Dong Qichang’s Running Script Theory Volume

[Dong Qichang’s running script on the book volume]

The running script on the book volume, Ming Dynasty, Dong Qichang’s book, paper version, running script, vertical 28 cm, horizontal 190 cm
The explanatory text of the book “On the Book of Running Script” is sealed with “Dong Qichang”. Identification, collection and seal
There is Dong Qichang’s postscript at the back of the volume: “Xinmaoyu reported the funeral of the Taoist master Tian Gong. When the Korean master sent Korea, a roll of Korean yellow paper was given to me. The paper had been decorated when I returned to the court. When I was free in the boat, I picked up my pen at will. Most of them talked about calligraphy and painting, and abandoned the suitcase. How could I take the scroll back and make it into a horizontal scroll, which was passed on to others for 20 years. Today I picked up the old book, and suddenly my friend Wu Taibei presented it with a photograph, as if I saw it. Although I was careless, it was like Cai Junmo’s book, I didn’t know it Try to learn from Cai Shu. This paper also has pictures, and the powder is also scattered. On September 7th of the Gengxu Movement, the Xin’an River Boat Book was published. Dong Qichang. Seal “Dong Qichang”, “Taishi” and “Dong Xuanzai”. “Lijiang”, “Cheng Conglong”, “Cheng Maochun River Appreciation”, “Shi Yan Zhai Treasure Seal”, “Shuang Lin”, the seven seals of Qianlong and the seat seal of Qianqing Palace
The contents of this volume are the words of Dong Qichang in several paragraphs of the book, which are all found in “Essays on Painting Zen Chamber”. According to Dong’s own postscript, the book was written in the 19th year of the Wanli period of the Ming Dynasty (1591). It was written in his middle age. The pen was rather clumsy and simple. Because it is written at will, the size and spacing of the characters are not very careful, but at the same time, it reveals a natural, simple and unrestrained charm. After the volume, Dong Qichang saw the postscript written by this volume 20 years later, that is, the thirty-ninth year of Wanli (1611), and recorded the process before and after writing this volume. In the postscript, it is said that the style of his book is quite similar to that of Cai Xiang. Compared with the previous calligraphy on calligraphy, Dong’s self-postscript is more natural and his personal style is more distinctive, reflecting the maturity of the calligraphy art at that time.