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If you observe ancient calligraphers, you can find that many "great masters of calligraphy" had average skills in their early years. For example, Wen Zhengming, whose small regular script was the best in ancient and modern times, was ranked third in the provincial examination because of his ugly handwriting. Liu Gongquan was even criticized by an old woman, who said that his handwriting was like tofu, soft in appearance, without bones or strength.

In addition to the above two, there was another "lucky man" in the Ming Dynasty. At the age of 17, he participated in the imperial examination in Songjiang Prefecture and wrote an extremely exquisite article, but because his handwriting was not beautiful, he ranked second. Later, he practiced calligraphy diligently, studied the ancients' brushwork, created a unique style of calligraphy, and became the last master of calligraphy. This person is Dong Qichang.

After Dong Qichang turned 18, he went to Xiang Yuanbian's mansion and worked as a "teacher". Xiang Yuanbian was a famous collector of calligraphy and painting, and he collected a large number of authentic works by famous artists from the Wei, Jin, Tang and Song dynasties. Therefore, Dong Qichang was able to see the ink and paper works and learn the most accurate traditional techniques and style.

In the early days, he copied the calligraphy of Yan Zhenqing and Yu Shinan, and grasped the rules of "Tang Kai" to consolidate his pen control skills and improve his awareness of standards. Later, he learned from Wang Xizhi, Zhong Yao, Yang Ningshi, Mi Fu and Zhao Mengfu.

Moreover, Dong Qichang integrated the calligraphy styles of Jin, Tang, Song and Yuan dynasties, added the desolate and peaceful spirit of Zen Buddhism, and created a style of "lively and light ink". Every stroke is tranquil, vigorous, fluent and vigorous, and embodies the ultimate in emptiness, harmony and otherworldly beauty.

For example, when appreciating his "Preface to the Elegant Gathering in the Western Garden", the ink color is rich and rich, conforming to the font shape and stroke rhythm, producing changes that are thick or dry, the shape is undulating and the power is solid, with a natural sense of simplicity and elegance.

The brushwork is concise and capable, deliberately simplifying some complex strokes, and then matched with a spacious layout, and a few simple and light ink colors, giving people a feeling of immortality, elegance and tranquility, entering the highest realm of peace and gentleness.

Emperor Kangxi once praised his calligraphy: "Huating Dong Qichang's calligraphy is very different from others. Its elegance and roundness are popular in the paper and ink, which is beyond the reach of other calligraphers. In the seemingly unintentional places, its spirit is unique, like clouds rolling and the breeze blowing, which is particularly natural."

He believes that Dong Qichang's calligraphy integrates the states of all things in nature, and his strokes are smooth and unrestrained. His level is second only to the "Two Wangs". Zhao Mengfu pales in comparison to him. Even from the analysis of brushstrokes and style, this work is powerful and broad, yet elegant and graceful, and each character is both majestic and beautiful.

It can be said that he changed the problem of the "Two Wangs" who had tight and skillful brushwork but were unable to write large characters. His skills were almost comparable to those of Wang Xizhi. He was worthy of the fact that after Qi Gong understood his calligraphy in his later years, he regarded him as an "idol" and wrote a poem to praise him: "The rivers and streams through the ages have their own authentic story, and there is a world of difference between unwarranted praise and criticism. The historian has his own Yang Qiu pen, and directly talks about Xiang Guang and Mi Dian."

Today, "Gathering of Elegant People in Western Gardens" is housed in the National Palace Museum in Taipei. By copying it frequently, one can gain a preliminary understanding of the brushwork of the "Two Wangs", master the dynamic momentum and ink color distribution, and broaden one's own brushwork. No matter whether the font is enlarged or reduced, one can always maintain its dignity and fully display the artistic atmosphere.

Today, we have made an ultra-high-definition reproduction of Dong Qichang's "Elegant Gathering in the Western Garden" using a museum-level, 12-color micro-spray reproduction process, and restored it 1:1 compared to the original. This product is a hand-mounted sutra-folding binding with a folding design, which is convenient for copying and searching.

Modern character annotations are added to the main text to help beginners to read. This kind of exquisiteness is rare in the market, and it is unique. It is more restored and delicate than ordinary prints. The details such as the ink color, the brushstrokes, etc. are all clearly visible, and there is no difference from 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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