanli and Tan Sitong as one of the "Three Gentlemen of Huxiang". His calligraphy was deeply influenced by Yan Zhenqing, with additional references to the styles of Liu Yong and Weng Tonghe. This scroll showcases his steady and fluid brushwork, exuding a sense of fullness and dignified elegance.
Preface
Chinese characters are individual linguistic symbols constructed with such core elements as pictographs, ideographs, and phono-semantic compounds. The abstract nature of the structure of Chinese characters is deemed as the fount of calligraphy. With long-standing practice of writing in social life and different compositions of Chinese characters as the backbone, calligraphers use a brush to create points and lines with rhythm and dynamism, which endow characters with profound aesthetic value.
The period spanning from the Shang dynasty to the Wei, Jin, Northern and Southern Dynasties witnessed the continued and long evolution of script writing styles, giving birth to seal, clerical, running, regular, and cursive scripts. Thus, a multi-script writing system was established and further evolved into a multitude of variants and distinctive styles in later periods.
The inscriptions on the oracle bones and bronze vessels in the Shang and Zhou dynasties entered an early stage of aesthetic awareness. In the Han and Wei dynasties, the aesthetic awareness developed further from spontaneity of a natural style to consciousness of deliberate expressions. In the Jin, Sui and Tang dynasties, certain rules and models for the running script and the cursive script were established.
The calligraphers of the Song, Yuan, and Ming dynasties continued the conventions of the Jin and Tang dynasties calligraphy with innovations on skills and artistic conceptions, which inspired various calligraphic schools and styles.
The literati in the Qing dynasty devoted close and careful attention to the study of ancient inscriptions on steles and bronzes, with focus on the bronze inscriptions of the Shang and Zhou dynasties, steles of the Qin and Han dynasties, epigraphs from the Six Dynasties period, and so on. Calligraphy in this period also saw a shift from the model calligraphy study to the study on rubbings of stone steles. The modern calligraphers combined these two calligraphy studies, enhancing the distinctiveness of individual expressions.
Section I Pre-Qin, Qin, and Han Dynasties (before 220)
The Shang and Zhou dynasties, along with the Qin and Han dynasties, were the formative eras for the development of Chinese characters and calligraphy. The oracle bone script, inscribed on turtle shells and animal bones, contains records of the Shang royal family's divinations and exhibits an early calligraphic appeal. Many of the Shang and Zhou bronze vessels were cast with symbols or names of clans or inscriptions to record events. The Western Zhou bronze inscriptions are characterized by their dignified and vigorous style, while the Spring and Autumn and Warring States periods saw the emergence of distinct regional styles.
When Qin Shi Huang (the First Emperor of Qin) conquered the six rival states and established a unified empire, he implemented the policy of "unification of scripts and characters" and used the small seal script as the universal writing script. The clerical script started to gain popularity.
The clerical script matured in the Han dynasty. In the mid-to-late Western Han dynasty, the clerical script eventually took form. The Eastern Han inscription is the most representative example of the matured Han dynasty clerical script. During this period, various script styles, such as cursive script, regular script, and running script emerged one after another. The evolution of scripts was largely complete.
Section II Jin and Tang Dynasties (220-979)
In the Wei and Jin dynasties, different styles and schools of calligraphy were developed and expanded, with the emergence of accomplished calligraphers. Zhong Yao of the Wei Kingdom in the Three Kingdoms period, famous for his regular script style, was revered as the "Ancestor of Regular Script". In the Eastern Jin dynasty, Wang Xizhi and his son Wang Xianzhi transformed the traditional style and set a new calligraphic trend known as the "Two Wangs' Style". The calligraphy style of the Southern Dynasties inherited that of the Eastern Jin. In the Northern Dynasties, the popular "Northern Stele" script style combined elements of the regular script and the official script, exuding an archaic, unadorned, and robust appeal.
