Research on Yang Xiong from a Calligraphic Perspective

Tang Lin

Sichuan Academy of Social Sciences

Abstract: Yang Xiong, a cultural celebrity in ancient China, is a well-known figure in the history of Chinese literature with abundant research on his literary achievements.However, little research has been done on the presentation of his name, former residence, and prose poems in Chinese calligraphy from an iconographic perspective.This paper intends to explore how “Yang Xiong,” “Yang Ziyun,” “Ziyun Pavilion in Xishu Prefecture,” and “Yang Xiong’s prose poems” are presented in the Chinese calligraphy, especially in calligraphies by Wang Xizhi, Su Dongpo, Huang Tingjian, Mi Fu, and other famous calligraphers in the previous dynasties.Research shows that Yang Xiong influenced not only Chinese literature but also Chinese calligraphy to a certain extent.

Keywords: previous dynasties, calligraphy, presentation, Yang Xiong

Yang Xiong (53 B.C.–18 A.D.), courtesy name Ziyun, born in Pixian county, Shu prefecture (present-day Pidu district, Chengdu city, Sichuan province) in the Han Dynasty, was a master of court poems.He was also the most influential ideologist ever in Sichuan and a famous figure in Chinese academic history (Cai, 2018, p.184).His masterpieces, such asfang yan (Dialects),fa yan (Words to Live By), andtai xuan (The Great Dark Mystery), have been handed down from generation to generation.Yang Xiong, together with Li Bing, Empress Wu Zetian, and Li Bai, was rated as one of the ten historical and cultural celebrities in Sichuan announced in 2017.At present, there are several memorial sites of Yang Xiong in Sichuan, including Yang Xiong’s Tomb in Pixian county, Ziyun Pavilion in Mianyang city, and Ziyun Mountain in Qianwei county, Leshan city.

So, as a Chinese cultural celebrity, what does Yang Xiong look like in the national treasure of Chinese calligraphy? Which famous Chinese calligraphers or literati have written his name “Yang Xiong,” “Yang Ziyun,” his residence plus the name “Xishu Yang Ziyun,” and poems? What are their respective characteristics? What influence had they exerted on the history of Chinese calligraphy? This paper intends to sort out and introduce this information from four aspects.

It should be noted that this paper only introduces the calligraphy of celebrities regarding Yang Xiong, and does not delve into what or why these celebrities commented regarding Yang Xiong, which is another research area.

“Yang Xiong” in Chinese Calligraphy

Yang Xiong has a great reputation in the Han Dynasty (202 B.C.–220 A.D.).Theoretically, his name should have been written by himself or others repeatedly, such as through memorials to the throne, messages from the emperor, letters between officials,and correspondence between Yang Xiong and his disciples.However,although many of them may have been cherished at that time, they finally disappeared.The oldest calligraphy work that can be seen today is probably written by Wang Xizhi of the Eastern Jin Dynasty (317–420).After Wang Xizhi, there were countless people copying Wang Xizhi’s calligraphy and writing the two characters of “Yang Xiong,” among which the most representative ones were Su Shi, Mi Fu, Zhang Jizhi, and Liu Yong.

Wang Xizhi

The two characters of “Yang Xiong” (Figure 1), written by Wang Xizhi,appeared in Wang Xizhi’s famousShudu Exemplar(also calledTourism Exemplar), which included in hisShi Qi Tie(The Seventeenth) (Chen,2014, pp.51–54), a famous masterpiece of Wang Xizhi’s cursive script writing, which reads, “I have read your other letter detailing the marvels and wonders of the mountains and rivers at your place (the land of Shu).Even Yang Xiong’sShu Du Fu (Ode to Capital of Shu)nor Zuo Taichong’sSan Du Fu (Ode to Three Capitals)cannot match your thorough descriptions”(Tang, 2021, p.14).It is one of the letters between Wang Xizhi and his old friend, General Zhou Fu, the then-governor of Yizhou.

