The Book of Song Zhang Ji Da Fang Guang Fo Hua Yan Sutra
Fragments, on paper, 31.5 × 14.3 cm per page
Collection of the Tokyo National Museum, Japan
Zhang Jizhi's calligraphy was famous for a time, and according to the "History of Song", Zhang Jizhi "smelled the world with Nengshu". Although the Jurchens were far in the north and were in a hostile position with the Southern Song Dynasty regime, they did not hesitate to buy Zhang Jizhi's Hanmo works with heavy money.
Looking at the entire history of calligraphy, it is not difficult to find that Song Dynasty calligraphy occupies an important position in the entire history of calligraphy, especially the "Su Huang Mi Cai" of the Northern Song Dynasty. In addition, Zhang Jizhi of the Southern Song Dynasty was also a leading figure, and his contribution to the history of calligraphy was also relatively large, especially in the achievements of calligraphy, which can be said to be an important figure who saved the calligraphy of the Southern Song Dynasty.
His calligraphy effectively integrates the meaning of Mi Fu's writing, and at the same time has the charm of Chu Suiliang, giving people a sense of beauty and nature. There are also many calligraphy works handed down throughout his life, of which the Huayan Jing is one of the most representative works.
This volume is in the collection of the Tokyo National Museum in Japan, with a fine pen, clean and neat, the pen is in place, the words have provenance, and the structure is comfortable.
Zhang Jizhi's "Huayan Scriptures" appreciation
Zhang Jizhi's calligraphy began to learn Ouyang Qing, Chu Suiliang, Yan Zhenqing, and then transferred to Mi Fu, and was able to "pass on the family learning alone", while Zhang Xiaoxiang's book was the main tone, referring to the Han Li and Jin and Tang classics, coupled with the influence of Zen philosophical thought, so it formed a unique style of calligraphy art, which became a family of its own, together with Lu You, Fan Chengda, and Zhu Xi, and called the "Four Houses of the Southern Song Dynasty".
Zhang Jizhi's large character calligraphy was greatly influenced by Mi Fu's "Chenshu Brush Character", and the overall works of Xingcao were sometimes bound and could not be novel. Through the extensive study of Yan Zhenqing, Chu Suiliang, Zhong Shaojing, Zhang Xiaoxiang and others, and then with their own understanding of Zen buddhism, the small characters of the book have integrated what they have learned, and finally formed a unique style of vivid and bright, handsome and psychic, which is highly recognizable and unforgettable. He Shaoji praised him for "pulling out Su Huang Mi Cai Wai, writing the scriptures and receiving the Tang Dynasty". Zhang Jizhi established his outstanding position as a small-character calligraphy with the calligraphy that was widely circulated and influential at that time.
Zhang Jizhi's book "Dafang Guangfo Huayan Sutra Scrolls" fragment album pages, Zhu Delin (Zi Zhitang) old collection during the Qianlong period of the Qing Dynasty, all sixteen pieces of paper, the last twelve to sixteen papers for posterity to supplement the book, the late Qing Dynasty Wang Mingluan inscription "Zhang Fanliao Huayan Sutra True Manuscripts 匋斋藏 郋亭 inscription" inscription.
The first four pages of the post are Wang Wenzhi's Paiwen (Qianlong 46th Year, 1781), and at the end of the post there are fifteen inscriptions such as Zhu Delin, Wang Wenzhi, Pan Gongshou, and Song Ling.
It was handed over by Yang Weichan and Duan Fang, and later flowed into Japan, and is now in the Tokyo National Museum in Japan.
Famous inscriptions
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