At the annual Shanghai Book Fair, art books from Shanghai Painting and Calligraphy Publishing House have always attracted attention.
In recent years, the publishing house has launched upgraded series of calligraphy copybooks, including "The Great Series of Bamboo and Silk Calligraphy" and "The Great Series of Brick Inscription Calligraphy," which have received widespread acclaim. The recently released "The Great Series of Bronze Inscription Calligraphy," a continuation of the series, was reprinted within a month, a rare achievement for such niche and highly sought-after calligraphy copybooks. The recent academic controversy surrounding the Kunlun Stone Carvings in Qinghai has sparked widespread discussion beyond academic circles, reflecting the current surge in interest in ancient script research and epigraphic calligraphy. Wang Lixiang, former president and editor-in-chief of Shanghai Painting and Calligraphy Publishing House and editor-in-chief of "The Great Series of Calligraphy," recently spoke to The Paper: Ancient Art about this topic.
Wang Lixiang
Discussing the original intention of publishing this series, Wang Lixiang believes that as the number of semi-professional and professional readers expands, professional publishers should delve deeper into specialized content, providing more diverse and systematic copybooks that match demand. This will open up a broader perspective for readers and allow them to appreciate the profound and rich connotations of Chinese calligraphy. At the same time, this publishing method will also promote ancient Chinese character research and calligraphy creation.
The Paper: Shanghai Painting and Calligraphy Publishing House's calligraphy collections, such as "The Great Series of Bamboo and Silk Calligraphy" and "The Great Series of Brick Inscription Calligraphy," have received widespread acclaim. The recently released "The Great Series of Bronze Inscription Calligraphy," a continuation of the series, has also been very popular, reaching a reprint within a month. Could you please explain the positioning of the "Great Series of Calligraphy" and the original intention behind publishing it?
Wang Lixiang: When Shanghai Painting and Calligraphy Publishing House published its "Calligraphy Series" collection, we didn't initially have a grand plan. Instead, we wanted to upgrade our existing collection of copybooks. As a publishing house specializing in calligraphy and painting, we have a long tradition of publishing inscriptions and rubbings. Over the past sixty years, we have published representative copybook series at various times, which have played a significant role in the inheritance and promotion of calligraphy in the contemporary era.
Bronze Inscription Calligraphy Series (Volume 1)
The positioning of our publications has varied over time, driven by varying materials and needs. To meet the needs of our audience, we have developed a series of highly reputable calligraphy brands: from "Calligraphy Self-Study Collection" published in the early 1980s, "Chinese Stele and Calligraphy Classics" published in 2000, to the first and second volumes of "Famous Chinese Stele and Calligraphy" released over the past decade or so, all have been incredibly popular with readers. Looking back at our significant calligraphy publications over the years, while they have varied in size, they have generally centered around well-known classic works of calligraphy.
Late Shang Dynasty Yazhuoqifuyou
Yazhuoqifuyu
As the number of semi-professional and professional readers has grown, their expectations for content have also increased. The original selection criteria no longer fully meet these needs. With the goal of building a more diverse system and broadening the horizons of a wider readership, we decided to launch a series of categorized calligraphy collections. From the "Bamboo and Silk Calligraphy Collection," the "Brick Inscription Calligraphy Collection," to the "Bronze Inscription Calligraphy Collection," we're now in our third series. We hope that over the years, we'll have a larger, more complete, and richer collection of calligraphy copybooks.
The Paper: Bamboo and silk manuscripts, brick inscriptions, bronze inscriptions, and even the oracle bone script calligraphy you plan to publish later are not readily accessible to the average reader, nor are they calligraphy works in the familiar sense. How do these works relate to contemporary calligraphy? What is the significance of publishing them?
Wang Lixiang: Bamboo and silk slips, brick inscriptions, bronze inscriptions, and oracle bone inscriptions are all calligraphy styles named after the text carriers. The classification of our series is also based on the carriers, which also reflects the significant characteristics of Chinese characters and calligraphy in the process of development and evolution.
Sample comparison Left: Oracle bone script Middle: Bronze script Right: Qin small seal script
Take bronze inscription calligraphy, for example. Bronze inscriptions are characters inscribed on bronze vessels. Bronze inscription calligraphy is a general term for inscriptional scripts from the Shang, Zhou, and Warring States periods. Famous examples of bronze inscription calligraphy include the Maogong Ding, the Dayu Ding, the Sanshi Pan, and the Shiqiang Pan. Bronze inscriptions represent a new style of writing beyond oracle bone script, establishing the rigorous and standardized small seal script system. With its powerful lines and rigorous structure, bronze inscriptions established the aesthetic paradigm of Chinese calligraphy, embodying the spirit of bronze and stone, and hold a remarkably high position in the history of Chinese calligraphy.
