Zhiyong (ca. 510-ca. 610), Sui dynasty
Album leaf, ink on paper, 24.8 x 12.6 cm

Zhiyong was the seventh-generation descendant of the famed calligrapher Wang Xizhi. Taking the tonsure and becoming a Buddhist monk, he lived at Yongxin Temple in Shanyin (modern Shaoxing, Zhejiang). He is recorded as having once transcribed 800 copies of the "Thousand Character Classic" in standard and cursive scripts for distribution among temples in eastern Zhejiang.

In 1109, this stele was engraved by Xue Sichang from an authentic version in the Cui collection in Chang’an. In the Ming dynasty it was included in the Forest of Steles in Xi'an and thus also known as the Guanzhong (meaning "Xi'an area") Version. A calligraphed version also survived and entered Japan in the Tang dynasty. The method of arranging cursive and standard scripts side by side was undoubtedly done to facilitate the reading of the cursive characters.

The standard script here is precise without a stroke out of place, while each character in cursive script stands by itself. The brushwork is adept, making this a work combining both elegant power and a sense of warmth.

Gaozong (1107-1187), Song dynasty
Album leaf, ink on paper, 28 x 13.7 cm

The authors of the Qing dynasty imperial catalogue Treasured Boxes of the Stone Moat (Shiqu baoji) attributed this work on red-lined paper to the Song emperor Gaozong (personal surname Zhao). Done in 1153, it appears instead to have come from the hand of a member of his Calligraphy Academy.

The calligrapher observed many taboo characters in this album, including "jing 敬" in the sixth line that is missing its last stroke. This observes the taboo character in the personal name of Zhao Jing, the grandfather of Zhao Kuangyin (the founding emperor of the Song dynasty, Taizu).

The lines throughout the album reveal clear distinctions in thickness similar to those in "Preface of Collected Characters for the Sacred Teaching." The brushwork here is also adept and fluid, while the character forms are slightly thin and elongated. The elegant characters are also strongly archaic, reflecting the revivalist calligraphy promoted by Emperor Gaozong.

Bian Wu (fl. mid-14th c.), Yuan dynasty
Album leaf, ink on paper, 34.4 x 23.5 cm

Bian Wu (style name Bojing) was a native of Longxi and a friend of Guo Bi (1280-1335) and Wang Feng (1319-1388). He said that he learned calligraphy from that of Xianyu Shu. Also praised by contemporaries, there was much confusion between their writings in semi-cursive script. Bian Wu excelled at painting as well, especially ink plays on bird-and-flower subjects.

In 1341 Shimo Jingliang sought Bian Wu's calligraphy. Using his "jade waist" inkstone and "fox hair" brush, he calligraphed the "Thousand Character Classic." Throughout the album, the brushwork is rounded and strong, the characters well spaced and the changes to the ink tones well arranged. In addition to the brushwork in the character forms, all these features reveal the influence of Xianyu Shu, indicating that Bian Wu was indeed a fine student.

Yu He (1307-1382), Yuan dynasty
Album leaf, ink on paper, 21 x 24.7 cm

Yu He (style name Zizhong, sobriquet Zizhi sheng) was a native of Hangzhou, Zhejiang. Leading a simple and tranquil life, he was also gifted at poetry and excelled at calligraphy, repeatedly copying the works of Jin and Tang dynasty masters to achieve thorough mastery. In his earlier years he was personally instructed by Zhao Mengfu (1254-1322), which is why his calligraphy is similar to Zhao's.

This album transcribes the "Thousand Character Classic" in alternating rows of seal and clerical script for the same passage, making it not only easier to decipher the individual characters, but also reflecting the beauty of these different calligraphic script types. The character forms in seal script are elongated yet solid and the lines slender yet powerful. The characters in clerical script are broad and angular, the brushwork regulated and neat as well as refined and elegant in style style.