Rhapsody on Calligraphy cover

Rhapsody on Calligraphy

Rating 4.3
Word count
24K words
Chapters
4

Tags

Summary

Traditional Chinese thought and culture have a long history, marked by a high degree of originality, inventiveness, and literary quality. Early intellectual forms are highly distinctive: religious theology, classical texts of Chinese medicine, ancient military strategy, Confucianism, Daoism, Buddhism and the Hundred Schools of Thought, feng shui and metaphysics, the Twenty-Four Histories, customs and local gazetteers—all are profound and extensive.

This series, "Essence of Classic Chinese Culture: Original Texts," preserves the appearance of the original books and focuses on preserving and transmitting traditional Chinese thought and culture. By reading the literary essence left by ancient sages, readers cultivate their temperament and subtly come to appreciate the classics of Chinese learning.

Editor's review

Shu Shu Fu (Rhapsody on Calligraphy) is a calligraphic document written by Dou Ji of the Tang dynasty. In the rhapsodic form it evaluates calligraphers and calligraphic works across the ages, combining literary elaboration with critical judgment, and is an important text for studying the transmission of calligraphy, the genealogy of calligraphers, and connoisseurial concepts before the Tang. Its distinguishing feature is that it organizes the many masters through rhymed language, with praise and censure embedded in the phrasing; readers can both trace the lines of calligraphic history and appreciate how the ancients discussed calligraphy rhetorically. This edition belongs to a series of classic Chinese-learning texts; it preserves the original appearance of the book and is suitable for close study of the primary sources of calligraphic learning. When reading, one should use annotations and short biographies of calligraphers, first clarifying the dynasties and names mentioned in the rhapsody, then comparing section by section with calligraphic works or histories of calligraphy, so as not to admire only the wording while missing the measure of the judgments. For calligraphy enthusiasts it is an introductory primary text for entering the vocabulary of traditional calligraphic learning; for researchers in literature and history it can serve as a sample of the combination of Tang calligraphic concepts and literary expression.

Who it's for

A good fit for

  • Learners of calligraphic history and calligraphic theory who need to study the primary text
  • Calligraphy enthusiasts with some classical Chinese who want to understand ancient critical vocabulary
  • Researchers of Tang literature and art documents concerned with rhapsodic art criticism
  • Readers of classic Chinese-learning texts willing to read the primary text slowly with annotations

Not a good fit for

  • Readers with no classical Chinese who want a light introduction to calligraphy stories
  • Calligraphy beginners expecting technical tutorials or copybook guidance
  • Readers who want only plain-language general introductions and are unwilling to look up names and allusions

Reading tips

  1. Read the preface and editorial principles first to understand the base text and annotation conventions, then proceed to the main text.
  2. Arrange the calligraphers mentioned in the rhapsody by dynasty and compare them one by one with their short biographies.
  3. When encountering evaluative lines, distinguish praise from censure, make excerpt cards, and build up calligraphic terminology.
  4. Read alongside famous calligraphic texts such as Shu Pu to compare ways of discussing calligraphy and standards of evaluation.

Contents

  1. 版权信息
  2. 述书赋提要
  3. 述书赋卷上
  4. 述书赋卷下

FAQ

What is Shu Shu Fu mainly about?
It evaluates calligraphers and calligraphic works across the ages in rhapsodic form, covering calligrapher genealogy, work criticism, and ideas of calligraphic transmission. It is both a calligraphic document and a Tang rhapsodic work on art; reading it requires attention to both historical evidence and literary rhetoric.
Can I read it without a calligraphy background?
Yes, but you need some classical Chinese reading ability and a willingness to consult annotations and names and allusions. It does not offer technical training and is better suited to readers who want to understand ancient calligraphic concepts and critical traditions.
What reference books should I use with this book?
A general history of Chinese calligraphy, a reference book of calligrapher biographies, and annotated anthologies of ancient calligraphic criticism are useful. Comparing calligraphic plates or a calligraphy dictionary can help explain the scripts, styles, and critical terms mentioned in the rhapsody.
Can the evaluations in the book be taken as definitive?
They should not be taken as definitive. Rhapsodic criticism carries the author's standpoint and rhetorical needs, and the measure of praise and censure should be checked against other calligraphic documents. Readers should treat it as one view and attend to its evaluative context and literary expression.

Comments

Find this book

This site is an index: you start “Search all sources” in your browser, and the entries it lists all point to third-party sites; please judge their availability yourself.

About the author

窦臮 Author

Dou Ji was an important figure in the field of calligraphy theory in the Tang dynasty. Publicly available sources offer very limited information about his life, and his birth and death years, native place, and official career are difficult to verify. He is known today mainly through the celebrated calligraphic work Shu Shu Fu (Rhapsody on Calligraphy). Written in the rhapsody form, this work surveys calligraphers and calligraphic works of successive dynasties, evaluates stylistic origins and developments, and combines calligraphic appreciation with criticism, making it distinctive among Tang writings on calligraphy. The rhapsody form gives the discussion both literary quality and concision, helping connect the threads of calligraphic history and articulate the author's judgments on the strengths and weaknesses of various masters. Shu Shu Fu was repeatedly cited by later works on calligraphy and remains an important reference for studying the development of calligraphy before the Tang and Tang views on calligraphy. The library currently holds one work by him, classified under social sciences. Because material on the author is scarce, this introduction is confined to a brief account of the content and value of his extant work.