The emperor Yuan Renzong (r. 1312–20) is said to have remarked that no one could compare with Zhao Mengfu, who possessed seven outstanding qualities: Song royal ancestry, elegant appearance, wide learning, pure character and righteous conduct, literary accomplishment, skill in calligraphy and painting, and profound knowledge of Buddhist and Daoist teachings.As a leading calligrapher, Zhao advocated a return to ancient models, successfully integrating styles of the Jin (265–420) and Tang (618-907) dynasties to create a new synthesis in both regular and cursive scripts. During the fourteenth century, the typefaces of printed books were modeled after his regular script, while his cursive script, seen here, formed the basis for many later writers' informal writing styles.Four Anecdotes from the Life of Wang Xizhi testifies to Zhao's devotion to the "Sage of Calligraphy," Wang Xizhi (303–361). Strongly influenced by Wang's style, this scroll dates to about 1310.DOCUMENTATION Artist’s inscription and signature (37 columns in semi-cursive and cursive scripts)In the beginning [Wang] Xizhi did not excel in calligraphy; he was no match for Yu Yi or Xi Yin. Toward the end of his life, however, he reached the highest peak of this art. Once he wrote a letter to Yu Liang in “draft cursive” script which Liang showed to Yu Yi. Admiring it, Yu sent a letter to Xizhi and said, “I once owned ten sheets of ‘draft cursive’ writing by Boying [Zhang Zhi, active about 150] which were lost when I fled north China across the Yangzi River. I deeply regret that such excellent works are gone forever. When I happened to see your letter to my brother, however, as brilliant as if written by a god, my former pleasure and appreciation were revived. When Xizhi left his position as the Prefect of Kuaiji, he resided at the foot of Mount Ji. One day an old woman was going to market with ten-odd hexagonal fans. Wang asked her the price and she answered that each cost twenty coins, whereupon Wang took a brush and wrote five characters on each fan. The old woman sorrowfully said that her whole family’s livelihood depended on those fans and asked why Wang wrote on them and ruined their value. Wang told her to tell the buyers that the calligraphy was by Leader of the Right Army Wang [Wang Xizhi] and to ask for one hundred coins each. The old woman went to the market and a crowd gathered and bought them all. She then brought ten–odd more blank fans for Wang to write on. He only smiled and did not answer. Xizhi once wrote a memorial to Emperor Mudi of Jin. The emperor ordered Zhang Yi to make an exact copy. Then the emperor himself wrote a reply upon it. Xizhi did not notice at first but, after a careful look, recognized the substitution. He sighed, “That fellow almost confused which one was authentic.” Xizhi was extremely fond of [the graceful appearance of] geese. In Shanyin there was a Daoist monk who had raised a flock of more than ten fine geese. One morning Wang decided to take a small boat and go there. He was delighted with the geese and wanted to buy them, but the monk refused to sell. Wang tried in vain to persuade him. Finally, the monk told Wang that he loved Daoist philosophy and had always wanted a transcription of Laozi’s Dao de jing with its commentary by Heshanggong. He had already prepared the silk, but no one was qualified to write it. He asked if Wang would condescend to transcribe two chapters each from the Dao and De sections, for which he would repay Wang with the whole flock of geese. Wang stayed for half a day to write out the chapters, then he caged the geese and returned home. Written by Ziang 羲之書始未有奇，殊不勝庾翼、郗愔。迨其末年乃造其極。嘗以章草答庾亮。亮以示翼。翼歎服。因與羲之書云：“吾昔有伯英章草書十紙，過江亡失,常痛妙迹永絕。