To understand the essences of Chinese calligraphy and painting, please read the texts of the Hong Kong lectures by Mr. P’u Ju (溥儒), also known as P’u Hsin Yu (溥心畬). Between December 1958 and January 1959, Mr. P’u visited Hong Kong, to feast on seasonal crabs, to meet with friends, and to exhibit his artworks. He also gave three lectures at the University of Hong Kong and the New Asia College. The titles of the lectures are: Chinese Literature, Calligraphy and Painting; Calligraphy and Painting; On the Common Origin of Calligraphy and Painting.
The Chinese-Heritage Virtual Museum is fortunate to have found the texts of these three lectures. We now reissue the text of the first lecture, dates for the reissue of the other texts are yet to be decided. By reading and studying these texts, one can comprehend the spirit of the artworks of Mr. P’u, and grasp the fundamentals of Chinese calligraphy and painting. For the resurgence of Classical Studies, these may turn out to be helpful.
Curatorial and Editorial Department
Portrait of Mr. P’u Ju at the age of thirty four. An illustration in The History of Shang-fang Mountain (上方山志) compiled by Mr. P’u Ju
At 3 pm on 22 December in the 47th year of the Republic of China (1958), Mr. P’u Ju (溥儒 1896-1963), also known as Mr. P’u Hsin-yü (溥心畬), at the invitation of the University of Hong Kong, delivered a lecture in the Chemistry Building auditorium. The title of the lecture was Chinese Literature, Calligraphy and Painting. The complete text of the speech was published in Wah Kiu Yat Po Newspaper (華僑日報) on 27 December 1958.
Lecture text of Chinese Literature, Calligraphy and Painting by Mr. P’u Ju published in Wah Kiu Yat Po Newspaper in Hong Kong on 27 December 1958
Lecture text of Chinese Literature, Calligraphy and Painting by Mr. P’u Ju published in Wah Kiu Yat Po Newspaper in Hong Kong on 27 December 1958
The text of the speech is as follows:
“Many of those friends we regularly encounter all enjoy talking about calligraphy and painting. However, most people talk only about calligraphy and painting while neglecting literature. Calligraphy and painting naturally share the same origin, and their fundamental spirit comes from literature. Literature is the foundation, while calligraphy and painting are the outcome. To exclusively discuss calligraphy and painting without considering literature seems like forsaking the essence for the superficial. Yang Hsiung (楊雄 53 BC-18 AD) even said: ‘Grown-ups do not engage in the minor skills of prose and essay (辭賦小道，壯夫不為).’ So what could he have said about the arts of calligraphy and painting! In my opinion, the study of calligraphy and painting must first begin with the study of literature, especially with the understanding of the Great Tao. The way to understand the Great Tao is through reading. I would like to discuss with you some of my modest insights derived from my own engagement with calligraphy and painting.
Portrait of Yang Hsiung (楊雄) from Western Han dynasty who at one time said: “Grown-ups do not engage in the minor skills of prose and essay.” Photograph courtesy National Palace Museum
The two characters wen-ming (文明), meaning civilization, are fondly used by many people, such as world civilization, scientific civilization, and so on. However, the civilization most people refer to is restricted to its material nature, they do not fully recognize the full meaning of civilization. The ancients also spoke of civilization, but the civilization they cited was founded on morality. The I Ching (Book of Changes 易經) says: ‘The manifestation that rises above is called the Tao, the manifestation that appears beneath is called the vessel (形而上者，謂之道；形而下者，謂之器)’. Vessel is the material manifestation, Tao is the rationale. When a written work dazzles, it is wen (文 which is translated as literature), when wen has substance and brilliance, it is ming (明 which is translated as illumination). This is an immutable truth. The physical nature of material changes, and naturally changes.