Figure 1 “Yang Xiong”by Wang Xizhi

Wang Xizhi (321–379, or 303–361), courtesy name Yishao, was born in Linyi, Langya(present-day Linyi city, Shandong province).He was an imperial officer and calligrapher in the Eastern Jin Dynasty and was reputed as the “Sage of Calligraphy.” He successively served as an officer in charge of the imperial library, inspector (cishi) of Jiangzhou, and commandant (taishou) of Kuaiji, and was later promoted to the general of the right army,known as “Wang Youjun.” HisPreface to the Literary Gathering at the Orchid Pavilionwas named “the first running script.” He excelled in all forms of Chinese calligraphy, such as clerical script, cursive script, regular script, and running script.By studying writing postures and copying famous works, he absorbed the advantages of other calligraphers, and formed a special calligraphic system, exerting a profound influence on Chinese calligraphy.In the history of calligraphy, Wang Xizhi is often mentioned together with Zhong Yao, or with his son Wang Xianzhi.He is one of the most famous calligraphers in China and a famous cultural symbol in ancient China.

The original copy of Wang Xizhi’sOde to Capital of Shucomes in eleven columns with a total of 102 characters.It was collected by Adachi Manzō in Hiroshima, Japan, and was later destroyed in a fire (Xu, 2019, p.137).The present version is a collotype one.

Wang Xizhi was born about 300 years after Yang Xiong died.As a world-renowned“Sage of Calligraphy,” Wang Xizhi’s writing of characters related to Yang Xiong is of great significance for spreading the influence of the latter.Since Wang Xizhi wrote characters about Yang Xiong, many calligraphers in later generations, such as Mi Fu, Kangli Naonao,and Zhao Mengfu, have copiedThe Seventeenthin full or in part due to their love for Wang Xizhi.In a sense, Wang Xizhi was the first and the most famous person who wrote characters related to Yang Xiong.

It is recognized in the academic circle that there are no authentic calligraphy works of Wang Xizhi existing, only copies of later generations.The older the copy is, the more precious it will be.

Su Shi

Su Shi transcribed “Yang Xiong” in his poemYang Xiong Has No Son Left in His Late Days(Figure 2), which reads, “Yang Xiong has no son left in his late days, and Feng Yan’s talent remained unrecognized throughout his life.”

Figure 2 “Yang Xiong”by Su Shi

Su Shi (1037–1101), courtesy name Zizhan, art name Dongpo, was born in Meishan,Meizhou (present-day Meishan city, Sichuan province) during the Song Dynasty (960–1279).He is an outstanding essayist, calligrapher, painter,lyricist, and poet in the Northern Song Dynasty and one of the “Eight Great Prose Masters of the Tang and Song Dynasties.” In terms of calligraphy, he, together with Huang Tingjian, Mi Fu, and Cai Xiangshu,was named “Four Calligraphy Masters in the Song Dynasties.” In addition,he is also one of the founders of the “Huzhou Bamboo School,” a famous painting school at that time.Su Shi is a rare genius in the history of Chinese culture.

According toNote on Chinese Calligraphy Collection in the Past Dynastiesedited by Qi Gong and Wang Jingxian, the handwritingYang Xiong Has No Son Left in His Late Daysis included in the third volume ofGushu Exemplararchived in the Capital Library of China, a copy carved in the Song Dynasty and rubbed in the Ming Dynasty (1368–1644).The existingGushu Exemplaris incomplete.Only Volume 3 on Su Shi, Volumes 8 and 9 on Lu You and some unknown volumes on Su Shunqin are left, which are extremely rare and precious (Chen, 2010, p.78).

Mi Fu

The two characters, “Yang Xiong,” written by Mi Fu (Figure 3),appeared in his copy of Wang Xizhi’sShudu ExemplarinThe Seventeenth.

Figure 3 “Yang Xiong”by Mi Fu

Mi Fu (1051–1107), courtesy name Yuanzhang, was a calligrapher,painter, and calligraphy and painting theorist in the Northern Song Dynasty (960–1127).He is regarded as one of the four greatest calligraphers of the Song Dynasty and a famous collector and appraiser of calligraphy and painting.His main works includeZhang Jiming Exemplar,Li Taishi Exemplar,Zijinyan Exemplar, andShu Su Exemplar, of which the last is named the eighth running script in the world.Mi Fu’s copy ofOde to Capital of Shuis collected in his copy ofThe Seventeenthwith a postscript by Lu You, which is very rare and can be regarded as a treasure(Yan, 2000).

