Role of Wang Xizhi in Developing Chinese Calligraphy (Essay Sample)

Chinese Calligraphy
 
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Wang Xizhi (303–361 CE), is referred to as the calligraphy sage from the Jin dynasty. This writing embodies the peak of calligraphy. He helped develop various forms of calligraphy such as the regular script, cursive and semi cursive script that continue to influence many generations in China and beyond. His scripts influenced the tiexue or the “model-book” school of calligraphy. This essay examines the life of Wang Xizhi and his achievements in developing calligraphy during his time. The essay further explores Wang’s influence on other artists and generation. This includes his influence on contemporary teaching and learning of calligraphy in China.
Wang Xizhi is regarded the most famous calligrapher of his time in China. He is usually referred to as “the Saint of Calligraphy.”Wang Xizhi was skilled in various forms of calligraphy. He adopted the cursive script from Zhang Zhi, while the standard script was modeled after Zhong You. He developed under the tutelage of Madame Wei. The Wang family fled to south China to help form the Eastern Jin dynasty (317-419) at the time when the Western Jin dynasty disintegrated. In the Eastern Jin, Wang Xizhi served as Youjun or General of the Right Army. Wang Xizhi also became the governor of Kuaji in later years. At this time, he hosted scholars to a poetry gathering at Orchid Pavilion (the Lanting). He wrote one of the most celebrated works in Chinese calligraphy called Lantingji xu (Preface of the Orchid Pavilion Gathering, a semi-cursive script (Li 2009). Figure 1 below shows the Lanting.


Figure 1: Preface to the collection of Orchid Pavilion Poems (Yu-ho1993)
Wang Xizhi belonged to the Wang Clan that was known for its artistic skills. He became interested in calligraphy at the age of seven. Afterwards, he developed his own style from the inspiration and observation of several things. These include observing the neck of the geese and orienting his hand the same way. Wang Xizhi is believed to have produced more than 1000 works but none of them survived. Therefore, most of his work was merely available in form of copies. Most of Wang’s works were regular script calligraphy. Wang Xizhi developed a new natural and liberated style in calligraphic theory which consisted of continuous strokes (Huang 2008).
Wang Xizhi formulated twelve rules on the art of calligraphy while teaching his son, Wang Xianzhi. In writing of the standard script of calligraphy (kaishu), Wang emphasized twelve doctrines. Following the doctrines would lead to the formation of a standard to help in producing marvelous calligraphy. Therefore, Wang believed that calligraphy would be a process that could be taught, understood and replicated. Some of his other script works include; Shen Jiao Xu, Huang Ting Jing, Yue Yi Lun, , Chu Yue Tie and Shi Qi Tie (Zhuzhong and Desheng 2001).
The regular script of calligraphy was formed from the clerical script and was initially practiced in the post-Han period. The script involved combining various single strokes to form visible and proportionally balanced legible characters. Wang Xizhi’s regular script consists of complex and most refined forms compared to any Chinese calligraphy script. Moreover, the regular script was perfected in the Tang Dynasty while still being used in the present. In addition, Wang Xizhi’s regular script was the first calligraphy script to be taught in Chinese schools. This script is used as a typeface for various contemporary printed materials. Wang Xizhi was very inventive and did more than just put his personal imprint on a form of calligraphy. The regular script shows that Wang wanted to generate unique pieces of art forms. Consequently, the regular script became extraordinarily aesthetic (Barrass 2002, p. 19-22).
Wang Xizhi’s scripts are easily distinguished because of their light fluidity of the brush strokes. In his scripts, there was a fine balance, which was achieved when the brush strokes made beautiful composition of a piece of art. Another distinguishing factor of Wang’s scripts is diversity. Diversity is portrayed when Wang changed the form of his script but retained the style in cases where he had to utilize the same character more than once in a single piece. The scripts of Wang Xihzi were very bold, masculine and patent because of his technique of using the brush. In addition, the rounded strokes of his script were quick and easy to write. Wang showed that good regular scripts could be formed by those who held their brushes correctly. Moreover, he emphasized that good regular scripts could only be made by those who possessed good moral attitude. Therefore, Wang Xizhi’s calligraphy was a reflection of the moral quality of the society (Barrass 2002, p. 21-24).
Wang Xizhi was born in the Jin dynasty that was the basis of Chinese art. The Jin dynasty was divided into north China and south China. This meant that calligraphy, at the time, was split into two. The northern China calligraphy used tablets with regular characters, while in southern China, regular scripts were put on paper. Wang utilized novices in his work to gain insight. He therefore, became an exceptional calligrapher full of innovative styles (Zhuzhong & Desheng 2001, p.104). The figures below show Wang Xizhi’s regular script and the traditional tablet-style calligraphy.


