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Lot Essay
Compelling Expression: Tang Poems Calligraphic Couplet in Running-Cursive Script by Zhang Ruitu
An innovative calligrapher of the late Ming period, Zhang Ruitu (1570-1641) was in the same league of Xing Tong, Dong Qichang and Mi Wanzhong. To cope with the lofty architecture with high ceilings at that time, calligraphic techniques had to be changed for writing on scrolls of monumental size. Using his elbow and wrist to wield his brush, Zhang made a far-reaching impact on the calligraphy of late Ming and beyond.
Zhang excelled in calligraphy of huge size, many of which are more than three metres high, like Li Bai’s Poems in Running Script now in Shanghai Museum. Amongst the various formats, couplets are the rarest. The debut of Tang Poems Calligraphic Couplet in Running-Cursive Script comprises Du Fu’s quatrian on the refreshing spring scenery after rain, and Yuan Jie’s verse on a sleeping recluse enjoying the hot spring in a winter’s day. Based on its style and signature, this couplet can be dated around 1618-1623 when Zhang Ruitu retreated to his hometown.
Tang Poems Calligraphic Couplet in Running-Cursive Script is a magnificent piece of calligraphy. Zhang held his brush vertically and moved vigorously his upper arm and wrist to form angular characters. The overall spatial composition presents a compelling visual effect. Compare with a set of four hanging scrolls of Running Script Calligraphy published in Zhang Ruitu’s Calligraphy: Hanging Scrolls and Albums, both share the same seal of the artist and of similar size and style. There exists relatively few extant works of this period by the artist and Tang Poems Calligraphic Couplet in Running-Cursive Script is definitely a masterpiece.
An innovative calligrapher of the late Ming period, Zhang Ruitu (1570-1641) was in the same league of Xing Tong, Dong Qichang and Mi Wanzhong. To cope with the lofty architecture with high ceilings at that time, calligraphic techniques had to be changed for writing on scrolls of monumental size. Using his elbow and wrist to wield his brush, Zhang made a far-reaching impact on the calligraphy of late Ming and beyond.
Zhang excelled in calligraphy of huge size, many of which are more than three metres high, like Li Bai’s Poems in Running Script now in Shanghai Museum. Amongst the various formats, couplets are the rarest. The debut of Tang Poems Calligraphic Couplet in Running-Cursive Script comprises Du Fu’s quatrian on the refreshing spring scenery after rain, and Yuan Jie’s verse on a sleeping recluse enjoying the hot spring in a winter’s day. Based on its style and signature, this couplet can be dated around 1618-1623 when Zhang Ruitu retreated to his hometown.
Tang Poems Calligraphic Couplet in Running-Cursive Script is a magnificent piece of calligraphy. Zhang held his brush vertically and moved vigorously his upper arm and wrist to form angular characters. The overall spatial composition presents a compelling visual effect. Compare with a set of four hanging scrolls of Running Script Calligraphy published in Zhang Ruitu’s Calligraphy: Hanging Scrolls and Albums, both share the same seal of the artist and of similar size and style. There exists relatively few extant works of this period by the artist and Tang Poems Calligraphic Couplet in Running-Cursive Script is definitely a masterpiece.