Front cover of I Ching ( Book of Changes 易經) published in the 12th year of the Küang-hsu reign (1886). Photograph courtesy Library of Congress
The I Ching (Book of Changes 易經) says: “The manifestation that rises above is called the Tao, the manifestation that appears beneath is called the vessel”. Photograph courtesy Library of Congress
For example. From our evolution from pre-historic living in caves and wilderness, to our era in possession of all kinds of scientific inventions, such as electric light, airplane, and wireless communication, this is the consequence of our desire for progress, and it has vastly improved the living conditions of humanity. However, this material civilization must be governed by moral civilization in order to stay on the right path. Tso-ch’uan (The Commentary of Tso 左傳) speaks of guiding people to behave according to proper standards and rules (納民於軌物). If people depart from moral civilization, material civilization will be devoid of any notion of civilization. As an example. Scientific advancements can improve the living conditions of humanity and can save many lives, but on the flip side, science is also capable of killing lives. It is therefore necessary to use the metaphysical Tao above to govern the physical vessel beneath. Such is the Great Tao. The Book of Documents (書經 or 尚書) says: ‘(Virtues are to forge good governance, good governance is to nourish people 德惟善政，政在養民). Water, fire, metal, wood, earth, and grain are to be reinvigorated; the upholding of virtues, benefits from proper utilizations and applications, and prosperity rendered to livelihoods are all to be harmoniously amalgamated (水、火、金、木、土、穀，惟修；正德、利用、厚生，惟和).’ Water, fire, metal, wood, earth, and grain that is essential to life form the physical existence of humanity; the upholding of virtues, benefits from proper utilizations and applications, and prosperity rendered to livelihoods are the practices, the Tao, the rationale. The Analects (論語) mentions the importance of food and funeral rituals during Chou dynasty. While food is fundamental to nourishing life, funeral rituals make people understand their lineages and fulfill their hereditary obligations. This is the manifestation of Tao that rises above. From the perspective of calligraphy, painting, and literature, they cannot deviate from this rationale neither, and this rationale is basic self-cultivation.
Inside page of The Book of Documents (Shu-ching 書經 or Shang-shu 尚書), published in the Sung dynasty. Photograph courtesy Library of Congress
The Book of Documents says: “Water, fire, metal, wood, earth and grain are to be reinvigorated; the upholding of virtues, benefits from proper utilizations and applications, and prosperity rendered to livelihoods are all to be harmoniously amalgamated”. Photograph courtesy Library of Congress
Let us just consider the character wen (文 or literature). The I Ching says: ‘Merging the vitalities of heaven and earth, all things become pure (天地絪縕，萬物化醇).’ This means vitality is derived from the merging of heaven and earth, and the interactions of all things give rise to wen (文 or literature). Let us examine the archaic writing of the character wen (文 or literature):
The archaic writing of the character wen (文)
It consists of two intersecting pictographs. If there is no intersection between them, wen (文or literature) does not exist.
Mr. Wang Kuo-wei (王國維 1877-1927) once asked me: ‘Regarding the phrase “all things become pure”, does pureness actually exist prior to becoming, or does becoming happen prior to pureness?’ This statement is quite profound. The I Ching says: ‘Observe the celestial phenomena to examine the disruptions of our time, observe the humanities to transform and civilize the world (觀乎天文以察時變，觀乎人文以化成天下).’ The movements and periods of sun, moon and stars are known as astronomy, the virtues and deeds of humanities are conveyed externally through propriety and music, which Confucius referred to as ‘Civilizing through propriety and music (文之以禮樂)’. This is akin to starting with sincerity and ending with illumination (自誠明). As for the rationale of starting with sincerity and ending with illumination, pureness (醇) means transformation by sincerity, it means illumination. This was my reply to Kuo-wei and he also agreed. Therefore, an educated person (君子) begins with self-cultivation and eventually reaches the point of alignment with heaven and earth, this is wen (文 or literature). Hence, the meaning of wen (文 or literature) is neither simple nor easy.