忽見足下書[點去]答家兄書，煥若神明，頓還舊觀。” 羲之罷會稽，住蕺山下。一老嫗捉十許六角竹扇出市。王問：“一枚幾錢?”云：“直二十許。”右軍取筆書扇為五字。嫗大悵惋云：“舉家朝飱，唯仰於此，何乃書壞。”王云：“但言王右軍書，字索一百。”入市，市人競市去。姥復以十數扇來請書。王笑不答。 羲之嘗自書表與穆帝。帝使張翼寫效，一毫不異，題後答之。羲之初不覺，更詳看乃歎曰：“小人幾欲亂真。” 羲之性好鵞。山陰有一道士，養好鵝十餘。王清旦乘小船故往，意大願樂，乃告求市易。道士不與。百方譬說不能得。道士乃言：“性好道，久欲寫河上公老子。缣素早辦，而無人能書。府君若能自屈書《道德經》各兩章，便合羣奉之。”羲之便住半日，為寫畢，籠鵞而歸。子昂書。 Artist's seals Zhao shi Ziang 趙氏子昂Daya 大雅Songxue Zhai 松雪齋Tianshui Jun tushu yin 天水郡圖書印Mo miao 墨妙 Label strip Shao Songnian 邵松年 (1848–1923), 2 columns in semi-cursive/standard script, undated (mounted on brocade wrapper): Zhao Wenmin’s [Zhao Mengfu’s] transcription in manuscript form of four anecdotes from the life of Wang Xizhi, a work of the divine class. In the collection of Lanxue Zhai [Shao Songnian]. 趙文敏書右軍四事墨蹟，神品。蘭雪齋藏。 Colophons 1. Zhang Yu 張雨 (1283–1350), 3 columns in standard script, undated; 1 seal: The text of the four anecdotes to the right comes from Lunshu biao (Discussion on calligraphy). Had Vice Minister Yu [Yu He, active 5th century] seen this piece by Zhao Weigong [Zhao Mengfu], what would he have said? Viewed by Zhang Yu from Mt. Gouqu [in present–day Gourong, Jiangsu Province]. [Seal]: Gouqu Waishi 右四則語見《論書表》。使虞侍郎見趙魏公此蹟，當復作何語耶。句曲張雨觀。 [印]： 句曲外史 2. Lu Jishan 陸繼善 (1298–1345), 2 columns in semi-cursive/standard script, dated 1338: On the fifteenth of the intercalary eighth month in the fourth year of the Zhiyuan era [September 29, 1338], viewed at the Xuanwen Guan by Lu Jishan from Fuli [in Suzhou, Jiangsu Province]. 至元後四年閏八月十又五日觀于玄文館。甫里陸繼善 3. Ni Zan 倪瓚 (1306–1374), 4 columns in standard script, dated 1368: The structural integrity and spirit of Grand Master Zhao’s [Zhao Mengfu’s] calligraphy surpasses those of the Song masters’. But in terms of self–containment, he was inferior to Tang masters. I have just seen his transcription of four anecdotes from Wang Xizhi’s life, which is no less elegant than the ancient masters’ calligraphy. On the seventeenth of the tenth lunar month of the wushen year [November 27, 1368] I viewed this at Zhang Yuandu’s (active 14th c.) Huanlü Xuan studio, Ni Zan. 趙榮祿書氣骨精神奄出宋人之右，但沉著不及唐人耳。今觀書右軍四事，風流不愧古人。歲戊申十月十七日，觀於張元度之環綠軒。倪瓚 4. Wu Kuan 吳寬 (1436–1504), 5 columns in semi-cursive script, dated 1493; 1 seal: Master Wenmin [Zhao Mengfu] took Xi [Wang Xizhi, ca. 303–ca. 361] and Xian [Wang Xianzhi, ca. 344–ca. 386] as his models in studying calligraphy all his life, so he liked to transcribe their life stories. In addition, his own manner resembled theirs too. On the sixteenth of the seventh lunar month in the guichou year of the Hongzhi reign era [August 27, 1493] I viewed this at the Bingxiu Tang studio while raining, Wu Kuan. [Seal]: Yuanbo 文敏公平生學書以羲、獻為師，故喜書其事，其風度蓋亦類之也。弘治癸丑七月十六日雨中在並秀堂觀。吳寬 [印]：原博 5. Zhou Tianqiu 周天球 (1514–1595), 6 columns in semi-cursive/standard script, dated 1570: In the fifth lunar month of the gengwu year in the Longqing era  I visited Grand Mentor Sha An twice and saw five pieces of Wenmin’s [Zhao Mengfu’s] calligraphy. Among them, his copy of the Seventeen Letters best captures the principles of Wang Xizhi’s calligraphy. The flowing energy and spontaneity of this scroll are also derived from Wang’s. Ni [Ni Zan, 1306–1374], the oddball, degraded him to the rank of Song calligraphers. Wasn’t he indeed an oddball! I presumptuously argue against it. Zhou Tianqiu from Wujun [Suzhou, Jiangsu Province]. 隆慶庚午五月二過太傅萐菴公，獲觀文敏手筆五帙，其最得右軍家法者是《十七帖》臨本。此卷遒逸縱發，亦本於王，而倪迂乃屈之為宋人，豈真迂耶。僭為之理。