Chinese Calligraphy in Tang Dynasty

History	Calligraphy Development	Masters & Work
Arts & Culture	Other Calligraphers	Theories & Publications
Influence to Ja	Summary	Reference

Historical Background

The Tang Dynasty (18 June 618–4 June 907) was an imperial dynasty of China preceded by the Sui Dynasty and followed by the Five Dynasties and Ten Kingdoms Period. It was founded by the Lee (李) family, who seized power during the decline and collapse of the Sui Empire. The dynasty was interrupted briefly by the Second Zhou Dynasty (16 October 690–3 March 705) when Empress Wu Ze Tien seized the throne, becoming the first and only Chinese empress regent, ruling in her own right.

The Tang Dynasty, with its capital at Chang An (present-day Xian), the most populous city in the world at the time, is regarded by historians as a high point in Chinese civilization — equal to or surpassing that of the earlier Han Dynasty — as well as a golden age of cosmopolitan culture, especially calligraphy. Its territory, acquired through the military campaigns of its early rulers, was greater than that of the Han period, and rivaled that of the later Yuan Dynasty and Ching Dynasty. The enormous Grand Canal of China, built during the previous Sui Dynasty, facilitated the rise of new urban settlements along its route, as well as increased trade between mainland Chinese markets. The canal is to this day the longest in the world. In two censuses of the 7th and 8th centuries, the Tang records stated that the population (by number of registered households) was about 50 million people.

In Chinese history, the Tang Dynasty was largely a period of progress and stability, except during the An Shi Rebellion (安史之亂) and the decline of central authority in the 9th century. Although the dynasty and central government were in decline by the 9th century, art and culture continued to flourish. The weakened central government largely withdrew from managing the economy, but the country's mercantile affairs stayed intact and commercial trade continued to thrive regardless.

Calligraphy Trend & Development

Arts & Culture of Tang Dynasty

Chinese culture flourished and further matured during the Tang era; it is considered the greatest age for Chinese poetry. Two of China's most famous historical poets, Du Fu and Lee Bai, belonged to this age, as well as the poets Meng Hao-Ran and Bai Ju-Yi. Many famous brush artists lived during this era, such as the renowned painters Han Gan (韓幹), Wu Dao-Tzu (吳道子), and Zhan Tzu-Chian (展子虔). However, classic Chinese painting would not reach its zenith until the Sung Dynasty.

Masters & Work

· Yu Shi-Nan 虞世南 (558-638): He learned from monk Zhu Yong ( 智永 ). His calligraphy displayed humble, mild and peaceful manner.

· Chu Sui-Liang 褚遂良 (596-659): Studied Yu Shi-Nan's calligraphy first. Later, he studied works by Zhong Yao and Wang Hsi-Chih. They say Tang Tai Zong collected many Wang Hsi-Chih's calligraphy works but no one could tell which one was real or fake except Chu Sui-Liang.

· Lee Yong 李邕 (678-747): He studied Wang Hsi-Chih's Hsin Shu earlier. His famous saying was: If you learn my style, your art dies. If your style resembles mine, yours looks vulgar.

· Sun Guo-Ting 孫過庭 (648-703): Famous calligrapher and theorist in Tsao Style.

· Zhang Shui 張旭 (?-?): Every time he was drunk, he got inspiration and did a terrific work. He's nicknamed “Crazy Zhang.” He won the title “King of Tsao Style ( 草聖 ).” His calligraphy together with Li Bai's poem and Pei Ming's sword playing were the “three exquisite talents in the Tang Dynasty”.

· Tang Shuan Zong (685-762): Emperor Shuan Zong was a brilliant military leader and talented artist. He was also a consummate calligrapher, as evidenced by the wild spirit of his forceful yet graceful cursive script.

· Lee Yang-Bing 李陽冰 (?-?): Specialized in a very skinny Zuan Style. He considered his Zuan only after the Prime Minister Lee Si ( 李斯 ) of the Chin Dynasty.

· Yen Jen-Ching 顏真卿 (709-785): He studied Chu Sui-Liang's calligraphy earlier. Later, he became a student of Zhang Shui. He abandoned the existing rules of earlier the Tang Dynasty and created a brand new style.

· Zhong Shao-Jing (?-?): Almost all horizontal inscribe boards were written by him at the time of Empress Wu Ze-Tian.

· Hsu Hao 徐浩 (703-782): Hsu Hao and Yen Jen-Ching were contemporaries and respected each other. People thought of his calligraphy as a thirsty horse galloping toward a river. His work showed his mild, humble, and honesty personality.

· Huai Su 懷素 (725-785): He also liked to drink as Zhang Shui did. His calligraphy was like a snake running, resembling strong wind, violent storm, and thundering. His Tsao Style was peered with Zhang Shui’s. Most famous for his "Huai Su Autobiography."