Portrait of Mr. Wang Kuo-wei (王國維)
Everything in the world, be they the cycles of summers and winters, the ebbs of destitutions and fortunes, are subject to change. Even the governances by the sage rulers during Hsia (夏), Shang (商), and Chou (周) dynasties were met with both failures and successes. How much more so then for the essays of later generations, such as the instructions and admonitions of the ancients in the Book of Documents (書經 or 尚書: 堯典、大禹謨、伊訓、湯誥), the commendations and criticisms in the Spring and Autumn Annals (春秋), the chronicles of words and deeds in the Commentary of Tso (左氏), and the strategies of statecraft in the Strategems of the Warring States (戰國策). They all change according to the ethos of their times. Thus, apart from mainstream Confucianism, the innumerable schools of philosophy, driven perhaps by personal anguish or political grievances, offer countless viewpoints and analogies. They can no longer fully adhere to the Doctrine of the Mean. Not only is this true for essays, even the three hundred something poems in the Book of Songs (詩經) were divided into the categories of cheng-feng (正風), pien-feng (變風), cheng-ya (正雅), pien-ya (變雅), separated by the distinctions between peace time and war time. When Han (漢) dynasty emerged from the destruction of Ch’in (秦) dynasty, remnants of tradition were preserved. Due to the differences between pre-Han and Han Classical studies, the distinctions of the innumerable dialects, the changes in the usages of utensils and tools, the only way to thoroughly understand hsün-ku (訓詁 etymology) is through the lexicographic text of Erh-ya (爾雅). The character hsün (訓) means descriptions of physical appearances, while the character ku (詁) means explanations of ancient and modern words. If Han people did not work on hsün-ku (訓詁), later generations would not be able to know the meanings of texts and the names of objects in the Six Confucian Classics (六經). Ancient works like the Book of Documents (書經 or 尚書) have pronunciations that are difficult to understand, not because the meanings are hard to decipher, but because by using regional dialects they are different to ancient and modern texts. While Han people revere the art of governance, related writings are not widely transmitted, thus there is the saying ‘passing down chapters and verses by the ancients’. Further down in the Six Dynasties (六朝), following the fashion in Chin dynasty (晉) of abstract and theoretical discussions, and the decadence of customs in the region east of the Yangtze river, literature developed a style of being beautifully written but lacking in substance. There is an abundance of elegant phrases, but little serious thoughts. The literary works and expressions of figures like Hsü Ling (徐陵), Yü Hsin (庾信) and Emperor Yüan of Liang Dynasty (梁元帝) naturally also require the elucidations of hsün-ku (訓詁). At the time of Wei (魏), Chin (晉), the Southern and Northern (南北) dynasties, writings were fresh, elegant and contemplative, far beyond what later generations could achieve. However, when compared to the simple, rustic and profound spirit of literature from the two capitals of Han dynasty, their style is considered to be lesser! In early T’ang dynasty, literature still followed the custom of the Six Dynasties. After the High T’ang period, Han Yü (韓愈) arrested the decline in literary composition over a period of eight dynasties, he returned to the ancient doctrine of using writing to convey serious thoughts, and emphasized substance over superficiality. Most of the later scholars emulated the writings of Han Yü.
