Hanxi shufa tongjie 漢谿書法通解

Hanxi shufa tongjie 漢谿書法通解 "Comprehensive explanations on calligraphy of Master Han River Vale" was compiled during the high Qing period 清 (1644-1911) by Ge Shouzhi 戈守智 (1720-1786), courtesy name Dafu 達夫, style Hanxi 漢谿, from Pinghu 平湖, Zhejiang. He was a talented artist and scholar, but failed in the state examinations, whereafter he decided to wander around in the region of River Han 漢水 and visited scholars, artists and collectors. Ge copied all stone slab inscriptions he could find, assembling them in his "Sea of model calligraphy" (Tiehai 帖海). His collected writings are called Hanxi xiecun ji 漢谿偕存集, Hanjiang zayong 邗江雜咏 and Zilang xiaocao 紫琅小草.

All eight fascicles of the Shufa tongjie were compiled in cooperation with fellow students. The book carefully selects and utilises historical materials related to the field of calligraphy, providing various themes with a clear structure. It also critiques several longstanding malpractices and bad habits within the calligraphy world, satirising pretentious individuals who lack proper knowledge. The overall framework of the book centres on the most fundamental aspects of calligraphy—brush techniques and structural composition. It aims to present its key points concisely and directly, offering a clear and comprehensible guide that allows readers to learn effectively.

The first fascicle (Shugu 述古), authored by the writer himself, provides an overview of the history of calligraphy from ancient times to the present. It discusses the evolution of script forms, stylistic variations, and master-disciple traditions. Furthermore, it examines both the successes and failures in learning calligraphy, fundamental brush techniques, and structural composition. The chapter cites numerous ancient texts on calligraphy.

Part two (Zhibi 執筆), co-authored with Zhou Xilong 周錫龍, comprises the sections Zhibi tu 執筆圖 "Illustrations of holding the brush" and Zhibi lun 執筆論 "Theory of holding the brush". It compares the correct method of holding a brush to archery, asserting: "Internally, one’s mind must be steady; externally, the body must be upright. Only then can one hold the bow and arrow firmly. One will hit the target if the bow and arrow are held firmly." It then cites numerous historical calligraphers and scholars and described in detail various brush-holding techniques.

Fascicle three (Yunbi 運筆), co-authored with Qian Xuezhu 錢學洙, concentrates on the principles of brush movement and features discussions on the "eight principles" or stroke types, as exemplified in the character yong 永 (yong zi ba fa 永字八法).

The dynamics of brush movement are further developed in juan 4, co-authored with Liu Shilong 劉時龍. It compiles various classical theories on the dynamics, variations, and momentum of brush movement (yunbi shi 運筆勢), such as the seven rules of the battle formation of the brush (bizhen qi tiao 筆陣七條), the eight methods of Ouyang Xun 歐陽詢 (557-641; Lügeng ba fa 率更八法), and alternative interpretations of the eight fundamental strokes.

The structure of characters (Jiezi 結字) is the topic of juan 5, co-authored with Lu Teng 陸騰. It explores how character composition has varied across different periods through a comparative study of notable calligraphic works, examining and compiling various theories on character composition. His approach entails cross-referencing significant masterpieces, gathering insights from diverse sources, parallel interpretations by various scholars, and personal commentaries provided by the authors.

The chapter on Formulas (Fajue 訣法), co-authored with Wang Rong 王容, highlights the esoteric nature of calligraphic secrets—knowledge that was often passed down orally from master to student. The written form of instructions merely provides outlines and hints, with deeper meanings understood through practice and personal guidance.

The juan 7 and 8 are dedicated to calligraphic genealogy and prefaces (Puxu 譜序). They are co-authored with Lu Lie 陸烈 and Lu Ji 陸機. The existence of a genealogy in calligraphy allows to trace its origins and masters. The eighth, final chapter serves as a comprehensive theoretical and historical appendix, compiling essential writings on calligraphy and artistic principles. It systematically organises classical texts, interspersed with annotations and critical commentary, to guide readers step by step into the refined world of calligraphy. It quotes examples from eminent writings on calligraphy.

The careful selection and systematic arrangement of the book illustrate Ge Shouzhi’s commitment to making calligraphy theory accessible and comprehensive. The book is acclaimed for balancing depth and clarity, enabling both beginners and advanced practitioners to benefit, as it integrates classical scholarship with practical guidance, thereby creating a structured learning experience.

The book was first printed in 1750 by the Jiyun Studio 霽雲閣. A lithographic reproduction was published by the Chaoji Shuzhuang 朝記書莊 in Shanghai during the Republican period. A modern edition, with critical annotations by Shen Peifang 沈培方, was published by the Shuhua Chubanshe 書畫出版社 in Shanghai in 1986.