In this version, Mi Fu copied the full text ofThe Seventeenth.

Zhang Jizhi

Zhang Jizhi’s calligraphy of “Yang Xiong” (Figure 4) is in the handwriting of Du Fu’s poemTo Petition Box Commissioner and Imperial Diarist Tian Cheng.The last two lines of the poem read, “Yang Xiong presented his poemOde to Hedongto Emperor Cheng of Han,and waited to be promoted someday.”

Figure 4 “Yang Xiong”by Zhang Jizhi

Zhang Jizhi (1186–1263), was a calligrapher in the Song Dynasty who was born inJianyang, Chengdu, Sichuan.This work was written in the tenth year of the Chunyou Period of Emperor Lizong’s Reign in the Song Dynasty(1250) when the author was 65 years old.Zhang Jizhi’s running script is quite unique and famous in the Southern Song Dynasty (1127–1279).This manuscript is a masterpiece of Zhang Jizhi’s calligraphy, with perfect writing speed and ink density, and well arrangements of strokes.

The original manuscript of Zhang Jizhi’sTo Petition Box Commissioner and Imperial Diarist Tian Chengis on paper and in regular script, which is collected in Liaoning Provincial Museum.

Liu Yong

Liu Yong’s calligraphy of “Yang Xiong” (Figure 5) is in his regularscript essayA Biography of Yan Junping, which reads, “Yang Xiong had learned from Yan Junping when he was young, and later became an official in the capital.He praised Yan Junping’s conduct many times to the virtuous officials in the court.”

Figure 5 “Yang Xiong”by Liu Yong

Liu Yong (1720–1805), also known as Liu Luoguo, was a politician and calligrapher in the Qing Dynasty (1636–1912) who was named one of the four greatest calligraphers in the Qing Dynasty.

The original manuscript is on paper and collected in the Palace Museum.The manuscript is characterized by thick and rich brushes and vigorous strength.The well-arranged strokes bring a gentle but rhythmic style.

In addition, modern and contemporary calligraphers, such as Guo Moruo, also wrote the characters of “Yang Xiong” in couplets and scrolls.

“Yang Ziyun” in Chinese Calligraphy

Yang Xiong’s courtesy name Ziyun, or Yang Ziyun, also frequently appeared in Chinese calligraphy.

Wang Xizhi

The three characters of “Yang Ziyun” (Figure 6) written by Wang Xizhi appeared in theYan Junping Exemplarincluded in his famousThe Seventeenth.It was also a letter between Wang and his old friend, General Zhou Fu, the then-governor of Yizhou, which reads, “Do Yan Junping,Sima Xiangru, Yang Ziyun, etc.have descendants staying inShu?” In thisletter, Wang asked his friend Zhou Fu whether Yang Ziyun (Yang Xiong)and others had descendants staying inShu.The Seventeenthhas long been lost, and only the woodblock printed edition is available.

Figure 6 “Yang Ziyun”by Wang Xizhi

Mi Fu

The three characters “Yang Ziyun” (Figure 7) written by Mi Fu can be found in his copy of Wang Xizhi’sYan Jun Ping ExemplarinThe Seventeenthwith a postscript by Lu You.

Figure 7 “Yang Ziyun”by Mi Fu

Kangli Naonao

Kangli Naonao wrote “Yang Ziyun” (Figure 8) in his copy ofYan Junping Tie, one of the six exemplars (generally called three exemplars,but actually referred to as six exemplars) of Wang Xizhi’sThe Seventeenth(Xiao, 1982, pp.18–19).

