Wang Xizhi (303–361) was a calligrapher of the Eastern Jin dynasty. His courtesy name was Yishao, and he was from Langya Linyi (in present-day Shandong Province). Born into an aristocratic family, he rose to the rank of General of the Right Army, earning him the popular title “Wang Youjun” (Wang of the Right Army).
In his early years, he studied calligraphy under Lady Wei, and later absorbed the strengths of various masters: he learned cursive script from Zhang Zhi and regular script from Zhong Yao. Building on these foundations, he innovated beyond tradition, transforming the plain and rustic styles prevalent since the Han and Wei dynasties into a graceful, fluid, and elegant new form. Proficient in all script types, he especially excelled in regular and running scripts. His characters are vigorous, beautiful, and full of variation, making him the revered model for calligraphers throughout history. He is honored as the “Sage of Calligraphy.” He is paired with Zhong Yao as “Zhong and Wang,” and together with his son Wang Xianzhi, they are known as the “Two Wangs.”
On the third day of the third lunar month in the ninth year of Yonghe (353 CE), Wang Xizhi gathered with Xie An, Sun Chuo, and others at the Orchid Pavilion (Lanting) in Shanyin (modern-day Shaoxing, Zhejiang) to observe the traditional “Xiu Xi” spring purification rite. Seated by a winding stream, the group let wine cups float downstream; whoever the cup stopped before had to drink and compose a poem. Altogether, 37 poems were composed that day. Someone suggested compiling them into an anthology titled Lanting Ji (Orchid Pavilion Collection), with Wang Xizhi writing the preface.
Inspired and in high spirits, Wang readily agreed – thus creating the immortal masterpiece Preface to the Orchid Pavilion Collection. This work is not only exquisitely written, blending deep emotion with refined language, but also a supreme example of calligraphy, executed with brushstrokes as fluid as drifting clouds and flowing water. The original preface contains over 300 characters, each uniquely styled. Notably, the character “之” appears more than twenty times, each instance rendered with distinct form and grace – so varied and masterful that viewers have long marveled and applauded in admiration.
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