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According to the Xuanhe Calligraphy Catalogue (宣和画谱), the Northern Song imperial collection included twenty-three authentic works by Sui dynasty calligrapher Zhiyong (a descendant of Wang Xizhi), fifteen of which were copies of the Thousand Character Classic.
Some theories posits his technique probably based on calligraphy works by Chu Suiliang, Xue Ji or Huang Tingjian. [15] One of the emperor's era names, Xuanhe, is also used to describe a style of mounting paintings in scroll format. In this style, black borders are added between some of the silk planes.
Xuanhe Huapu (宣和畫譜, "The Xuanhe Catalogue of Paintings") is an 1120 Chinese palace catalog from the Song dynasty, which in 20 chapters categorized and described ~6396 paintings by 231 artists in the collection of Emperor Huizong of Song. "Xuanhe" (1119–1125) is an era name used by Emperor Huizong. The book is one of the most important ...
The "Thousand Character Classic" (千字文), originally titled "The Thousand Character Rhymed Text in Wang Xizhi's Calligraphy (次韵王羲之书千字)," was composed during the Southern and Northern Dynasties period, by Liang dynasty cabinet minister Zhou Xingsi (470-521 AD) under the directive of Emperor Wu of Liang. [2]
The Xuanhe Calligraphy Manual (宣和書譜) credits Wang Cizhong with creating the regular script, based on the clerical script of the early Han dynasty (202 BCE – 220 CE). It became popular during the Eastern Han and Three Kingdoms periods, [ 2 ] with Zhong Yao ( c. 151 – 230 CE), [ 3 ] a calligrapher in the state of Cao Wei (220–266 ...
Guo Zhongshu (c. 929 – 977), courtesy name Shuxian (or Guobao, according to Xuanhe Huapu [1]), was a Chinese calligrapher, painter, philologist, and scholar during the Five Dynasties period and Song dynasty. He was noted for his paintings of landscapes and structures.
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Xue Tao was also a calligrapher, and her calligraphy inherited Wei Zhi(韦陟)'s "Wuyun(五云)" style running script in the prosperous Tang Dynasty. "Xuanhe Calligraphy(宣和书谱)" of the Northern Song Dynasty commented on Xue Tao's calligraphy, saying that her calligraphy was unfeminine and her writing was powerful.