A Narrative on Calligraphy Treatise on Calligraphy Manual of Calligraphy 孫過庭 書譜 翻譯 英譯 Translation - Vincent's Calligraphy

Original Chinese Text

English Translation

1. 夫自古之善書者, 漢魏有鍾張之絕,晉末稱二王之妙。

Alas, since a long time ago, those who were regarded to have penned great calligraphy (1) were Zhong (Zhong Yao 鍾繇, 152–230AD) and Zhang (Zhang Zhi 張芝, ?-192AD) of the Han-Wei Period(206BC-265AD), both of whom produced unrivaled masterpieces, as well as the Two Wangs (Wang Xizhi 王羲之, 303–361AD ; and Wang Xianzhi 王獻之344–386AD) of the late Jin Dynasty (265-420AD) who both produced works of exquisite beauty.

2.王羲之云:「頃尋諸名書, 鍾張信為絕倫,其餘不足觀。」

Wang Xizhi once said, “I have searched and reviewed various renowned works of calligraphy and concluded that only Zhong and Zhang’s works are truly superior and unrivaled; works by others are unremarkable and so not even worth studying."(2)

3.可謂鍾張云沒,而羲獻繼之。

Hence, it can be said that after the death of Zhong and Zhang, Xizhi and Xianzhi were the ones who had truly succeeded them.

4.又云:「吾書比之鍾張,鍾當抗行,或謂過之。張草猶當鴈行, 然張精熟, 池水盡墨, 假令寡人耽之若此,未必謝之。」

Wang Xizhi further commented, “If one were to compare my calligraphy with those written by Zhong (Yao) or Zhang(Zhi), my work is comparable to those written by Zhong, if not better.  My cursive script may also be considered to be comparable to Zhang’s(3).  Yet, Zhang was so refined in his art and so focused on the practice of calligraphy that even a pond could had been completely tainted by the ink washed from his brushes.  If I could have the same degree of obsession as Zhang in studying and practicing calligraphy, perhaps my works may not be inferior to those of Zhang’s.”

5.此乃推張邁鍾之意也。

This clearly demonstrates Wang Xizhi highly appreciated Zhang’s calligraphic achievements while he believed his achievements had exceeded Zhong’s.

6.考其專擅, 雖未果於前規; 摭以兼通, 故無慚於即事。

As one scrutinizes Wang Xizhi’s distinctive strengths in calligraphy, one can see that, despite the fact that Wang Xizhi could not completely implement the rules established from the past, he had the ability to readily extract the various features of the past masterpieces and assimilate them into his calligraphy in additional to being adept at writing the various script styles.  Hence, it can be said, with clear conscience, that he is truly worthy to the art of Calligraphy in his times.

7.評者云:「彼之四賢,古今特絕。而今不逮古,古質而今妍。」

Various critics attested, “These Four Talented Calligraphers (四賢: Here, it refers to Zhong Yao, Zhang Zhi, Wang Xizhi and Wang Xianzhi) were indeed truly exceptional and unmatched both in the past and present.  Yet, exemplary calligraphers in our current era did not reach to the same level observed in those of the past eras; generally, past calligraphers produced works that were relatively simple and unadorned while calligraphers in our current era created works that were relatively elegant and pretty."(4)

8.夫質以代興,妍因俗易。

Alas, unembellished styles of simplicity can become fashionable at times (5), while elegant qualities of prettiness vary as customs change over time.  

9.雖書契之作,適以記言,

Although characters were originally created merely to serve the purpose of recording speeches and texts,

10.而淳醨一遷, 質文三變。

the styles of calligraphy evolve dynamically with the progression of time: once popular preference shifts between honest purity and light superficiality, changes in styles of unadorned simplicity together with refined elegance will, in turn, come frequently with many varieties(6).

11.馳騖沿革, 物理常然。貴能古不乖時,今不同弊。

Swift, rapid and unrestrained (馳騖) reformations in the course of human history are certainly natural, in accordance with the Law (理) that governs all things. Yet, the most valuable and influential reforms are the ones that are not unfashionable while taking into account the past simplicity and, at the same time, stand out from the mundane vulgarity of the times.

12.所謂「文質彬彬, 然後君子。」

As the old saying goes: “When the accomplishments and solid qualities (in this context, Sun Guoting was referring to the styles of refined elegance 文 and unadorned simplicity 質 correspondingly) are equally blended, we then have the man of virtue."(7)

13.何必易雕宮於穴處, 反玉輅於椎輪者乎!

After all, there is no need to relinquish an extravagant palace to dwell in a barren cave, or to abandon a luxurious royal carriage for a primitive wooden cart!

14.又云:「子敬之不及逸少, 猶逸少之不及鍾張。」

Critics further asserted, “ Zijing’s (Wang Xianzhi’s) accomplishments were inferior to those of Yishao’s (Wang Xizhi’s), just like Yishao’s accomplishments were inferior to those of Zhong’s (Zhong Yao’s) and Zhang’s (Zhang Zhi’s).”

15.意者以為評得其綱紀, 而未詳其始卒也。

While I think perhaps they might have pointed out the key points of the entire subject, they failed to detail the evolution of the entire issue.

16.且元常專工於(隸) 書, 百(白也，即伯)英尤精於草體;

Alas, Yuanchang (Zhong Yao) was skilled in penning the standard script (8) while Boying (Zhang Zhi) was adept at writing the cursive script;

17.彼之二美, 而逸少兼之: 擬草則餘眞, 比眞則長草。

18.雖專工小劣, 而博涉多優。摠其終始, 匪無乖互。

19.謝安素善尺櫝, 而輕子敬之書。

20.子敬嘗作佳書與之, 謂必存錄。

21.安輒題後答之，甚以為恨。

22.安嘗問敬：「卿書何如右軍？」答云：「故當勝。」

23.安云：「物論殊不爾。」子敬又答：「時人那得知！」

24.敬雖權以此辭折安所鑒，自稱勝父，不亦過乎！

25.且立身揚名，事資尊顯;

26.勝母之里，曾參不入。

27.以子敬之豪翰，紹右軍之筆札，雖復粗傳楷則，實恐未克箕裘。

28.況乃假託神仙，恥崇家範，以斯成學，孰愈面墻！

29.後羲之往都，臨行題壁。子敬密拭除之，輒書易其處，私為不惡。

30.羲之還見，乃歎曰：「吾去時真大醉也！」敬乃內慚。

31.是知逸少之比鍾張，則專博斯別；子敬之不及逸少，無或疑焉。