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 Yin Zhou Stele, clerical script, hanging scroll
The Yin Zhou Stele, fully titled Stele of Yin Zhou, an Official of Yuzhou in the Han Dynasty, was carved in the sixth year (177) of the Xiping era. After its initial discovery in Weichuan of Henan in the first year (1312) of the Huangqing era, the original stone was lost for a time before re-emerging during the Wanli reign (1573-1620). It is now in Yanling County Middle School in Henan province. The calligraphy is characterized by slender, rounded, and firm strokes, exhibiting influence from the Qin-dynasty seal script. This is a complete Ming-dynasty rubbing, once authenticated and collected by Fan Guangwen of the Qing dynasty.
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Rubbing of Sacred Teachings Preface 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 styles of many master calligraphers and led the development of running and cursive scripts. This stele was created by the monk Huairen through the assembly of characters from Wang Xizhi's calligraphy. It was carved in the third year (672) of Xianheng era at the Hongfu Temple in Chang'an. The original stone is now in the Xi'an Beilin Museum. This album is a rubbing made during the Northern Song dynasty.
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Rubbing of the Stele in Fahua Temple, running script, album leaves
Li Yong (678-747), also known by his zi (designated name) Taihe, was native to Jiangxia in Ezhou (present-day Wuhan, Hubei province). He was the Prefect of Beihai, so he was also known as Li Beihai. Adept in calligraphy, he was especially skilled in running script. The inscription on this stele exhibits a gentle and harmonious style, exuding a natural and brisk charm. The stele was carved in the 23rd year (735) of the Kaiyuan era, when the artist was 58 years old. The original stele was long lost. This is the only surviving Song dynasty rubbing, authenticated and collected by He Shaoji of the Qing dynasty.
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Qi Shi Jing (Sutra on the causes and beginning of the world), Volume VI, regular script, handscroll
Dunhuang Manuscripts, unearthed from the library cave at the Mogao Caves, comprise tens of thousands of documents dating from the Jin to the Song dynasties. This manuscript is a Tang dynasty copy of the sixth volume of the Qi Shi Jing (Sutra on the causes and beginning of the world), translated by the Indian monk Jñānagupta and others during the Sui dynasty. It is written on processed paper soaked with cork-tree sap. The brushwork exhibits rigorous discipline, combining dynamic strength with an ethereal grace, closely resembling the calligraphic style of Ouyang Tong's Stele for the Master Monk Daoyin. This manuscript represents a rare surviving example of the Ouyang style calligraphic among Tang dynasty sutra transcriptions.
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Ningzhou Tie, regular script, album leaf
Sima Guang (1019-1086), also known by his zi (designated name) Junshi and his hao (literary name) Yusou, was also called Sushui Xiansheng. He was native to Xia county of Shanzhou (present-day Xia county, Shanxi province). He became a jinshi (a successful candidate in the imperial examination) in the first year (1038) of the Baoyuan era. He was the chief of Shangshusheng (Department of State Affairs). He was skilled in calligraphy, excelling in seal and clerical scripts. This is a personal letter to his nephew, Sima Fu, advising him to resign from his official post to care for his parents. It was written in the eighth year (1085) of the Yuanfeng era, when the author was 67 years old.
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One Thousand Characters, regular script, handscroll
Zhao Ji (1082-1135), Empeor Huizong of the Song, was also known by his hao (literary name) Xuanhe Zhuren. As a painter and calligrapher, he was skilled in regular and cursive scripts. He integrated styles of Chu Suiliang and Xue Yao in his regular script, establishing a distinctive style he termed "shoujin script". This handscroll is his transcription of One Thousand Character by Zhou Xingsi of the Liang dynasty, awarded to the eunuch Tong Guan. The brushwork is crisp and vigorous, suffused with an air of elegant ease. It was written in the third year (1104) of the Chongning era, when the artist was 23 years old.
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Qiu Wan Tie, running script, album leaf
Chen Junqing (1113-1186), also known by his zi (designated name) Yingqiu, was a native of Putian in Fujian. He became the bangyan (second place in the imperial examinations) of the eighth year (1138) of Shaoxing era, and rose to the Vice Director of Shangshusheng (Department of State Affairs). Skilled in regular script, he learned after Ouyang Xun and Yan Zhenqing. This letter, addressed to a friend, discusses his retirement and recovery from illness. The brushwork is mature, robust, and elegantly refined. It is a work from his late years.
