The preface of Lu Jishan’s double-hook Orchid Pavilion in Sanxi Hall Calligraphy of the Qing Dynasty

[Qing Dynasty’s expansion of Sanxitang Sutra by Lu Jishan with double hooks to the Lanting Preface]

Qing Dynasty’s expansion of Sanxitang Sutra by Lu Jishan with double hooks to the Lanting Preface, wooden face, refined black gold, folded, half open, 27.9 cm vertically, 15.3 cm horizontally, and four open
Sanxi Hall Calligraphy, the full name of which is “Royal Carved Sanxi Hall Shiqu Collection Calligraphy”, 32 volumes, compiled by Liang Shizheng and others in the 12th year of Qianlong (1747) of the Qing Dynasty, and copied by Song Zhang and others. It is collected from the legacies of the Wei, Jin and Ming dynasties. The name is official script. It is engraved in Volume 26 of Sanxi Hall Calligraphy, with official bookmark and seal of “Qianlong Imperial Treasure” and “Summer Resort”. The single post is called regular script “Lu Jishan Double Hook Book”. There is an inscription on Jiesi: “Right Lu Jizhi’s hook imitates Lan Ting and narrates a volume…”; There are also inscriptions and postscripts of Lu Jishan, Ke Jiusi, Huang Jin, Dong Qichang and other inscriptions, as well as “Lu Jishan’s seal”, “Kuizhangge’s book reading doctor”, “Jing Zhongshu’s seal” and “Huang Jin”
Lu Jishan’s copy, an old collection of the Qing Dynasty Palace, is recorded in Volume I of the First Edition of Shiqu Treasure Collection, which is called “Song Jian Ben”, and is now collected in the Taipei Palace Museum. It can be seen from the postscript that Lu Jishan once copied three volumes of Lanting in the Tang Dynasty, and what Lu Jishan copied was “Dongchang Gaogong”. Lu Jishan once learned the double hook filling method from Yao style and Zhao Mengfu. Lu Jishan’s calligraphy is meticulous and moderate in weight and weight, reaching the goal of being both heavy and beautiful. His calligraphic works include a copy of “Preface to the Orchid Pavilion”, a postscript of Zhao Mengfu’s “Water Village”, a postscript of Zhao Mengfu’s “Four Events of the Right Army”, and a postscript of Ni Zan’s “Wild Forest in Autumn”


清初拓三希堂法帖册之册页二十九清初拓三希堂法帖册之册页三十清初拓三希堂法帖册之册页三十一