The Sui dynasty calligraphy mainly inherited the style of the Six Dynasties and gradually integrated the characteristics of both the northern and southern styles. The regular script started to shed the influence of the clerical script. The epigraphs Dong Meiren and Chang Chounu in the Museum's collection exemplify this change. The Tang dynasty calligraphy emphasized rules and standards, epitomized by the regular-script works. At the beginning of the Tang dynasty, calligraphies by Ouyang Xun, Yu Shinan, Chu Suiliang, and Xue Ji served as exemplars. They were followed by Yan Zhenqing and Liu Gongquan. The practice of inscribing running-script characters on steles began in the Tang dynasty, pioneered by Li Yong and Zhang Congshen. The cursive script, based on the "Two Wangs' Style", evolved into the wild cursive style represented by Zhang Xu and Huaisu.
Section III Song Dynasty (960-1271)
The calligraphy style at the beginning of the Northern Song dynasty continued that of the Tang dynasty. The making and circulation of Chun Hua Ge Tie (The Compendia of Selected Calligraphy Works from the Imperial Archives of the Chunhua Reign) led to the flourishing of the study of model calligraphy. The "Two Wangs' Style" inspired reverence, resulting in the popularity of the running and cursive scripts. In the Northern Song dynasty, Su Shi, Huang Tingjian, Mi Fu, and Cai Xiang, known as the "Four Masters of the Song", the then most renowned calligraphers, all attained and demonstrated excellence in the running script. They are noted for the emphasis on individual aesthetics. In addition, Shen Liao was adept in the regular and running scripts with a refreshing and exquisite style. Zhao Ji, Emperor Huizong of the Song, valued the study of calligraphy and invented his own regular script style called "Shou Jin" ("slender gold"). In the Southern Song, Zhao Gou, Emperor Gaozong of the Song, was also renowned for his calligraphy that followed the style of Yu Shinan and Zhiyong. Wu Ju accomplished his works with rich ink, firm brushstrokes, and characters with balanced structures and bold openings. Zhang Jizhi wrote in a unique style with a bold manner. Many of the Song dynasty literati, such as Sima Guang, Wang Anshi, Lu You, Fan Chengda, Zhu Xi, Wei Liaoweng, Zhao Mengjian, and so on, also excelled at calligraphy but were remembered for their other achievements.
Section IV Yuan Dynasty (1271-1368)
During the early Yuan dynasty, Zhao Mengfu and Xianyu Shu esteemed the masters of the Jin and Tang dynasties and promoted the spirit of the Jin and the regulations of the Tang calligraphy, thus establishing a new calligraphy style of the Yuan dynasty. As a result, this trend set the style of the "Two Wangs" as the mainstream of calligraphy style. Zhao Mengfu was adept in various scripts, especially in the running-cursive and regular scripts. He also advocated the fusion of poetry, calligraphy, and painting. Zhao's calligraphy and theory had a profound influence, with such notable followers as Zhang Yu, Yu Ji, Zhu Derun, and so on. On the other hand, calligraphers such as Feng Zizhen and Pu Guang took a path different from that of Zhao Mengfu. They inherited the Song style that emphasized individual aesthetics and formed a firm style for the calligraphy circles in the Yuan dynasty. With the rise of the archaism trend, the study of ancient scripts revived and gave birth to the seal script and official script calligraphers including Zhou Boqi and Wu Rui. In the late Yuan dynasty, as wars broke out, a number of literati retreated from official careers and led a reclusive life, including Yang Weizhen, Lu Juren, and Ni Zan. They found their solace in calligraphy and achieved artistic mastery with distinctive styles.
Section V Ming Dynasty (1368-1644)
Ming dynasty literati pursued the study of model calligraphy. From Hongwu to Chenghua reigns, Song Ke, Song Guang, Song Sui, Chen Bi, and Zhang Yu were renowned for their cursive script calligraphy. In this period, candidates with mastery of calligraphy could be recommended for the position of secretariat drafter. Thus, a group of taige script (established as the orthodox script for Ming government documents) calligraphers emerged, with Shen Du and Shen Can as their representatives. In the mid-Ming dynasty, the Wu School, centred in Suzhou and extended to surrounding areas such as Kunshan, Changshu, Songjiang, Jiading and Jiaxing, became prominent under the leadership of Shen Zhou, Zhu Yunming, Wen Zhengming, and Wang Chong, giving rise to the elegant style. In the late Ming dynasty, Dong Qichang, drawing upon strengths from various traditions, developed a refreshing and elegant style with profound influence. Other calligraphers, such as Zhang Ruitu, Huang Daozhou, and Ni Yuanlu, gained their reputation for their strongly expressive style called the "eccentric style".