Figure 8 “Yang Ziyun”by Kangli Naonao

Kangli Naonao (1295–1345) was one of the most acclaimed Mongolian calligraphers in the Yuan Dynasty (1271–1368).He once served as assistant director of the Palace Library (Mishu Chengjian), director of the Ministry of Rites (Libu Shangshu) and commander of the Classics Colloquium (Zhijing Yanshi).His calligraphy was as famous as Zhao Mengfu, Wang Xianyu, and Deng Wenyuan, so the saying has it that there are Kangli Naonao in the North and Zhao Mengfu in the South in the Chinese calligraphy circle in the Yuan Dynasty.Kangli especially excelled in running script, and his representative works includeZhelong Shuo(Expelled Dragon),Libai Gufeng Shijuan (Li Bai’s Ancient Poems), andShubi Fajuan (On Zhangxu’s Brushworks).

Kangli Naonao copied the fifth exemplar of Wang Xizhi’sThe Seventeenth.The manuscript is on a piece of light blue paper with solid textures.The calligraphy shows his inheritance from the “Sage of Calligraphy” Wang Xizhi and his own style distinguished by stable strokes.The brush is skillfully wielded, generating smooth and round strokes, and the varied thickness of it clearly indicates changes in pressure.This work is now collected in the Palace Museum in Beijing, which is one of the most famous calligraphy works of Kangli in the museum.

Zhao Mengfu

Zhao Mengfu also copied Wang Xizhi’sThe Seventeenth(Lian, 2018, pp.56–59).However, he did not copy the full text, but only a part of it, among which wasYan Junping Exemplar, which includes “Yang Ziyun” (Figure 9).

Figure 9 “Yang Ziyun”by Zhao Mengfu

Zhao Mengfu (1254–1322), courtesy name Zi’ang, was a Chinese calligrapher, painter, and poet during the Late Song and Early Yuan dynasties.He once held the posts of Hanlin Academician Recipient of Edicts (Hanlin Xueshi Chengzhi) and Grand Master for Splendid Happiness (Ronglu Dafu).He created a new style of painting in the Yuan Dynasty and a Zhao-styled script, and was named one of the “Four Great Masters of Regular Script.” His representative works includeThe Thirteen Postscripts to the Orchid Pavilion,Tale of the Goddess of Luo River,andLeisure House Inscription.Later generations commented that his copy ofThe Seventeenthwas “pursuing rhythmic beauty with refined strokes and seeking beauty with perfection.”

The copy, transcribed on a piece of blue paper, 25.8 cm in length and 20.8 cm in width, is now part of the collection of the Palace Museum in Taipei.

In addition, Liu Yong also copied the characters “Yang Ziyun” in hisCopied Scroll (Lintie Zhou)(Sun, 2021, p.13).

Among all calligraphers copyingYan Junping Exemplar, the three most notable and representative are Mi Fu in the Song Dynasty, Kangli Naonao, and Zhao Mengfu in the Yuan Dynasty.

“Ziyun Pavilion in Xishu Prefecture” in Chinese Calligraphy

The five-character “Ziyun Pavillion in Xishu Prefecture” (Sun, 1986, pp.55–56)is probably the most famous description of Yang Xiong’s life story, mainly because it appeared in the well-known poemOde to the Humble Hutby the famous Tang poet Liu Yuxi.In the poem, there are several lines best known to the public, saying, “Renowned is a mountain not for its height but for the immortal who lives in it.Ensouled is a sea not for its depth but for the dragon that inhabits it.” “Coming to my house and conversing to me are the intelligent not the illiterate.” In the 86-character poem, there are lines about Yang Xiong, which read, “Thus, my humble hut is like the hatched where Zhuge Liang from Nanyang lived and the hatched pavilion where Yang Ziyun from West Shu Shire dwelled.Just as Confucius uttered, ‘Is it humble?’.” From the lines, we can see that it is the virtues of the person who lives in the house that makes the residence famous and wins the acclaim of the public.For this reason,Ode to the Humble Huthas become a favorite of many calligraphers in various dynasties.According to rough statistics, at least ten China’s top calligraphers have transcribed “Ziyun Pavilion in Xishu Prefecture,” including Zhao Mengfu in the Yuan Dynasty, Wen Zhengming, Xie Jin, Dong Qichang and Zhou Tianqiu in the Ming Dynasty, Zhao Zhiqian in the Qing Dynasty, and Yu Youren and Ma Yifu inthe modern times.

