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When the "Jingkang Rebellion" broke out, the Jin soldiers entered the palace and took away a large number of authentic calligraphy works. As a result, during the Southern Song Dynasty, the number of authentic works of famous artists from the Wei, Jin, Tang and Song dynasties collected in the inner court was greatly reduced. Many beginners did not understand the importance of ink traces and believed that there was no difference between rubbings and originals.

This feeling is only from the appearance. If you analyze the brushwork techniques, you can clearly feel the difference. The rubbings are made by covering paper on the stone tablet, brushing ink and then peeling it off. It is impossible to show the delicate treatment of dots and strokes, as well as the changes in ink color. In addition, some parts of the stone tablet have been eroded by wind and rain, and the handwriting is severely blurred, making it difficult to see the overall charm of the whole article.

Ink marks are written on paper, and the changes in the twisting, lifting, pressing, and rubbing of the pen can be analyzed through the ink color and character shape to master the most accurate brushwork of the ancients, especially the calligraphy manuscripts of famous masters, which show the most real and natural writing state with vivid artistic charm.

Practicing the manuscripts of the ancients can, on the one hand, improve one's penmanship skills, and on the other hand, help one feel the charm of traditional art, solve cautious problems, and give the work spirit and vitality. Unfortunately, there are only a few manuscripts of famous artists left in the world.

Now a 900-year-old calligraphy manuscript has been discovered in Japan, which restores the orthodox writing style of the ancients. This work is Huang Tingjian's "Epitaphs of Wang and Shi", which includes "Epitaph Draft of Wang the Elder" and "Epitaph Draft of Shi Yizhen, the Elder of Lu Nanshi in the Song Dynasty".

It is now in the collection of the Tokyo National Museum in Japan. The whole scroll contains more than 700 characters, which were written when Huang Tingjian was between 40 and 45 years old, and between around 55 and 60 years old. At that time, Huang Tingjian's brushwork had already matured, and each stroke was precise and orderly.

His style continues his strange, steep, dangerous and grand style. For example, the left and right strokes in the middle of the stroke are sharp and flying at the end, like a sword drawn from its sheath. The visual effect is vivid, and with more than 60 smears and modifications, it fully displays the simple natural beauty.

Shen Zhou praised his calligraphy: "In his later years, Shan Gu's calligraphy has greatly acquired the samadhi of Zang Zhen (Huaisu). The power of his brushstrokes is trance-like and out of the blue." Luo Tianchi also commented on this work: "The characters are smaller than those of Qian's, but as powerful as a tiger, subtle and profound, and purely divine. They are as bright as stars in the sky, just like Yan Pingyuan's "Sacrifice to Uncle and Nephew" and "On Sitting".

They believe that Huang Tingjian's brushwork is concise, his strokes are free and varied, and his momentum is quite extraordinary. This work is even more subtle and profound, and its artistic style can be compared with Yan Zhenqing's "Eulogy for My Nephew" and "Dispute over a Seat". Some contemporary experts agree with this view and believe that this work is undoubtedly better than Yan Zhenqing's.

At the end of the Qing Dynasty, the original work accidentally flowed into Japan. At that time, Tanaka Keitaro of Tokyo Bunkyudo purchased this work. In 1919, the overseas student Lin Xiongguang spent 15,000 gold to buy it. Later, it was transferred to Abe Fusajiro and is now in the collection of the Tokyo National Museum in Japan.

Frequently copying this work can not only enhance brush strength, keep the brush controlled steadily, make the dots and strokes clear and penetrating, allow the ink to penetrate deeply into the paper, and prevent problems such as flying, greasy, etc., but also achieve vivid and smooth natural changes, write out the true beauty of calligraphy art, and not be constrained by deliberate momentum.

Now, after much effort, we have made an ultra-high-definition reproduction of Huang Tingjian's "Epitaphs of Wang and Shi", using a museum-level, 12-color micro-spray reproduction process, and restored it 1:1 compared to the original.

The fonts in the scroll are extremely clear, and details such as the ink color, brushstroke changes, etc. are all clearly visible, and are exactly the same as the original. Seeing this product is like seeing the original. If you like it, you can click on the product link below to take a look.

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