Section VI Qing Dynasty (1644-1911)
The Qing dynasty was a significant period in the history of calligraphy. In the early Qing era, calligraphers continued the styles of the Ming dynasty. From the Kangxi to Qianlong reigns, due to the emperors' favour of Dong Qichang and Zhao Mengfu, works created after model calligraphy were the mainstream, represented by calligraphers such as Weng Fanggang, Liu Yong, Liang Tongshu, and Wang Wenzhi.
From the Qianlong and Jiaqing reigns, the study of epigraphy flourished. The inscriptions on steles and antiquities became the source of learning and inspiration for calligraphers. The rise of stele calligraphy study introduced new techniques and aesthetic pursuits, with pioneers like Deng Shiru and Yi Bingshou. Later, Ruan Yuan, Bao Shichen, and He Shaoji further promoted the study of steles, thus bringing stele-style calligraphy to its peak. In the late Qing era, Kang Youwei summarized the principles of stele calligraphy study in his book Guang Yizhou Shuangji. Calligraphers like Zhao Zhiqian, Wu Changshuo, and Shen Zengzhi created a new artistic approach by integrating elements of stele and model calligraphy while balancing strength and elegance.
Section VII Morden Time (after 1911)
At the beginning of the Republic of China, calligraphers continued the trend of stele calligraphy in the late Qing, deepening the theory and practice in this direction. Calligraphers like Li Ruiqing and Zeng Xi also began to reflect on and reconcile the model calligraphy and the stele calligraphy. The discoveries of oracle bones, Han dynasty bamboo slips, and documents in Dunhuang provided new references for calligraphers.
After the 20th century, art in different disciplines all underwent profound changes. The constant advances in exhibition, education, and publication of calligraphy infused fresh vitality into the traditional calligraphy art. Calligraphers like Li Shutong organized calligraphy and painting societies and pioneered publishing periodicals. Yu Youren compiled the Standard Cursive Script, advocating the standardization of cursive script. Shen Yinmo, Bai Jiao, and others initiated a movement to return to the model of the "Two Wangs' Style". Pan Tianshou and Sha Menghai established the first calligraphy and seal carving major in universities, setting a precedent for higher education in Chinese calligraphy.
Highlights
Rectangular Sheng (standard measure) with Emperor Qin Shi Huang's Decree
Stele Engraved with The Book of Changes in the Xiping Era
Rubbing of the Diamond Sutra Stele Assembled with Characters from Wang Xizhi's Calligraphies, running script, album leaves
One Thousand Characters, cursive script, handscroll
Gist of Surangama-Sutra, running script, handscroll
Letter to the Son Huang Xiang, running script, album leaf
Yangsheng Lun (Essays on Nourishing Life), cursive script, handscroll
Poem on Returning Home, running script, handscroll
Zhongzhou Tie, running script, handscroll
Eight Poems of Spring, running script, handscroll
An Imitation of Zhang Xu's Qiushen Tie, cursive script, hanging scroll
Poem for Shuncheng, running script, handscroll
Nineteen Ancient Poems, various scripts, handscroll
Bao Ding Ge (Poem on a Treasured Ding), running script, hanging scroll
Lingbao Yao (Folk Songs and Idioms), clerical script, hanging scroll
On Huang Tingjian's Calligraphy, running script, hanging scroll
On Calligraphy, running script, hanging scroll
Letters, running script, album leaves
Lü Shang Preparing to Meet King Wen of the Zhou, seal script, hanging scroll
Namo Amitābha and Quotes of the Monk Lianchi, seal script, hanging scroll
Heptasyllabic Couplet, running script, hanging scroll