As there are too many such works to display, here we will merely present those by Zhao Mengfu, Tai Buhua, Xie Jin, and Wen Zhengming.

Zhao Mengfu

Zhao Mengfu transcribed “Ziyun Pavilion in Xishu Prefecture” (Figure 10) in his running script work,Ode to the Humble Hut.The manuscript is a representative work of Zhao while in his thirties.The characters are flat in structure and gentle in style.At that time, Zhao had not yet formed his own style, and some of the strokes seemed a little naive.

Figure 10 “Ziyun Pavilion in Xishu Prefecture” by Zhao Mengfu

This copy is a paper scroll with a hanging shaft.Later, it was changed to a hand scroll with a length of 49cm and a width of 131cm after a special mount.It is now part of the collection of the Guangdong Museum.

Tai Buhua

Tai Buhua transcribed “Ziyun Pavilion in Xishu Prefecture” (Figure 11)in his seal character workOde to the Humble Hut.

Figure 11 “Ziyun Pavilion in Xishu Prefecture” by Tai Buhua

Tai Buhua (1304–1352), courtesy name Jianshan, was a Mongolian poet, calligrapher, and politician in the Yuan Dynasty.He once got a Jinshi degree and served as the pacification commissioner of the Zhedong Area.

The manuscript was completed in the sixth year of the Zhizheng Period in the Yuan Dynasty (1346) when Tai Buhua was 43 years old.It is also the only authentic seal script by Tai Buhua that we know of, so far.The copy rigorously complies with the law of seal script and features square strokes.The leek leaf-like brushes, round characters, imposing manner, and abundant changes make this manuscript an important work in the development of seal script art.The original copy is now part of the collection of the Palace Museum (Xiao, 2008, p.105).

Xie Jin

Xie Jin wrote “Ziyun Pavilion in Xishu Prefecture” (Figure 12) in hisCursive Poetry Collection,which contains 18 poems by Du Fu, Li Bai, Du Mu, Wang Wei, Liu Yuxi, Jia Zhi, Cen Shen, and other famous poets in the Tang Dynasty.Ode to the Humble Hutis one of the poems.

Figure 12 “Ziyun Pavilion in Xishu Prefecture” by Xie Jin

Xie Jin (1369–1415) once served as the chief assistant of the Grand Secretariat and Grand Academician of the Right Secretariat of the Heir Apparent.He excelled in small regular script, running script, and cursivescript, especially the excessively free cursive style, and was named one of the three greatest talents in the Ming Dynasty together with Xu Wei and Yang Shen.Xie Jin created a new style of cursive writing in the late Ming Dynasty.

The manuscript is an excellent work by Xie Jin, with round and mature brushes and refined strokes throughout the manuscript.The original manuscript is now part of the collection of the Palace Museum.

Wen Zhengming

Wen Zhengming transcribed “Ziyun Pavilion in Xishu Prefecture” (Figure 13) in his running script workOde to the Humble Hut.

Figure 13 “Ziyun Pavilion in Xishu Prefecture” by Wen Zhengming

Wen Zhengming (1470–1559), born Wen Bi, was a Chinese painter, calligrapher,litterateur, and artcollector during the Ming Dynasty.He once served Academician Awaiting Orders.Excelled in poetry, essay, calligraphy, and painting, Wen was named an all-rounder in his dynasty.He created the “Wu School of Painting” alongside Shen Zhou, a famous painter at that time.In the history of painting, he was regarded as one of the “Four Masters of Ming Painting” together with Shen Zhou, Tang Yin, and Qiu Ying.In the literary circle,he was named the “Four Talents of Wu Area” together with Zhu Yunming, Tang Yin, and Xu Zhenqing.

The manuscript was written by Wen at the age of 84, featuring calm and refined brushesand firm strokes.It was purchased by the Palace Museum in 1957 and has been in the collection until now.