Shiqiangpan
Documentary records indicate that bronze artifacts from the Shang and Zhou dynasties were already being unearthed during the Qin and Han dynasties, and their inscriptions were studied by officials and scholars. By the Song Dynasty, the fascination with antique artifacts and their inscriptions was particularly strong, leading to the creation of renowned works such as "Archaeological Illustrations," "Records of Inscriptions on Bronze and Tripod Vessels of All Dynasties," and "Model Calligraphy of Inscriptions on Bronze and Tripod Vessels of All Dynasties," which is considered the founding period of epigraphy.
By the late Qing Dynasty, with the excavation of numerous ancient artifacts, epigraphy reached its peak. Scholars such as Chen Jieqi, Wu Dacheng, Pan Zuyin, Duan Fang, Zhang Tingji, Wang Yirong, and Wang Guowei examined and interpreted inscriptions, verified classics and supplemented historical records, and collected rubbings. These efforts not only preserved a wealth of valuable rubbings but also clarified numerous issues in the development of pre-Qin calligraphy. At the same time, calligraphers and seal carvers drew inspiration from bronze inscriptions, exploring unprecedented and unique styles. The practice of Wu Changshuo, Huang Mufu, Luo Zhenyu, and Wang Fuan greatly demonstrated the aesthetic value and artistic vitality of bronze inscription calligraphy.
Wu Changshuo's imitation of the "Sanshi Pan"
Beyond historical and archaeological research, a growing number of scholars and artists are examining the significance of bronze inscriptions from an artistic perspective. The evolution of bronze inscription calligraphy not only documents the evolution of Chinese character form but also reflects the transformation of Chinese civilization from theocracy to humanistic rationality.
However, due to numerous limitations, many masterpieces of bronze inscriptions have escaped the attention of contemporary calligraphy readers. The Complete Series of Bronze Inscription Calligraphy, based on a comprehensive survey and compilation of known original bronze inscription rubbings in public and private collections, uses high-quality rubbings and high-definition images to realistically present the diverse forms of bronze inscriptions, providing readers with images and documentary materials of bronze inscriptions from past dynasties for emulation and research.
When talking about the significance of its publication, it can be roughly summarized into three aspects: First, for the history of the development of Chinese calligraphy, "The Great Series of Bronze Inscription Calligraphy" can provide us with more diverse materials for concrete understanding; second, the more than 700 bronze inscription works selected in "The Great Series of Bronze Inscription Calligraphy" provide more classical paradigms for the study and creation of contemporary calligraphy, and also provide a source of fresh water for artistic innovation and theoretical research; third, the ancient characters and their contents reproduced in "The Great Series of Bronze Inscription Calligraphy" go beyond calligraphy writing itself, and provide readers with more reliable materials to understand the origin of Chinese culture and the aesthetic style of Chinese art.
The Paper: With tens of thousands of existing inscribed bronzes and related rubbings, what was the purpose of selecting the works for "A Collection of Bronze Inscription Calligraphy"? What were the selection criteria for the selected rubbings?
Wang Lixiang: The selections for the "Collection of Bronze Inscription Calligraphy" are primarily based on our understanding of the various stages of bronze inscription calligraphy. We strive to present the research findings of past and present generations on bronze inscription calligraphy, hoping to help readers gain a perceptual understanding of the evolution of Chinese characters and guide them into a deeper exploration of philology and calligraphy styles. Bronze inscriptions, as the most important component of the seal script, showcase the evolution from ancient Zhuan script, large seal script, to small seal script. During the compilation process, we strived to present representative works from different regions, different periods, and different styles of calligraphy in the collection.
Duan Fang's Collection
At the same time, we also place particular emphasis on the high quality and rarity of our bronze and stone inscription rubbings. The first volume of the "Great Series of Bronze Inscription Calligraphy" brings together rare and precious rubbings from the hidden collections of late Qing dynasty bronze and stone inscription collectors such as Chen Jieqi, Wu Dacheng, and Duan Fang, as well as meticulous works by master rubbing masters Zhou Xiding and Wang Xiuren. These rubbings carry the academic tradition of Qing dynasty epigraphy and are invaluable resources for the study of bronze inscription calligraphy. We hope readers will appreciate the care and attention we have put into compiling this "Great Series of Bronze Inscription Calligraphy."
Formerly collected by Chen Jiqi
The Paper: Both bronze inscriptions and oracle bone inscriptions are difficult to interpret. How can our readers appreciate bronze inscriptions from the perspective of calligraphy history through this series?
Wang Lixiang: Bronze inscriptions were used from the late Shang Dynasty until the Qin Dynasty unified the six kingdoms, a period of approximately 1,200 years. According to Rong Geng's Bronze Inscriptions, there are 3,772 extant bronze characters, of which 2,420 can be deciphered. These inscriptions cover social activities such as sacrifices, decrees, conquests, and land transactions. They are both primary sources for studying pre-Qin history and important examples of the artistic development of Chinese characters.
