Wang Xizhi – China’s Greatest Calligrapher (2024)

He is to Chinese calligraphy what Shakespeare is to poetry and Da Vinci is to painting.

Today, he is often referred to as ‘the calligraphy sage’ (书圣).

Let’s take a closer look at his life and work.

Family background and early life

Wang Xizhi(王羲之[Wáng Xīzhī]), courtesy nameYishao(逸少), was born in Langya (today’s Linyi, Shandong Province) during the Western Jin dynasty (266 AD – 316 AD).

He came from an elite family of officials and army generals connected (by marriage) to the royal family.

His paternal grandfather,Wang Zheng, had served in the role ofXiangshu lang– a type of high imperial official.

And his politican father,Wang Kuang, had suggested the location for the Eastern Jin’s (317 – 420 AD) capital, Jiankang (modern day Nanjing), once the Western Jin state had collapsed.

Wang Kuang also had a reputation as an excellent calligrapher, particularly of the clericalandrunningscripts.

Uncles Dao and Dun

Wang’s most famous family members were his paternal uncles:Wang Dao and Wang Dun.

These powerful politicians controlled much of political and military administration throughout three Eastern Jin emperors’ reigns.

4 Anecdotes about Wang Xizhi’s youth

Wang Xizhi is said to have been a quiet and unassuming child who displayed no outward signs of his later strengths.

Some sources even claim that he was an inarticulate child.

There are many apocryphal stories and anecdotes about historical figures in Chinese history. Wang is no exception.

They aren’t always meant be taken too literally, though some likely do have at least elements of truth in them.

Readers often remember them for the moral lesson (or idiom) they deliver.

1.Beginning calligraphy

It’s said that by the time he was a seven-year-old, Wang Xizhi he could already write well. However, he hadn’t yet formally begun training in calligraphy.

When he was twelve, he began sneaking into his father’s empty bedroom. His father discovered this and questioned him on it.

He soon found out that his son had discovered an article on calligraphy there.

Wang’s father told him that he could have the article and study calligraphy properly one day, but at the moment he was too young to fully grasp it.

Wang then pleaded with his father to start sooner, saying he was worried he would stifle his talent otherwise. His father accepted, and the boy began studying.

(Interestingly, despite this alleged young passion for calligraphy, Wang did not develop into a great calligrapher until relatively late in his life.)

2.Eating a calf’s heart

One story has it that when Wang was thirteen, he met the famous scholarZhou Jinat a large banquet.

When he was offered a prestigious delicacy – a roasted calf’s heart. He ate it calmly as the guests watched on in silence.

His composure impressed everyone in attendance.

The fact that he was offered the delicacy is significant. Zhou must have sensed something special about the young man.

And Wang’s smooth handling of the task suggests the composure and focus he would utilise for calligraphy.

3.A good son-in-law

As he grew older, Wang Xizhi was said to become an upright, eloquent and cool-headed young man.

One story has is that an imperial minister, Xi Jian, came to visit Wang’s uncle,Wang Dao, in order to select a son-in-law from the latter’s younger relatives.

After the young Wang boys had been gathered and told of what was happening, nearly all of them suddenly looked solemn and focused.

However, Wang Xizhi simply stayed where he was on an eastern-facing couch, bare-chested and eating snacks.

The minister, impressed with this sign of composure, independence, and authenticity, so he chose Wang Xizhi to be his son-in-law.

Today, the Chinese has an idiom that word-for-word translates as ‘eastern bed quick son-in-law’ (东床快婿 [dōngchuāng kuài xù], often shortened to just ‘eastern bed’东床[dōngchuāng]), which essentially means ‘good son-in-law’.

4.The stained desk

One story has it that Emperor Cheng of the Jin (r. 321 – 342 AD) was needed to write some characters on wooden boards at a temple.

Wang Xizhi had previously written on the same boards, so a carpenter was asked to sand them down.

The carpenter eventually had to use a knife to remove the ink. Wang had written his characters with such energy and power that the ink had deeply stained the wood.

Taught by the best: Wei Shuo

Wang Xizhi was fortunate to betaught by the great calligrapher Wei Shuo (272 AD – 349 AD) and his uncle Wang Yi. Some historians believe Wei may have actually been his aunt.

It’s said that he developed quickly and within months of instruction.

One story has it that he received a compliment from the Minister of Ceremonies, Wang Ce, who said the boy would one day surpass him in calligraphic ability.

Wang’s later career and life

Like so many others in his family, Wang enjoyed a successful and high-ranking career.

Despite his military titles (below), Wang was a non-military official. However, this didn’t stop him from making decisions on military matters.

One example was his call to defend the Yangzte region rather than go on expeditions in the North.

His positions included:

• Assistant to the Palace Library.
• Guardian General of the Army
• Interior Minister of Kuaiji (today’s Shaoxing, Zhejiang Province)
• General of the Right Army his highest position

Retirement and death

He appears to have become disenchanted with his career at about the age of 55. His family’s wealth and political power was also declining.

Rivalry with Wang Shu

Some sources claim that Wang’s rivalry with the politician Wang Shu (303 – 368 AD) played a big role or caused his (Wang Xizhi’s) retirement.

Wang Xizhi is said to have taken a dislike from Wang Shu early on. He allegedly described the latter as morally upright and dull.

