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Calligraphy
In terms of calligraphy, the rise of scholar-calligraphers in the Northern Sung resulted in the closer relationship between this art form and the artist, making it an ideal form for further expressing ideas and feelings. Many masters of Northern Sung calligraphy were quite knowledgeable and talented intellectuals, as calligraphers used the establishment of personal styles that came into fashion to write their own poetry and give expression to the main contents, with the exception of official documents, of course. In addition, textual verification through colophons, calligraphy theory, and casual letters became increasingly popular and also fully reflected the rich culture of life at the time.
Su Shih's "The Cold Food Observance" (ca. 1084-1086), Huang T'ing-chien's "Poem on the Hall of Pines and Wind" (ca. 1102), and Mi Fu's "On Szechwan Silk" (1088) are important works of poetry composed and calligraphed by these three great masters of Northern Sung calligraphy. These three handscrolls all employ the most appropriate means of expression and personalized running script for the calligraphy, the contents of the poetry being related to the vicissitudes in the lives of these calligraphers. The expressions of the calligraphers shown here also reflect the emotions and thoughts at the time when the calligraphy was done.
The Cold Food Observance
Su Shih
Poem on the Hall of Pines and Wind
Huang T'ing-chien
On Szechwan Silk
Mi Fu
"The Cold Food Observance"
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"Poem on the Hall of Pines and Wind" presents somewhat similar circumstances, a touch of sadness within a mood of joy. Taking the opportunity to narrate a passage from a trip to the Wu-ch’ang Western Hills, Huang T'ing-chien fondly remembered a friend who had also traveled to this location, expressing a strong desire that his friend could share the beautiful scenery with him. Finally, Huang hoped to be able to free himself from the entanglement of his current situation and go with friends together on a boating trip. As he did the calligraphy, Huang’s wave-like features and large diagonally falling strokes, the pressing and lifting of the brush, and turns in the brushwork are found everywhere within the manner of regular script. The transformations are extremely well-handled, and the light stops and gradual lifting of the brush have a grace and bearing in a harmonious manner that shows Huang T’ing-chien’s aloofness from worldly concerns in later years and a self satisfaction at heart.
"Poem on the Hall of Pines and Wind"
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"On Szechwan Silk" is a handscroll that includes eight poems on six subjects in a variety of formats, including five- and seven-character archaic, truncated, and regulated verse. The entire scroll is composed of 556 characters in a total of 71 lines, being a masterpiece by Mi Fu at the age of 37. On one hand, the contents of the poetry reveal Mi Fu’s ambitions as an official and his praise of the literary talents of the recipient of the scroll. On the other hand, Mi Fu, using a precious piece of Szechwan silk, performed calligraphy to the best of his abilities, moving the brush both quick and slow, sometimes light and fleeting while at other times steady and heavier. The concealment and expressiveness of the brushwork was unconstrained by conventions as characters appear in a variety of positions with both force and beauty. Even within the same stroke or character, one can find different calligraphic methods used, thereby revealing Mi Fu's skill at an infinite variety of forms as well as his calligraphic expression that differs from that of Su Shih and Huang T'ing-chien.
"On Szechwan Silk"
More Info : Flash Page