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Rebuilding the Guangfu Pagoda, 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 (present-day 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 handscroll is the record of Rebuilding the Guangfu Pagoda by the monk Liaoqing. The brushwork is rounded and vigorous yet elegant, conveying a sense of harmony and serene subtlety. It was written in the first year (1321) of the Zhizhi era, when the artist was 68 years old.
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Responding to Yu Ji, running script, handscroll
Zhang Yu (1283-1350), also known by his zi (designated name) Boyu and hao (literary names) Zhenju and Juqu Waishi, was a native of Qiantang (present-day Hangzhou, Zhejiang province). A Daoist monk of the Maoshan Shangqing school, he served as head of Fuzhen Daoist Temple in Hangzhou. Skilled in calligraphy, he received direct guidance from Zhao Mengfu. "Yu Daoyuan" refers to Yu Ji. This handscroll contains his work Responding to Yu Ji's Request for a Daoism Talismanic Script with the Rhymes from the Original Poem, exhibiting a clean, vigorous, and fluent style that is both dynamic and harmoniously integrated.
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Farewell Poems, running script, handscroll
Chen Xianzhang (1428-1500), native to Xinhui in Guangdong, is also known by his zi (designated name) Gongfu and hao (literary name) Shizhai. He was also known as Baisha Xiansheng. This handscroll contains several farewell poems composed by the artist for his friends, including Liu Daxia, Xia Sheng, and Xue Gang. The brushwork is vigorous, powerful, and resolute, with dry strokes and "flying-white" effects (accidental blank spaces within the ink brushstrokes) that evoke an untrammeled natural charm. It is a representative masterpiece from his late period.
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Jia Zhi's Poems in His Earlier Years, cursive script, hanging scroll
Zhu Yunming (1460-1526) is also known by his zi (designated name) Xizhe and hao (literary name) Zhishan, a native of Changzhou (present-day Suzhou, Jiangsu province). He was once the Governor of Xingning county in Guangdong. Adept in all scripts, Zhu was especially reputed for his wild cursive script. This hanging scroll transcribes Jia Zhi's Tang dynasty poem Early Audience at the Daming Palace, Presented to Colleagues from the Central and Chancellery Departments. A work from the artist's late period, it exhibits unrestrained and spirited brushwork, with ink tones masterfully alternating between dry and moist effects.
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Biography of Gu Chunqian, regular script, hanging scroll
Wen Zhengming (1470-1559), original name Bi, is also known by his zi (designated name) Zhengzhong and hao (literary names) Hengshan and Tingyunsheng. A native of Changzhou (present-day Suzhou, Jiangsu province), he was skilled in painting and calligraphy, especially adept in smaller regular script. Gu Chunqian is also known as Gu Lan. This hanging scroll demonstrates exquisite brushwork, a balanced structure, and an elegant synthesis of vigor and classical refinement. This work was written in the 21st year (1542) of the Jiajing era, when the artist was 73.
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One Thousand Characters, cursive script, handscroll
Zhan Jingfeng (1532-1602), also known by his zi (designated name) Dongtu and his hao (literary name) Baiyue Shanren, was native to Xiuning in Anhui. He was a juren (a successful candidate in the provincial examination) in the first year (1567) of the Longqing era, he was adept in painting and calligraphy, especially skilled in cursive script. This scroll transcribes One Thousand Characters by Zhou Xingsi of the Liang dynasty and two poems by Zhan himself. This calligraphy was accomplished in the 26th year (1598) of the Wanli reign, when the artist was 67 years old.
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Fang Ge Xing, cursive script, handscroll
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 honorary posthumous name Wenmin. Skilled in calligraphy, Dong was adept in regular, running and cursive scripts. He was also a connoisseur in authenticating painting and calligraphy. This handscroll transcribes Li Qi's poem Fang Ge Xing: Responding to My Cousin Moqing among other literary works. The brushwork exhibits an uninterrupted flow of energy between characters. The writer seemed to hold the brush loosely when writing. The work echoes Huaisu's firm and thin brushstrokes with round and cohesive style.