Due to the fame of Liu Yuxi’sOde to the Humble Hut, “Ziyun Pavilion in Xishu Prefecture” was also written by other calligraphers in various dynasties, such as cursive scripts by Zhu Zhishan and Dong Qichang in the Ming Dynasty, running script by Pu Xinshe in modern times, and seal script by Ma Yifu in contemporary times (see Figure 14 from left to right).①Some of the pictures in this article are retrieved from the Internet.

Figure 14 “Ziyun Pavilion in Xishu Prefecture” by Zhu Zhishan,Dong Qichang, Pu Xinshe, and Ma Yifu (from left to right)

Yang Xiong’s Prose Poems in Chinese Calligraphy

Yang Xiong’s achievements are mainly reflected in prose poetry, prose, and Confucianism, among which prose poetry is the most notable.His representative works includeOde to Hedong (Hedong Fu),Ode to Ganquan (Ganquan Fu),Ode to Hunting (Yulie Fu),andOde to Changyang (Changyang Fu), which were all based on Sima Xiangru’sOde to Sir Zixu (Zixu Fu)andOde to Shanglin Park (Shanglin Fu)(Fang, 1991, pp.25–31).The great fame of Yang Xiong’s prose poems has attracted famous figures in various dynasties who wrote prose poems of Yang Xiong.For example, in the Tang Dynasty, Sun Guoting,the author ofShu Pu (A Narrative on Calligraphy), had a cursive copy of Yang Xiong’sOde to Capital of Shu.In the Song Dynasty, Zhao Gou, Emperor Gaozong of Song, wrote Yang Xiong’sOde to Ganquan.In the Ming Dynasty, Wen Zhengming transcribed Yang Xiong’sOde to Ganquanin a regular script in 1553.However, many of these documents are legends with no physical evidence, and some are even counterfeit.But it is indisputable that some famous writers did write the prose poems of Yang Xiong.

The followings are several examples.

Dong Qichang

Dong Qichang transcribed Yang Xiong’sThe Great Dark Mystery(Figure 15) in a running script.The Great Dark Mysteryis a poem written by Yang Xiong, which was included inGuwen Yuan (Ancient Poem Collection).Beginning with “The relationship between loss and gain described in theBook of Changeis similar to that between misfortune and fortune described inLaozi” and ending with “I will keep my heart open to the outside and pursue an unrestrained life.” The poem is full of philosophy and reflects the author’s pursuit of Taoism and Confucianism.

Figure 15 Yang Xiong’s The Great Dark Mystery by Dong Qichang (excerpt)

Dong Qichang (1555–1636), courtesy name Xuanzai, was a native of Huating,Songjiang (present-day Shanghai city).He had a Jinshi degree and held the posts of Junior Compiler of the Hanlin Academy, Minister of Rites of Nanjing, and Supervisorof the Household of the Heir Apparent.In his art theoretical writings, Dong developed the theory that Chinese painting could be divided into two schools, the northern school, characterized by fine lines and colors,and the southern school, noted for its quick calligraphic strokes.He was an outstanding representative of the Huating School of Painting.In terms of calligraphy, he inherited the essence of Jin and Tang calligraphy and created a unique style.With elegant styles and unique charm, his calligraphy works have been favored by the public for a long period and have become favorites in the collection circle.

Dong Qichang wrote Yang Xiong’sThe Great Dark Mysteryin running script in 1612.It came in five pages with a length of 24.5 cm and a width of 13.5 cm.The collection place of this manuscript remains unknown (Qi, 2007).

Zhang Yuzhao

Zhang Yuzhao transcribed Yang Xiong’sOde to Zhao Chongguo(Figure 16) in running script.This is a poem written by Yang Xiong to eulogize Zhao Chongguo, one of the Eleven Meritorious Officials of Kylin Pavilion in the Western Han Dynasty.Zhao Chongguo’s military agro-colonies policy not only had strategic significance in the Han Dynasty, but also had a far-reaching influence on later generations.