Confucius said: “Words without grace will not be carried far”
Although the names of educational institutions during the Three Dynasties of Hsia (夏), Shang (商) and Chou (周) differ, in truth they all followed the Rites of Chou (周禮). Of the Six Arts (rites, music, archery, charioteering, calligraphy and mathematics) that were taught by the Palace Protector (保氏pao-shih), the foremost was the Art of Rites. The ancients said: ‘One cannot stand without Rites’. It is apparent Rites are the foundation of conduct. Rites include the ceremonies of adulthood, marriage, funeral, worship, court audience, feasting, archery and others. The Book of Documents (書經 or 尚書) says that learning from ancient teachings leads to enrichment, while without learning one sees nothing, just like standing in front of a wall. The Commentary of Tso (左傳) says that one should be able to read the ancient books by Fu-hsi (伏羲), Shen-nung (神農) and Huang-ti (黃帝), known as San-fen (三墳); the books by Shao-hao (少昊), Chuan-hsü (顓頊), Kao-hsin (高辛), T’ang (唐) and Yü (虞), known as Wu-tien (五典); Pa-so (八索); and Chiu-ch’iu (九丘); thus underlining the importance of learning. The more than three hundred poems in the Book of Songs (詩經) foster gentleness, honesty and sincerity. The poem Encountering Sorrow (離騷 Li-sao) by Ch’ü Yüan (屈原 339-278 BC) was composed in an era of decline and turmoil. It expresses grievances without anger, and projects emotions in the form of metaphors. Without exception, changes occurred in the literary works of the following dynasties-Han, Wei, and the Six Dynasties. When changes take place with their high-mindedness intact, they are deemed particularly worthy by the educated person. Using T’ang dynasty as an example, there were stylistic variations in Early T’ang, High T’ang, Middle T’ang and Late T’ang periods, illustrating the perpetual state of change. In my opinion, regardless of the specialized nature of any academic discipline, literature is still of prime importance. A fine piece of literary composition can be passed down to future generations without losing its lustre. Confucius said: ‘Words without grace will not be carried far.’
Ink rubbings of Yüan-shou brick from Western Han dynasty
Calligraphy and painting have also been undergoing changes. Calligraphy first evolves from Ts’ang-chieh (倉頡), to the script used by the legendary seventy two emperors, to oracle bone script, archaic bronze script, pre-Chin script, post-Western Chou script, regular script, clerical script, running script and cursive script. There are many styles, their variations are nothing but significant. The crucial point is that the ancients emphasized substance, while later generations gradually focused on scripts. By valuing substance over script, the aesthetics is rustic and archaic, by valuing script over substance, the aesthetics is alluring but barren of the spirit of antiquity. The changes in clerical script during Han dynasty were particularly significant, especially in the post Hsin-mang (新莽) period. When we examine the brick inscriptions from Western Han, such as the Wu-feng Brick (五鳳磚), the Yüan-shou Brick (元狩磚), the brushstrokes are notably quadratic, upright and archaic. As for the clerical script from Eastern Han, as seen on the steles after the reigns of Ming Emperor (漢明帝) and Chang Emperor (漢章帝), and on the bricks after the reigns of Kuang-ho (光和) and Chien-an (建安); they are orderly, elegant and beautiful; but they already differ in spirit from the pre-Chin script and the post-Western Chou script, the flavour is also less robust compared to those of Western Han. The learning of calligraphy has been traditionally divided into the Southern school and Northern school. (The Southern school embraces the calligraphy from Eastern Chin 東晉, Sung 宋, Ch’i 齊, Liang 梁 and Ch’en 陳 dynasties. The Northern school embraces the calligraphy from Chao 趙, Yen 燕, Wei 魏, Ch’i 齊, Chou 周 and Sui 隋 dynasties). The Southern school mostly bases its calligraphic practice upon the foundation of the Ch’un-hua-ko t’ieh (Chunhua Imperial Archive of Calligraphy Exemplars 淳化閣帖), as well as the calligraphic convention of Wang Hsi-chih (王羲之 303-361) and his son. This was abided by the T’ang dynasty calligraphers Yü Shih-nan (虞世南 558-638) and Chu Sui-liang (褚遂良 597-658). The Northern school bases its calligraphic practice upon the foundation of engravings on stone steles, characterized by a formal and austere outlook. This was abided by the T’ang dynasty calligraphers Ouyang Hsin-pen (歐陽信本) and his son.