吳郡周天球 6. Hu Shi’an 胡世安 (1593–1663), 6 columns in semi-cursive script, undated; 2 seals: When the Administrator [Wang Xizhi] did calligraphy, his idea always preceded rules. These four anecdotes reveal his spirit in full. When the Recipient of Edicts [Zhao Mengfu] studied Wang’s methods, he focused on his idea, which this scroll well embodies. People of the past said that Ziang [Zhao Mengfu] got rid of all the faults of Yan’s [Yan Zhenqing’s, 709–784 or 785] and Liu’s [Liu Gongquan’s, 778–865] calligraphy and learned directly from the Jin masters, and that he was the only great one after Wang. This opinion was no mere flattery. Xiuyan Yinshi, Hu Shi’an, from Xishu [modern Sichuan Province]. [Seals]: Hu Shi’an yin, Chujing fu 內史臨池，意先乎法，四則已露全神。承旨學王法，準乎意，此卷可稱具體。昔人謂子昂一洗顏、柳之病，直以晉人為師，右軍之後一人而已，似非阿好。西蜀秀巖隱史胡世安 [印]：胡世安印、處靜父 7. Shao Songnian 邵松年 (1848–1923), 4 columns in standard script, dated 1891; 1 seal: Wenmin [Zhao Mengfu] lived about six hundred years ago. His writings in large and small semi–cursive and standard scripts, kept in both manuscript and rubbing forms, amount to hundreds. In terms of the condition of paper and ink and the preservation of the work’s spirit, none surpasses this scroll. I acquired it in the capital years ago and have treasured it ever since. Last winter I also acquired his long handscroll that transcribed the “Thousand-character Essay” in four different scripts, which could make an excellent pair with this piece. In the ninth lunar month of the xinmao year in the Guangxu reign era  Shao Songnian from Yushan [in Changshu, Jiangsu Province]. [Seal]: Songnian 文敏至今六百年，大小行楷傳刻不下數百種，求其楮墨如新，精神完足，殆無逾此者。往歲得此卷于京師，奉為珍祕。客冬，復得公《四體千文》長卷，與此可稱珠聯璧合。光緒辛卯九月虞山邵松年 [印]：松年 8. Shao Songnian 邵松年 (1848–1923), 5 columns in standard script, dated 1916; 1 seal: I had this scroll and the Dingwu version of the Preface to the Orchid Pavilion Gathering traced and carved on stone to be preserved in my Lanxue Zhai studio. I then did the same with the standard-script and cursive-script parts of the Thousand-character Essay in Four Scripts and placed them at the beginning of my compilation of calligraphic rubbings, the Chenglan Tang fatie. Thus the two most indelible masterpieces of Zhao Mengfu’s calligraphy in my collection are now preserved on stone to last forever. Viewers in the future should treasure them greatly. In the second lunar month of the bingchen year  Xi Laoren [Shao Songnian] at sixty–nine sui. [Seal]: Songnian zhi yin yue Songnian 予既以是卷與《定武蘭亭序》摹刻于蘭雪齋中，又將《四體千文》中真草鈎勒以冠《澄蘭堂法帖》之首。蓋所藏松雪墨蹟銘心絕品二種，俱得上石以垂永久，後之覽者其珍重當何如耶。丙辰二月息老人時年六十有九。 [印]：松年之印曰松年 Collectors’ seals Zhang Yu 張雨 (1275–after 1349) Gouqu Waishi 句曲外史 Wu Kuan 吳寬 (1435–1504) Yan Zhoulai Jizi hou 延州來季子後 Liang Qingbiao 梁清標 (1620–1691) Liang Qingbiao yin 梁清標印 Jiaolin Shuwu 蕉林書屋 Yexi Yuyin 冶溪漁隱 Jiaolin Jushi 蕉林居士 Cangyanzi 蒼巖子 Liang Qingjun 梁清雋 (17th c.) Liang Qingjun yin 梁清雋印 Xuanying Zhai cang 玄映齋藏 Shao Songnian 邵松年 (1848–1923) Songnian suocang 松年所藏 Lanxue Zhai pingsheng zhenshang 蘭雪齋平生真賞 Xi An 息盫 Xi An zhencang 息盫珍藏 Yanshan Shao zi Songnian zhi yin (twice) 燕山邵子松年之印 Haiyu Shao shi zhencang jinshi shuhua zhi yin 海虞邵氏珍藏金石書畫之印 Chang yi zisun 長宜子孫 Shending zhenji 審定真跡Xi An zhenmi 息盫珍秘 Xu Hanqing 許漢卿 (1882–?) Xu Hanqing yin 許漢卿印 Hanqing zhi yin 漢卿之印 Zhou Dawen 周大文 (ca. 1930) Zhou Dawen yin 周大文印 Zhenda Dawen 貞大大文 Cheng Qi 程琦 (20th c.) Gu She Cheng shi zhencang 古歙程氏珍藏 Cheng Bofen yin 程伯奮印 Ke An suode mingxin juepin 可菴所得銘心絕品 Cheng Ke An shuhua ji 程可菴書畫記 Gu Luofu 顧洛阜 (John M. Crawford, Jr., 1913–1988) Hanguang Ge zhu Gu Luofu jiancang Zhongguo gudai shuhua zhi zhang 漢光閣主顧洛阜鑑藏中國古代書畫之章 UnidentifiedGuixue Shanfang 癸雪山房 Guixue Zhuren shending zhenji 癸雪主人審定真蹟Yunxiang siyin 允襄私印 Hengshan Pan ? xiang tao ? tushu zhai 恆山潘囗襄陶囗圖書齋  Translation from Kwan S. Wong, Stephen Addiss, and Thomas Lawton, Masterpieces of Song and Yuan Dynasty Calligraphy from the John C. Crawford Jr. Collection. Exhibition catalogue. New York: China Institute in America, 1981, pp. 72–73. Modified. Translations from Department records. The Lunshu biao was written by Yu He in 470.