A Tang poem in praise of chrysanthemums, written in the standard running script in the style of Mi Fu, 1703, by The Kangxi Emperor (1654—1722). Hanging scroll, ink on silk. 186.5×83.5 cm. The Palace Museum, Beijing.
A Tang Poem in Praise of Chrysanthemums
This scroll of calligraphy was executed in the 42nd year of the Kangxi Emperor’s reign (1703). It is a transcription of a poem by the Tang-period (618—907) poet Gong Chengyi (dates unknown), entitled ‘Prose-poem on How Autumn Gives Chrysanthemums Their Fine Colours’, a twelve-line verse of five characters to a line. The chrysanthemum, also known because it flowers in September as the ‘ninth month flower’, was famously beloved of the great early poet Tao Yuanming (or Tao Qian, 365—427). The poem reads:
Along Prefect Tao’s [the poet Tao Yuanming] fence, As autumn comes, the chrysanthemums colour and bloom. From a forest of a thousand jade-green leaves, With golden scissors, cut a flowering stem. Chasing the buds makes the bee?s beard messy; Bravely following, the butterfly?s wings are aflutter. Carrying the fragrance, the breeze wafts through the greenness. Tranquil shadows play across the window. Resolutely wavering, the frosty hues, Fresh and graceful, flowers open to the sun. Such scent and beauty were seen at Pengze [where Tao Yuanming was briefly Prefect], What higher praise is there than this?
‘A song of chrysanthemums by Gong Chengyi of the Tang, written in the style of Mi Fu.’
Xuanye did not limit himself to any particular school when he studied specimens of calligraphy, but applied himself equally to emulating masters from throughout the classical tradition: famous early masters such as the Two Wangs, Wang Xizhi and hi son Xianzhi, the Tang statesmen Yan Zhenqing and Liu Gongquan, and the Song literati Su Dongpo (Su Shi), Huang Tingjian and Mi Fu. It is recognised that he was particularly successful at writing in the style of Mi Fu.
This piece of calligraphy, which according to the inscription was done after Mi Fu, features robust, attenuated characters composed of bold, clearly defined strokes. As a whole, the piece does evoke the naturalism and freedom of Song calligraphy, demonstrating that the Emperor did indeed capture something of the spirit and flavour of Mi Fu?s calligraphy.