Japanese publication of Preface to the Sacred Teachings Compiled from the Collected Calligraphic Characters by Wang Hsi-chih, from the former collection of Mr. Soong Hsun-leng
The calligraphy of Chih-yung (智永) was praised by Yü Shih-nan (虞世南 558-638) and Chu Sui-liang (褚遂良 597-658) as a continuation of the family lineage of Wang Hsi-chih (王羲之 303-361). In addition, due to the admiration for the calligraphy of the two Wangs (Wang Hsi-chih 王羲之and his son Wang Hsien-chih 王獻之) by Emperor T’ai-tsung (太宗) of T’ang dynasty, the calligraphy of the notables of T’ang dynasty often reflect the influence of the Sacred Teachings (Preface to the Sacred Teachings Compiled from the Collected Calligraphic Characters by Wang Hsi-chih 懷仁集王羲之聖教序).
Everything mentioned above is subject to change, the only constant is Tao. It has been said, Heaven does not change, and Tao does not change. When studying art, we should “Hold on to the constant, in order to respond to the changes”. Although there are many calligraphic styles, the technique of using the brush does not change. When using the brush, there is no single point of relaxation. From the arm to the fingers, there must be a continuous flow to project strength. Additionally, attention must be paid to variations which should not be too arbitrary. In Shu-p’u (A Narrative on Calligraphy 書譜), it is said: ‘Brush moves at will to call it shape, ink gathers randomly to call it form, the mind is confused about the way to emulate, the hand has lost the tenets of brushwork, is it not absurd to seek the artistry of calligraphy?’ It means capriciousness will lead to loss of principles. Calligraphy needs to be cultivated from its fundamentals. A good foundation in literature will naturally lead to good calligraphy. Mr. Weng T’ung-ho (翁同龢 1830-1904) never painted. Once he painted a tiger. Since it was drawn in red ink, it did not look like either a tiger or a cat. However, he excelled in calligraphy, so the brushstrokes were vigorous and the work possessed an unworldly charm. Therefore, in order to paint, it is essential to study, write, and practice calligraphy. Then the resulting painting will have a distinctive style and ambience.
A section of the calligraphic scroll of Shu-p’u (A Narrative on Calligraphy 書譜) by Sun Kuo-t’ing (孫過庭) from the T’ang dynasty. It says: “Brush moves well to call it shape, ink gathers randomly to call it form, the mind is confused about the way to emulate, the hand has lost the tenets of brushwork, is it not absurd to seek the artistry of calligraphy?” Photograph courtesy National Palace Museum
The first step Top of Form Bottom of Form in self-cultivation is to study. Studying has the power to transform one’s temperament. Studying can lead to clear thinking and reasoning, and the understanding of Confucian principles. After understanding Confucian principles, then they can be applied to life. Only through application can one exercise judgment in matters. Mencius said: ‘By weighing, we know what things are light, and what heavy.’ I sense the common problem nowadays is deficiency in studying, especially among young people learning painting. They focus solely on art without realizing the importance of studying and practicing calligraphy. Considering the limited time and the multitude of subjects that young people have to learn, dedicating effort to painting is already commendable, so this is forgivable. However, studying should never be neglected. Secondly, one should learn rites. Confucius believed that rites and music were fundamental to moral cultivation. He said: ‘Having done this, if he still has energy to spare, let him study literature.’ Therefore, self-cultivation is of greatest importance.
In conclusion, I advocate the use of the metaphysical Tao above to govern the physical vessel beneath. Hold on to the constant, in order to respond to infinite changes. Only then can great accomplishments be attained. The same principle applies to calligraphy and painting. In our next lecture, we will discuss in detail the common origin of calligraphy and painting.”
Commentary by Professor Frederick Seguier Drake (林仰山 1892-1974):
“This lecture by Mr. P’u has given us a lot of spiritual inspirations. Our routine discussions about art often revolve around history, style, and technique, which can be considered outward features. We seldom talk about the spiritual dimension. Today, after hearing Mr. P’u insightful words, we are truly grateful!”
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
A page from the proofreading copy of the Preface of the History of Pai-tai Mountain (白帶山志) by Mr. P’u Ju and gifted to Mr. T’ang En-p’u (唐恩溥)
Related Contents：