· Liu Gong-Chuan 柳公權 (778-865): Liu combined Oh-Yang Sheun's refined style of elegant, angular strokes with the fullness and weight of Yen Jen-Ching's characters to create his own Kai Shu style, which demonstrates structure, discipline, and clarity. His Kai Style calligraphy was so famous that if there were any officers who did not ask him to write for their family steles they were considered not showing filial piety. In reply to the emperor's inquiry about the best way to use the brush, he advised that "An upright heart makes for an upright brush," pointing out that our brushwork always reflects our personality - and implying that it is possible to improve both!

Other Famous Calligraphers

· Wu Ze Tien 武則天 (623-705): She is the only empress in China. “Birds” were encrypted in her Fei Bai Style writing. "Fei (Flying) Bai (White)" is not a unique form of the five major styles of Chinese calligraphy. Rather, it's a special effect created by a different kind of brush without the sharp brush tip. When Tsai Yong saw workers painting at the Hong Du Gate, he was inspired and invented Fei Bai Style. They say Oh-Yang Sheun was also good at this style.

· Lu Jian-Chih 陸柬之 (585-638): He was a nephew of Yu Shi-Nan. He studied his uncle’s calligraphy earlier, then he changed to the Two Wangs ( 二王 ) later.

Tang Dynasty Territory

Emperor Tang Tai Zong

Chinese calligraphy reached its highest peaks both in the Jin and Tang Dynasties. In the Tang Dynasty the government set up institutes and colleges for studying calligraphy. Calligraphy was used to evaluate a person and was considered as a way in selecting talents. There were six subjects in the National Academy and calligraphy was one of them. The whole society, from the emperors to ordinary people, treated calligraphy passionately. In early Tang, Tang Tai Zong ( 唐太宗, Lee Shu-Ming) loved Wang Hsi-Chi's calligraphy and spent money to buy out his works. Because of his favor, most calligraphers at that time studied Wang Hsi-Chi's calligraphy.

From Wei & Jin to the South & North Dynasties, the popular scripts included Kai, Hsin, and Tsao Styles. All styles appeared in the Tang Dynasty. For example, Lee Yang-Bing was good at Zuan Style which was rarer compared to other styles throughout dynasties. Calligraphers specializing in Tsao Style included Zhang Shui, Huai Su, and Sun Guo-Ting. (Zhang Shui had instructed monk Huai Su. People often peered their achievements and called them “Mad Zhang & Crazy Monk ( 張顛狂僧 )” for their unrestrained personalities and calligraphy styles.) As for Kai Style, many calligraphers in the Tang Dynasty reached another peak after Wei Bei style and set standards for generations to follow.

There were prominent Kai Style calligraphers like Yu Shi-Nan, Oh-Yang Sheun, Chu Sui-Liang and so on. In the mid-Tang, Yen Jen-Ching made a drastic change from the elegant slender stroke created by Wang Hsi-Chih, to a broad, muscular, and rigid one. His works look solemn, dignified, and majestic. Another master, Liu Gong-Chuan, created a slim style compared to Yen’s yet still full of energy. Yen’s calligraphy was considered sinewy and Liu’s was considered bony.

As calligraphy was popular in the Tang Dynasty, various calligraphy theories were published. Tang Tai Zong ( 唐太宗 ) pointed out that essence and spirit were the soul of calligraphy and mind was the muscle of each character. Oh-Yang Sheun explained the eight methods of the character Yong (“Yong Zi Ba Fa 永字八法”). Yen Jen-Ching stated how his teacher Zhang Shui passed to him the secrets of using a brush. He also pointed out that the calligraphy should look like drawing on sand with awl “Zuei Hwa Sa 錐劃沙.” (This is the core of all Chinese calligraphy theories.) Hsu Hao revealed the relationship between the bone and muscle of calligraphy. Zhang Huai-Huan's book "Shu Duan 書斷" was rich in theories, history, and changes of styles. He stated the history of ten different scripts and elaborated the characteristics of each scripts. Another influential and important calligraphy theory was Sun Guo-Ting's “Shu Pu 書譜” in Tsao Style. He addressed many important issues and theories about calligraphy. Especially in inheriting and creation, he emphasized the importance of studying early calligraphy masterpieces but not being confined by them.

· Yang Ning-Shu 楊凝式 (873-954): A highly regarded calligrapher for his brushwork. Nicknamed “Madman Yang” for his weird behavior. Huang Ting-Jian was deeply impressed when he witnessed his works at the temples in Luo Yang. His calligraphy and Wu Dao-Shuan’s painting were the "Two Talents of Luo Yang."

Historical Background

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Calligraphy Trend & Development

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Arts & Culture of Tang Dynasty

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Masters & Work

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Other Famous Calligraphers

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