Figure 16 Yang Xiong’s Ode to Zhao Chongguo by Zhang Yuzhao in running script (excerpt)

Zhang Yuzhao (1823–1894) is an official, essayist, and calligrapher of the late Qing Dynasty.He was in Zeng Guofan’s shogunate and was named one of the “Four Followers of Zeng Guofan.” By innovatively absorbing the essence of northern inscription-based calligraphy and southern paper-based calligraphy,he created a unique Zhang-style calligraphy that influenced the calligraphy circle of the late Qing Dynasty for a century.Kang Youwei once identified Zhang as an unparalleled calligrapher unseen in a century.

The original manuscript of Zhang Yuzhao’s regular scriptOde to Zhao Chongguois missing, and only rubbings are available.

It is said that the tablet inscription of Zhao Chongguo in his cemetery in Shanggui (present-day Tianshui city, Gansu province)of Longxi Prefecture is a rubbing of Zhao Mengfu’sOde to Zhao Chongguo.

TheOde to Zhao Chongguo,General of the Later Han Dynasty, written by Lin Zexu in regular script, is still available on the Internet, but no supporting documents have been found.

Huang Tingjian

In addition to the content of Yang Xiong’s prose poems, some scholars also transcribed the title of his prose poems, among which the most notable is the cursive script ofOde to Changyangby Huang Tingjian (Figure 17).Changyang is the name of the imperial palace in the Han Dynasty, which is located in the southeast of Zhouzhi county, Shaanxi province.TheOde to Changyang, written by Yang Xiong, was modeled after Sima Xiangru’sRefuting the Elders of Shu (Nanshu Fulao).In the preface, he briefly described the hunting scene in the Changyang Palace, but in the body text, he completely deviated from the hunting of Changyang Palace and discussed Emperor Cheng of Han’s disobedience of his ancestors and disregard for the way to support the people.

Figure 17 Cursive Script of “Ode to Changyang”by Huang Tingjian

Huang Tingjian (1045–1105), known as “Huang Shangu,” was one of the “Four Followers of Su Shi.” He was regarded as one of the “Four Masters of the Song Dynasty” together with Su Shi, Mi Fu, and Cai Xiang.Huang’s cursive script ofOde to Changyangappeared inRemembering Our Excursion in the Past: A Letter Sent to Commissary Yuan of Qiao County, a poem included inPoems on Past Excursions by Li Bai, which reads, “Such a time of worldly pleasure is hard to find again, so I traveled west to presentOde to Chang Yangto the court.” It is said that Huang had once transcribed this poem in cursive script.

The manuscript, with a length of 37 cm and a width of 392.5 cm, is on paper.It is believed that it was written in 1104 (the third year of the Chongning Period in the Northern Song Dynasty) by Huang Tingjian in his late days.This paper scroll is now part of the collection of the Yūrinkan Museum in Kyoto, Japan.It is a masterpiece of Huang’s cursive writing.The round, bold and unrestrained brushes are like a running horse, making the manuscript smooth and imposing, just like a flying dragon (Zhao, 2016, 94–99).

Contemporary Masters

As economic development brings about cultural prosperity, there are more calligraphy works about Yang Xiong in contemporary times.As there are too many such works to display, here we will merely present two works, one in Sichuan province and one outside the province.

In 2010, China Bookstore Publishing House published Long Kaisheng’s bookWei Inscription: Yang Xiong’s Dissolving Objection(Figure 18).This book is one of the fivevolumes ofLong Kaisheng’s Calligraphy Exemplars, and the other four volumes areRegular Script: Zhang Hua’s Ode to Jiaoliao,Running Script: Wang Zhong’s Inscriptions of Huanghe Tower,Cursive Script: Su Zhe’s Memory of Kuaizai Pavilion in Huangzhou, andClerical Script: Zeng Gong’s Memory of School(Long, 2010).These works are all masterpieces in the history of Chinese literature, including Yang Xiong’sDissolving Objection.So what isDissolving Objection? In theBiography of Yang Xiong of the Book of Han, it is said, “People think Yang Xiong’sThe Great Dark Mysteryis too hard to understand.So Yang Xiong composed an article entitled ‘Dissolving Objection’ to explain it.”

