[Collection Name]: Weng Fanggang's Running Script and Su Wenzhong's Poetry Axis

[Historical Era]: Qing Dynasty

【 Size 】: 81.5 centimeters vertically and 40.5 centimeters horizontally

Clear and shimmering water is the best, and the mountain scenery is also unique with the misty rain.

To compare West Lake to Xizi, light makeup and heavy makeup are always suitable.

A Poem by Weng Fanggang by Su Wenzhong in the Right Book

[Seal]: Fuchuzhai (Zhu Wen) Qinxi (Zhu Wen) Weng Fanggang Seal (Bai Wen)

Weng Fanggang (1733-1818), also known as Zhengsan, Zhongxu, Qinxi, and Suzhai, was born in Daxing, Shuntian (now part of Beijing). During the Qing Dynasty, he was a calligrapher, literary figure, and epigrapher. His calligraphy was on par with the contemporaries Liu Yong, Liang Tongshu, and Wang Wenzhi. On the theory of "texture" in poetry creation. He has written works such as "Collection of Poetry and Prose from Fuchuzhai" and "Record of Xiaoshifan Pavilion".

As a scholar of epigraphy during the Qianlong and Jiaqing periods of the Qing Dynasty, Weng Fanggang highly praised Su Shi. In his later years, he was known as "Su Zhai" and "Bao Su". He collected and examined more than 20 portraits of Dongpo, praised the portraits of others, and created poetry related to Su Shi. From the thirtieth half year of the Qianlong reign to the twenty second year of the Jiaqing reign, dozens of Su Shi birthday celebrations were held every year, inviting relatives and friends to burn incense and offer sacrifices, drink alcohol and compose poetry, greatly promoting the development of "Su studies". In terms of calligraphy, Weng Fanggang emphasized the importance of "learning from the past" and the need for precise copying of classic calligraphy. He believed that form is the foundation of spirit. From the original heart comes the painting of the heart, and I cannot learn from others. "On the basis of pursuing infinite forms, we respect our heart and form our own unique style of calligraphy.

This work is a poem by Su Shi, with a lively and elegant brushwork, independent characters, coherent strokes, sparse and elegant structure, and a combination of virtual and real elements in the composition. The left side is low and the right side is raised, hence the use of oblique strokes. The brushwork is well proportioned and very natural.