The form of the casting inscription
The form of the chiseled inscription
Bronze inscriptions were primarily cast, with a limited number being engraved. Shang and Zhou dynasty ceramic casting involved engraving characters on clay molds, casting positive-shaped molds, and then pouring molten copper. Consequently, influenced by various factors, including political rituals, economics and culture, casting techniques, and aesthetic awareness, bronze inscriptions exhibited distinct styles over time. Late Shang dynasty bronze inscriptions were often vigorous and majestic, with sharp beginnings and endings. During the early and middle Western Zhou dynasties, with the development of ritual systems, bronze inscriptions reached their peak, becoming elegant, dignified, neatly arranged, and robust, reminiscent of the patriarchal system. In the late Western Zhou dynasty, inscriptions often featured rounded, flowing strokes, with open and spacious composition, as if recreating the final glory of Bronze Age civilization. Entering the Spring and Autumn and Warring States periods, as warring states vied for supremacy, regional calligraphy styles diverged dramatically, with Jin, Chu, Lu, and Qin scripts representing the most diverse script styles. The artistic consciousness of calligraphers and casters gradually transcended practical function, leading to a more diverse artistic evolution.
To better help readers learn and utilize our carefully selected bronze inscription rubbings, we have organized them into five volumes, categorized by era: the Late Shang Dynasty, the Early Western Zhou Dynasty, the Middle Western Zhou Dynasty, the Late Western Zhou Dynasty, and the Spring and Autumn and Warring States Periods. Each volume is arranged by the number of characters in the inscriptions. Rubbings with smaller fonts and more characters are presented as enlarged images. Selected images of the actual bronze inscriptions are placed at the beginning of the volume for comparison with the rubbings. All interpretations have been reviewed by experts. We believe these efforts will facilitate readers' learning, appreciation, and further research.
The Paper: The development of ancient characters is currently in a good momentum, and attention to unearthed documents is increasing. Let's talk about how this kind of publishing method can promote ancient character research and calligraphy creation.
Wang Lixiang: The surge in interest in the study and creation of ancient philology and calligraphy stems from the current return and revitalization of China's fine traditional culture. Ancient Chinese characters and calligraphy are closely related, and their interaction fosters the development of both. Therefore, our book publishing industry has capitalized on this opportunity and demand, launching a number of publications in this area. These include calligraphy copybooks and newly unearthed materials related to ancient characters, such as bamboo slips, silk manuscripts, and seals. The recent controversy surrounding the "Kunlun Stone Carvings" in Qinghai, which has sparked heated discussion within the academic community, has seemingly become a major societal debate beyond the academic sphere, reflecting the close relationship between ancient Chinese characters and calligraphy and the current level of interest in both.
Rubbings of the Maogong Ding
I believe that the interest in and study of ancient scripts has directly advanced contemporary calligraphy. In current calligraphy exhibitions, we can see an increasing number of works drawing inspiration from newly unearthed calligraphic materials such as bronze inscriptions, bamboo and silk slips, brick inscriptions, and stele carvings. This is particularly evident in their use of structure and style, presenting a new landscape for calligraphy. The study and reference to bronze inscriptions in calligraphy can not only revitalize ancient scripts but also spur new life for the traditional art of calligraphy.
The Paper: "The Great Series of Bronze Inscription Calligraphy" was reprinted within a month of its publication. What explains its popularity? From a publishing perspective, discuss how to balance professional publishing with mass communication.
Wang Lixiang: For reasons of scale, Shanghai Painting and Calligraphy Publishing House is now launching the first volume of "The Great Series of Bronze Inscription Calligraphy." This collection features over 750 rubbings of bronze inscriptions unearthed before 1949. Based on current sales, the first volume is of moderate size, with both excellent sales and public response. It was reprinted just one month after its release, which is rare and exceptional for a niche publication of calligraphy copybooks that requires a certain level of understanding and learning. Shanghai Painting and Calligraphy Publishing House has always focused on academic publishing in professional fields. We pursue academic excellence not for its own sake, nor is it a self-promotion; rather, it stems from our deep understanding of professional publishing. In today's fragmented world of internet and mobile reading, we consistently prioritize reader needs and provide publications of guaranteed professional quality. We believe that academic publishing is the pinnacle of professional publishing. Only by professionally enhancing and maintaining quality at every stage can we attract readers. The infusion of academic content into every aspect of "The Great Series of Bronze Inscription Calligraphy" is another successful implementation of our professional publishing philosophy.
(Images in this article provided by Shanghai Painting and Calligraphy Publishing House)