Figure 18 “Wei Inscription: Yang Xiong’s Dissolving Objection” by Long Kaisheng (excerpt)

TheWei Inscription: Yang Xiong’s Dissolving Objection, with a length of 518 cm and width of 32 cm, is on paper, which comes in 99 lines and 493 characters.The author is Long Kaisheng, who is the vice president of the Beijing Calligraphers Association and winner of the Lanting Award for Chinese calligraphy.

This shows that the influence of Yang Xiong’s literature is not restricted to one region or one field, and even in modern times distinguished by high modernization.

In December 2018, a campaign themed “National Calligraphy and Painting Invitation Exhibition—To Commemorate the 2000th Year of Yang Xiong’s Death” was held in Pidu district, Chengdu city, the hometown of Yang Xiong.At the exhibition, works by calligraphers in and outside the province, such as Xie Jiyun, Guo Qiang, He Kaixin, Zhong Xianjin, and Lin Qiao, were displayed.Among them, there were some calligraphy works about Yang Xiong’s prose poems.For example, Wang Yuechuan, a professor at Peking University, transcribed lines inWords to Live By; that is, “A person’s speech reflects his inner thought, and his writing style reflects his inner image; Therefore, we can distinguish a gentleman from a villain from his speech and writing style.” Mao Guodian, vice chairman of China Calligraphers Association, wrote lines in Yang Xiong’sThe Great Dark Mystery;that is, “The things people like but are not enough are good qualities, while the things people dislike but have excess of are bad qualities.A noble person constantly strengthens theirdeficiencies while reducing their excesses.”

This shows that the spirit of Yang Xiong has not been forgotten in contemporary times,but is being carried forward in his hometown.

Conclusion

It can be seen from the above research that Yang Xiong has a certain influence and status in the history of Chinese calligraphy.There were a large number of calligraphers or celebrities who wrote “Yang Xiong,” “Yang Ziyun,” “Ziyun Pavilion in Xishu Prefecture,”and Yangxiong’s prose poems, represented by Wang Xizhi, who transcribed “Yang Xiong”and “Yang Ziyun” in hisYan Junping ExemplarandShudu Exemplarincluded inThe Seventeenth, and other celebrities who modeled after Wang Xizhi’s calligraphy, including Mi Fu, Kangli Naonao and Zhao Mengfu.Su Shi transcribed “Yang Xiong” in his poemYang Xiong Has No Son Left in His Late Days.Liu Yong transcribed “Yang Xiong” in his regularscript essayA Biography of Yan Junping, which read, “Yang Xiong learned from Yan Junping when he was young and later became an official in the capital.” Zhang Jizhi transcribed “Yang Xiong” in the handwriting of Du Fu’s poemTo Petition Box Commissioner and Imperial Diarist Tian Cheng.Wen Zhengming, Tai Buhua, Xie Jin, Zhu Zhishan, Pu Xinshe, and Dong Qichang wroteThe Great Dark Mystery.Zhang Yuzhao wroteOde to Zhao Chongguo.Huang Tingjian wroteOde to Changyang.It can be said that those who wrote keywords related to Yang Xiong are all the most famous calligraphers and cultural masters in China through ages.Therefore, in the past hundreds of years, Yang Xiong has gone beyond Chinese literature into Chinese calligraphy.

This paper conducted case studies of Yang Xiong-related calligraphy works, in the hope of exploring a new perspective outside the existing academic research framework of historical and cultural celebrities, so as to provide more perspectives on the research of historical and cultural celebrities.The present research to examine and discuss history from a calligraphic perspective is an emerging area in researching historical and cultural celebrities.Despite insufficient historical materials, it will provide a more interesting, diversified and easier way for people to learn about Chinese historical and cultural celebrities compared with the ordinary research perspectives.As a result, it should be regarded as a new area in the study of historical and cultural celebrities in the future.It will be my great pleasure if this paper can contribute a bit to the research in this field.Due to my limited knowledge and the insufficient literature, and the fact that the content discussed in this paper was not studied before, there must be many mistakes and errors in this article.I would appreciate your comments and correction to improve the paper.