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Poem for Tianlong Temple, seal script, hanging scroll
Fu Shan (1607-1684), also known by his zi (designated name) Qingzhu and his hao (literary name) Zhenshan, was native to Yangqu (present-day Taiyuan, Shanxi province). He was a philosopher, calligrapher, and physician during the late Ming to the early Qing. He was adept in all scripts, especially skilled in cursive script. This hanging scroll transcribes his own poem Tianlong Temple in a cursive-seal script. It blends ancient and his contemporary calligraphic style, with brushwork that is powerfully expressive and unrestrained.
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Tang Dynasty Poems, cursive script, handscroll
Wang Duo (1592-1652), also known by his zi (designated name) Juesi and hao (literary name) Songqiao, was a native of Mengjin, Henan. He became a jinshi (a successful candidate in the imperial examination) in the second year (1622) of the Tianqi era and later served as Minister of Rites under the Qing dynasty. He also received the title Taizi Taibao (literally meaning the teacher of the crown prince). This handscroll transcribes seven poems by Du Fu, along with one each by Wang Wan, Zu Yong, and Qiwu Qian. The brushwork is concise and vigorous, with fluid transitions between strokes. The scroll was written in the third year (1646) of the Shunzhi reign, when the artist was 55.
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Five-syllable Poem, clerical script, hanging scroll
Wang Shimin (1592-1680), also known by his zi (designated name) Xunzhi and hao (literary names) Yanke and Xilu Laoren, was a native of Taicang, Jiangsu. He served as a minister of Taichangsi (Department of lmperial Rituals) in the Ming dynasty but declined official position in the Qing dynasty. A master of landscape painting and one of the "Six Masters of the Early Qing", he was also skilled in clerical script. This scroll is a transcription of Yang Fa's poem The Nanxi Academy from the Tang dynasty. The brushwork is thick yet dynamic while the characters are squarely structured, showcasing a masterful balance of strength and elegance.
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Qian Hexagram from Yijing (Book of changes), seal script, hanging scroll
Deng Shiru (1743-1805), originally named Deng Yan and with zi (designated name) Shiru, was a native of Huaining, Anhui. To avoid using the personal name of the Jiaqing Emperor, he later went by his later zi Wanbo and hao (literary name) Wanbai Shanren. A master of calligraphy and seal carving, he was particularly renowned for his seal and clerical scripts. The brushwork of this scroll is robust and upright; the characters are balancedly composed yet full of variation. The scroll was written in the 46th year (1781) of the Qianlong reign, when the artist was 39.
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Inscription on the portrait of Liu Dingzhi by Liu Mukang et al., cursive script, handscroll
Wu Hufan (1894-1968), originally named Wu Yiyan (later Wu Wan), also known by his zi (designated name) Dongzhuang and hao (literary name) Qian'an, was a native of Suzhou, Jiangsu. He later settled in Shanghai. This handscroll includes a painting and inscription by the artist to accompany a portrait of Liu Dingzhi, a renowned modern master of mounting and conservation. The brushwork is firm and spirited, written with quick yet precise brushwork. This scroll was written in 1955, when the artist was 62.
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 Yin Zhou Stele, clerical script, hanging scroll
Rubbing of Sacred Teachings Preface assembled with characters from Wang Xizhi's calligraphies, running script, album leaves
Rubbing of the Stele in Fahua Temple, running script, album leaves
Qi Shi Jing (Sutra on the causes and beginning of the world), Volume VI, regular script, handscroll
Ningzhou Tie, regular script, album leaf
One Thousand Characters, regular script, handscroll
Qiu Wan Tie, running script, album leaf
Rebuilding the Guangfu Pagoda, running script, handscroll
Responding to Yu Ji, running script, handscroll
Farewell Poems, running script, handscroll
Jia Zhi's Poems in His Earlier Years, cursive script, hanging scroll
Biography of Gu Chunqian, regular script, hanging scroll
One Thousand Characters, cursive script, handscroll
Fang Ge Xing, cursive script, handscroll
Poem for Tianlong Temple, seal script, hanging scroll
Tang Dynasty Poems, cursive script, handscroll
Five-syllable Poem, clerical script, hanging scroll
Qian Hexagram from Yijing (Book of changes), seal script, hanging scroll
Inscription on the portrait of Liu Dingzhi by Liu Mukang et al., cursive script, handscroll
