Research On Li Zhiyi's Calligraphy Friends, Calligraphy Traces And Calligraphy Theor

Li Zhiyi,a renowned literary scholar of the Northern Song Dynasty,is known for his prolific work "Guxi Jushi Wenji," which comprises seventy volumes.Despite his contributions to literature,there has been a dearth of systematic investigations into his calligraphy.This study delves into three facets of Li Zhiyi’s scholarship,encompassing his friendships,extant calligraphic works,and research on theories of calligraphy.Li Zhiyi forged numerous connections with the literati of the Northern Song Dynasty,demonstrating particular reverence for Su Shi,under whom he was a disciple.Consequently,this study emphasizes the camaraderie between Li Zhiyi and Su Shi,elucidating their interactions throughout various stages,from the inception of their friendship to Su Shi’s demise.By scrutinizing the correspondence and whereabouts of Su Shi and Li Zhiyi,the establishment of their friendship is traced back to the seventh year of Xining(1074).Su Shi’s Reply to Li Duanshu,penned in the third year of Yuanfeng(1080),is identified as the earliest extant letter from Su Shi to Li Zhiyi.It was not until Su Shi arrived in Bianjing in the eighth year of Yuanfeng(1085)that they met again.In the eighth year of Yuan You(1093),Li Zhiyi became part of Su Shi’s retinue,and for approximately six months,the two scholars enjoyed a close relationship.The "Xiang Lao" in "Su Shi and others visit Xiang Lao" may be the famous Northern Song minister Zhang De Xiang.Su Shi’s "Dingzhou Praying for Rain Yue Temple Inscription" mentions a friend "Hao Changqing," who is,in fact,"Guo Changqing." In April of the eighth year of Yuan You(1093),Guo Changqing assumed the role of Qu Yang county magistrate,thereby availing him the opportunity to accompany Su Shi and others to the Yue Temple.In the 8th year of Yuanyou(1093),Su Shi got Snow Wave Stone in the back garden of Zhongshan,Li Zhiyi’s poem ’A Poem on the Snow Wave Stone by Dongpo and Teng Xijing’ mentions that Teng Xijing was an official in Dingzhou in the8 th year of Yuanyou(1093),so he saw the Snow Wave Stone and composed a poem for it.Based on incomplete statistics,there are currently nine extant calligraphic works attributed to Li Zhiyi,including three ink pieces("Shen Long’s Lanting Preface Inscription," "Bian Levee Post," and "Other Paper Post");four legal posts("Bingbi Post," "Letter to officials of chancery yingzhong," "Taifu Post," and "Ask Moon Chapter Inscription");and two inscriptions("Song Gui Li Zhiyi and Other Inscriptions" and "Back to the Mountain Wangmu Palace Inscription").Additionally,four works are documented but not illustrated,comprising two ink pieces and one each of phonetic post and inscription.When examining Li Zhiyi’s extant calligraphic works,comprehensive analysis and sketches of the "Bingbi Post," "Ask the Moon Chapter," "Song Gui Li Zhiyi and Other Inscriptions," and "Back to the Mountain Wangmu Palace Inscriptions" are lacking,with no detailed descriptions of supplementary evidence for the other works.The "Bingbi Post" is featured in the "Song Xian Sixty-five Kinds" series of posts,documenting Li Zhiyi’s transcription of Ouyang Xun’s book theory "Pass on the Secret." The post complements the missing content of Ouyang Xun’s theories of calligraphy,boasting a distinctive calligraphic style that displays vivid brushstrokes,downwardly emphasized center of gravity,and a bright and swift rhythm.The "Ask the Moon Chapter Inscription," included in the "Baiyunju Mi Fu’s Post," later generations were largely critical of this post,diverges from Li Zhiyi’s evaluation of Mi Fu’s works in his "Guxi Inscription" and plate comparison,suggesting it is likely a forgery.The "Song Gui Li Zhiyi and Other Inscriptions," the inscription’s style does not match Li Zhiyi’s calligraphy,indicating it was not authored by him.The "Back to the Mountain Wangmu Palace Inscriptions" was crafted during Li Zhiyi’s sentencing to Yuanzhou.Its style closely resembles Li Zhiyi’s everyday calligraphy,characterized by a low-left,high-right orientation of characters,which is emblematic of his personal calligraphic style.Academic discussions of the "Shen Long Ben Lanting Preface Inscription" primarily focus on stylistic analysis,neglecting the work’s mention of Zhu Guangyi.Upon examination,Zhu Guangyi hails from Yanshi in Henan,with a father named Zhu Jing and a brother named Zhu Guangting.The "Other Paper Post," written in Dangtu,likely dates back to the fourth year of Daguan(1110).The scholarly community has not discussed the creation time of "Letter to officials of chancery yingzhong";however,this study combines the content of the work with Li Zhiyi’s time in Dangtu,deducing that it was likely written on the 18 th day of the first month of the second year of Chongning(1103).Lastly,Li Zhiyi’s recorded information but unseen plates of the "Magu Immortal Altar Record Inscription Postscript," "Song Fengjilang Supervisor Bozhou Yongcheng County Cangwu Cavalry Officer Wang Jun Tomb Inscription," and "Baozhenzhai Law Book Zan" featured in the "Order Driving Post" and "Divine Immortal Post" are analyzed based on their content,posthumous inscriptions,Li Zhiyi’s writing time,and stylistic characteristics.In the "Guxi Inscriptions," Li Zhiyi provides extensive commentary on the calligraphic styles of his contemporaries,examining Su Shi’s diverse and multifaceted calligraphy that ranges from the unadorned to the ornate.He evaluates Huang Tingjian’s cursive script,noting its exceptional dash and elegance,while expressing his own stance on cursive script creation.Li Zhiyi posits that slow writing of cursive script is detrimental to the refinement of calligraphers’ skills,urging them to be mindful of their writing speed.Li Zhiyi extols Cai Xiang as a virtuoso of various calligraphic styles and lauds Wang Anshi,whose calligraphy,though esteemed during his lifetime,did not receive widespread recognition in subsequent generations.The "Guxi Inscription" also highlights Li Zhiyi’s reverence for well-balanced paper and ink proportions,as well as his appreciation for calligraphy that is unrestricted,self-contained,and transcendent.His pursuit of divine inspiration within the creative process is evident throughout his work.Additionally,Li Zhiyi’s theories of calligraphy delves into the analysis of ancient posts,incorporating discussions on the "Bury crane inscription," "Le Yi Theory," and other notable works within the scope of his exploration.