Tang Qishan: After the Orchid Pavilion Preface & Letters of the Two Wangs

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2025-10-10 06:53

Author Profile

Tang Qishan (born 1986) is a contemporary Chinesepainter and calligrapher. He holds a Master's degree in Cultural and ArtsManagement from a Swiss business school and served as a visiting scholar at theChina National Academy of Painting. He is a council member of the Shenzhen ArtIndustry Promotion Association, founder and art director of Prenta Culture, adeeply collaborating artist with the Guangzhou Art Fair, and a member of theHunan Calligraphers Association.

Tang has held solo exhibitions at venuesincluding the Guangdong Museum of Art, Nanshan Mangu, Guangzhou NanfengInternational Convention and Exhibition Center, and Qidong Vocational SecondarySchool. His works are held in the collections of institutions such as the TibetArmed Police Force, Guangdong Museum of Art, Gansu Bamboo Slips Museum,Russia-China Chamber of Commerce, and Moscow Omega-L.

Under the guidance of Mr. Wang Yong from theChinese National Academy of Arts, Tang systematically studied Eastern andWestern art theory. He also trained in calligraphy under Mr. Liu Xiaobin,Council Member of the China Calligraphers Association. Alongside his artpractice, he remains actively involved in charitable initiatives and has beenrepeatedly honored as an "Outstanding Volunteer."

His calligraphy works have been selected fornumerous national exhibitions, including the 2022 "Chinese Calligraphy ·Annual Exhibition" National Regular Script Works Exhibition, the"Briefly Narrating China" National Bamboo Slip CalligraphyExhibition, the 1st "Ni Yuanlu Cup" National Cursive and RunningScript Competition, the 5th National Large-Scale Calligraphy Works Exhibition,where he received an "Excellence Award" at the 1st Chinese RuralPainting and Calligraphy Competition, the Tibet Armed Police Force's "Odeto Beautiful Tibet, Writing Guards' Loyalty" themed Calligraphy, Paintingand Photography Exhibition, and the 5th Hunan Mid-Aged & Youth Calligraphy Exhibition.

Reflections on Copying the Letters of the TwoWangs

(Text by Tang Qishan) In the long river ofcalligraphic art, the "Two Wangs"—Wang Xizhi and his son WangXianzhi—shine like brilliant stars, radiating an eternal light. Recently, I had the privilege of deeply studying and copying their personal letters. Thisprocess was like embarking on a wondrous journey—a dialogue with the ancientsand an exploration of the true essence of calligraphy's subtleties—from which Igained many insights.

When I first began copying these ancient, yetvividly spirited letters, what struck me initially was a palpable sense of the Wei-Jin demeanor. Between the lines of the Two Wangs' correspondence, there isa natural, free-flowing, and spontaneous charm. There is no deliberate stiffness or rigidity in their strokes; instead, they seem to flow out effortlessly—sometimes light and skipping, like that single, spirited flourish in the character "之" (zhi), unfolding as naturally as floating clouds and flowing water; other times steady and weighty,where the strength displayed in certain捺 (na) and横 (heng) strokes conveys the authors' resolutedetermination and state of mind as the ink was laid down. This innate beautymade me realize that calligraphy should never be a mechanical assembly ofstrokes, but rather a natural expression of emotion and inner state—a reflectionof the calligrapher's very soul.

While copying their brushwork, I gained a deeperappreciation for the exquisite mastery of the Two Wangs. Wang Xizhi's brushtechnique is exquisite and richly nuanced. The initial engagement of the brushoften alternates between a revealed tip (露锋) and a concealed tip (藏锋)—sometimes the sharp point isprominently exposed, other times restrained and introverted, as if gatheringstrength before release, establishing a steady foundation for the entirecharacter. During the movement of the brush, the centered tip (中锋) is primarily used,creating rounded, full, and resilient lines, taut like a drawn bowstring,brimming with potential energy. The conclusion of a stroke might finish with alight, exposed tip, leaving behind an endless lingering charm, or draw back thetip (回锋), ending cleanly and decisively yet still retaining subtlety. WangXianzhi, while inheriting his father's methods, introduced his own innovationsand breakthroughs. His strokes are more expansive and outwardly directed, andthe posture (字势) of his characters is broader and more open, conveying a sense ofexhilarating freedom from constraints. In my practice, I strived to imitateevery subtle brush movement, from twisting the brush and turning the wrist tomodulating pressure and adjusting weight. Through repetitive practice, I cameto understand more fully that these seemingly simple strokes and dots are theculmination of their decades of skill and artistic insight—something I can onlybegin to grasp through dedicated contemplation and the passage of time.

In terms of structure, the letters of the TwoWangs were equally astounding. Their character structures are varied yetharmoniously unified. They sometimes employ oblique angles to create dynamicposture, breaking conventional stability and generating a unique sense ofkinetic beauty. It's as if an invisible tension exists between the lines,making each character seem poised to spring into motion. Alternatively, theymasterfully arrange the density of strokes—creating areas "sparse enoughfor a horse to gallop through, yet dense enough to be windproof"—achievingstrong contrast that paradoxically enhances the whole. This makes everycharacter resemble a meticulously crafted art object, possessing its owndistinct charm and rhythm. While copying, I often found myself repeatedlyadjusting the structure of a single character, trying to recapture thatseemingly casual yet perfectly balanced sophistication. Gradually, I began tocomprehend the philosophy of balance and variation inherent in calligraphicstructure—a sublime artistic realm that navigates deftly between rule andfreedom.

Studying the letters of the Two Wangs alsoallowed me to feel the profound cultural depth embedded within calligraphy.These letters are, fundamentally, records of the ancients' dailycorrespondence, their texts carrying the human interactions, thoughts, andemotions of their time. As I traced each stroke, it felt like traveling throughtime, watching them wield the brush at their desks—perhaps sharing amusinganecdotes with friends or expressing heartfelt sentiments. That rich culturaland lifelike atmosphere made me realize that calligraphy never existed inisolation; it was intimately connected to the culture and social context of itsera, a vivid portrayal of the lives of the ancients.

However, the process of copying was not alwayssmooth. I frequently encountered difficulties where my copy failed to capturethe likeness or, more importantly, the essential spirit (神韵) of the original. In thesemoments, I felt some frustration. Yet, precisely these setbacks deepened myreverence for the profound mastery of the Two Wangs and motivated me to observemore keenly, think more deeply, and practice more diligently—consulting more resources and seeking guidance from senior calligraphers—hoping to grasp alittle more of their essence through continued study.

For me, copying the letters of the Two Wangs hasbeen a precious artistic discipline. It has allowed me to appreciate theelegant and unique charm of Wei-Jin period calligraphy, to feel the immensebreadth and depth of the art form in its brushwork, lines, structure,composition, ink tonality, and spiritual resonance. More importantly, withinthis world of black and white lines, I have found a bridge to communicate withthe ancients, discovered inner tranquility, and cultivated a deeper passion forthe art of calligraphy. I am fully aware that this path of study and imitationis long. I will continue with these insights and this passion, constantlyexploring, navigating the vast ocean of calligraphy, to draw further wisdom andnourishment from the Two Wangs and the great masters throughout history.