At one point, Wang Xizhi is said to have been insulting to Wang Shu on a visit to him. At another point, Wang Shu is said to have visited Wang Xizhi’s vicinity but not called in on him (as was customary for officials).

Either way, when Wang Shu became a regional inspector for for Yang Province, he discovered improper financial dealings by Wang Xizhi.

Humiliated, Wang Xizhi retired.

Pledge by parents’ grave

It was around this time he swore by his parents’ grave that he would resign and wrote his short Statement of Pledge:

常依陆贾、班嗣、杨王孙之处世，甚欲希风数子，老夫志愿尽与此也。
I have often acted in accordance to the teachings of Lu Jia, Ban Si, and Yang Wangsun. I have always wanted to model myself on them. This is my life’s aspiration.

– Wang Xizhi, Statement of Pledge

(Lu Jia (240 – 170 BC) was a philosopher and politician who introduced Confucianism to the Han dynasty’s founding emperor. Ban Si (dates unknown) was a Han dynasty philosopher who abandoned Confucianism asked discovering Daoism. And Yang Wangsun (dates unknown) was an atheist philosopher famous for wanting to be buried naked after his death).

Retired life

Wang spent the rest of his life living in rural areas near Shaoxing, where he enjoyed hunting, fishing, gathering herbs and travelling around the region.

He is said to have been a devout Daoist and keen taker of unusual medicines. One of these was a mineral extraction that he believed would make his face glow and lengthen his lifespan.

In fact, some believe it may have actually contributed to his death aged 58.

The Two Wangs

Wang Xizhi’s seventh son, Wang Xianzhi (344 – 386 AD), was one of the greatest calligraphers in Chinese history.

Together, they are often collectively referred to as The ‘Two Wangs’ (二王 [èr Wáng]).

Calligraphy during Wang’s era

Calligraphy was both a necessity and hobby for the elite. In their daily lives many of them, especially officials, would regularly need to write.

And in their free time, many of them liked to explore the artistic side of writing by composing poems and other memorials.

There was even a competitive aspect to this, as brilliant calligraphy could add prestige to someone’s reputation.

Like most practitioners of his day, Wang was greatly influenced by the calligraphy of Wei dynasty calligrapherZhong You(151 – 230 AD) andthe master of the earliest version of cursive script, Zhang Zhi (? – 192 AD).

Wang’s calligraphic style and philosophy

In theTang dynasty masterpiece on calligraphy,Treatise on Calligraphy(637) Sun Guoting introduces Wang’s calligraphy as follows:

Wang Xizhi’s calligraphy has been extensively praised and studied by every generation. It can serve as a model to help students find their own way, for it not only integrates the best of the past and present but also shows deep feeling and harmony… His works alone have stood the test of time. Does this not show their power?

– Sun Guoting, Treatise on Calligraphy

Wang’s style is known for being both very elegant and strong at the same time. It’s clear, natural, and he was wasexcellentat writing inallcalligraphy styles.

He was particularly excellent inregular script, which is the most popular form of official Chinese characters today.

But hisrunning script (sometimes called ‘semi-cursive’)is also highly esteemed, ashis clerical (or ‘official’) style.

He didn’t like characters without character, so to speak.

There are many examples in his work (or the copies and rubbings we have left of them), where multiple variations of the same character can be found in the same work.

This is easiest to see with common characters like以(yǐ),之(zhī),人(rén),etc.

Calligraphy is like war…

Wang is alleged to have written comments to his teacher Wei Shuo’s calligraphy work,Battle Formation of the Brush(笔阵 [Bǐzhèn]).

In his – if they are indeed authentic – comments, he revealed a lot about his philosophy and style of calligraphy. Many of his points were repeated in writings he left to his son, Wang Xianzhi.

He said that calligraphy was like being a general for a battle:

• Brushes are like a spears
• Ink is like armour
• Inkstone and water are like city walls and moats
• Calligraphers’ hearts are like generals
• Characters’ structure, shape and positions are like strategic details
• Brushstrokes are like orders
• Mistakes are like massacres

Etc.

These comparisons give an idea of how deeply and seriously he took his art.

Do any original copies of Wang Xizhi’s work survive today?

A few hundred works by Wang – both verified and unverified – exist today. Each are copies of originals which have been passed down.

The Tang dynasty Taizong Emporer (r. 626 – 649 AD), an enthusiastic promoter of calligraphy in general and of Wang in particular, ordered many copies of Wang’s work made.

It’s rumoured that the original version of the Preface to the Orchid Pavilion Collection (below) is buried with Taizong. And others have also speculated that the Empress Wu Zetian (r. 690 – 705 AD) somehow obtained it during her lifetime.

Preface to the Orchid Pavilion Collection

The piece is an essay describing a gathering of scholars at the Orchard Pavilion in the year 353 AD during a festival.

It was a joyful occasion that involved 41 scholars meeting and drinking. Wang’s piece commemorates the moment in 28 vertical lines and 324 characters of text.

The calligraphy and poetic nature of this piece has been praised for centuries. One of its most famous lines reads:

仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。
Looking up at the immensity of the cosmos, looking down at the multitude of the world, the gaze flies, the heart expands, the joy of the senses reaches its zenith, this is true happiness.

– from Preface to the Orchid Pavilion by Wang Xizhi

Chinese artists throughout the years have given their depictions of the scene this text was set from.