Figure 2: Wang Xizhi, Regular Script (Tingyou 2001) Fig 3: Tablet style (Tingyou 2001)
Wang Xizhi’s work was regarded as high forms of genuine art that would not be imitated. Wang’s calligraphy used short casual letters that were of high validity, calligraphic value and more historical content. Even though Wang Xizhi’s original scripts did not survive, many of his notes have been found. The notes were retrieved and stored inform of engravings, rubbings and tracing copies. The notes contained communicative messages to his family and friends. Furthermore, the notes, which are the basis of the regular script, are elaborated with outstanding topicality. According to Ritcher (2011, p.370), it is important to note that Wang Xizhi’s scripts were formed to accomplish a genuine communicative role.
The moral virtues and great personality of Wang Xizhi were illustrated in his script work. Wang’s unique calligraphy is noted by the thickness of the brush strokes and accentuated structure of the characters. His artistic method and prowess of scripting shows an elusive artist who reassesses his artistic outlook by influencing other artists in Japan and China. Therefore, Wang Xizhi was able to achieve an elevated standing in the history of art (Fu Shen 1998, p.17-20).
The scripts of Wang Xizhi demonstrate that he was a master of all the five styles of calligraphy in China namely seal, clerical, standard, cursive and semi-cursive. Successive generations of artists and emperors continued to gather Wang’s work at the imperial court thus showing that he was an influential person in calligraphy. It is at the very imperial court that many skilled artists were hired to reproduce Wang Xizhi’s works (Huang 2008, p. 50).
Wang Xizhi’s calligraphy is also praised because of the vibrant rhythmic energy, variation and impulsiveness it exudes. The overall space used and the inner creation of characters in his regular script are highly desirable. In China, the regular script, developed by Wang, was a form of art, which was strongly linked to the literate elite. A few aristocrats, such as Wang’s family, made individual writing styles to express their inner self. These individualized calligraphy also distinguished them socially from the rest of society (Barass 2002, p. 22).
Wang Xizhi’s calligraphy influenced many artists throughout various generations. The regular script helped people achieve an expression of his original work and understand the real form of his true character. In emperor of the Tang dynasty called Taizong was inspired by the scripts of Wang Xizhi. He ordered that he be buried with one of Wang’s calligraphy piece. Before his death, Taizong promoted Wang’s style of writing to the extent that the style became an abiding tradition within the Tang dynasty. Taizon used Wang’s style as a tool to unify his empire (Haung 2008).
The Lantingji xu (Preface of the Orchid Pavilion Gathering) is regarded as one of the greatest masterpiece of calligraphy in Chinese history. This and many works have influenced many upcoming artists in China and beyond. Emperor Li Shiming adored Wang’s scripts. The emperor collected almost all of Wang’s calligraphy scripts. He then ordered a monk called Huani Ren to identify characters from Wang’s scripts, combine them into entirely different work by embossing the characters on a tablet. Since none of Wang’s original work was ever found, the emperor’s tablet is very significant in an attempt to study Wang’s calligraphy (Fu Shen 1997, p.10-13).
Another calligrapher influenced by Wang Xizhi’s work was Zhao Mengfu. Mengfu studied Wang’s sc...