Zhu Su Liang (596–658) was a representative calligrapher of the Tang Dynasty, whose works in Square Style and Running Style had a significant impact on later generations. His calligraphy is characterized by orderly beauty and powerful brushwork, reaching a unique realm while absorbing the techniques of masters such as Wang Xizhi and Yu Shinan.
However, his works went beyond mere calligraphic art and were deeply intertwined with the philosophy and thought of Taoism, the religion that symbolized the Tang Dynasty. This paper explores Zhu Su Liang’s life and works from the perspective of Taoism and discusses how his calligraphy embodied religious thought.
Religious Background of the Tang Dynasty and the Flourishing of Taoism
The Tang Dynasty was a period when Taoism flourished as the state religion. The imperial family of the Tang Dynasty, bearing the same surname as Laozi, Li, made Taoism a key pillar supporting the emperor’s governance. Li Yuan (Emperor Gaozu of Tang) asserted that he was the legitimate successor of Taoism, promoting the construction of Taoist temples and the compilation of sacred texts.
In this religious environment, Taoism became politically influential and culturally dominant, impacting literature, art, and even daily life. Calligraphy was no exception, and the philosophical principles and religious symbols of Taoism began to be reflected in calligraphic works. Zhu Su Liang was a key figure who connected Taoism with calligraphy in such a context.
Zhu Su Liang’s Life and Rise as a Calligrapher
Zhu Su Liang was born in Qiantang, Zhejiang Province, and from a young age, he was familiar with calligraphy, studying the techniques of renowned calligraphers from the Sui and Tang periods such as Shi Ling and Yu Shinan. He further studied the calligraphy style of Wang Xizhi and established his own unique approach.
His political career was also remarkable, rising to high positions such as Chancellor and Right Minister, serving under Emperor Taizong Li Shimin and Emperor Gaozong Li Zhi. However, during the reign of Emperor Gaozong, due to conflicts with Empress Wu Zetian, he was demoted and ultimately died in present-day northern Vietnam in despair.
Some of Zhu Su Liang’s representative works include:
- “Yanta Shengjiao Xu” (雁塔聖教序) : Considered the masterpiece of Tang Dynasty Square Style calligraphy.
- “Meng Fashi Stele” (孟法師碑) : A stele commemorating the life of the Taoist nun Meng Jingsu.
- “Kushu Fu” (枯樹賦) : A Running Style piece based on a famous poem by the Northern Zhou poet Yu Xin.
The “Meng Fashi Stele” (孟法師碑)” is particularly notable as evidence of Zhu Su Liang’s deep devotion to Taoism.
The Philosophical Fusion of Taoism and Zhu Su Liang’s Calligraphy
Influence of Taoist Thought
Zhu Su Liang’s calligraphy reflects Taoist philosophical concepts such as ” Wu Wei Ziran (無為自然)” (non-action and naturalness) and the flow of “Qi (気)” (life force). These ideas are evident in the structure, brushwork, and overall sense of balance in his calligraphy.
- Wu Wei Ziran (無為自然): Zhu Su Liang’s calligraphy, where the brush moves naturally and without force, is closely linked to this Taoist concept.
- Qi (気) Flow: Taoism views the essence of the universe and life as “Qi (気)”. Zhu Su Liang’s brushwork conveys a smoothness and vitality, as though aware of the flow of “Qi (気)”.
Specific Influences on Calligraphic Technique
While Zhu Su Liang’s brushwork was based on the techniques of Wang Xizhi, it also exhibited unique characteristics, including:
- Emphasis on Horizontal and Vertical Strokes: His calligraphy often features long, powerful horizontal strokes and sharp, protruding vertical strokes, resonating with Taoist concepts like “balance of strength and softness” and “yin-yang harmony”.
- Flexibility in Turns and Curves: The use of curves and soft turns evokes the Taoist idea that “softness overcomes hardness”.
- Clever Balance: The overall composition of his characters is in perfect harmony, reflecting the Taoist view of the universe, where stability arises from apparent instability.
Taoist-Related Works and Their Significance
“Meng Fashi Stele” (孟法師碑)
The “Meng Fashi Stele” (孟法師碑) is a stele honoring the Taoist nun Meng Jingsu, who dedicated her life to Taoist practice and achieved “xie jie (屣解)” (ascending in spirit while leaving the body behind) at the age of ninety-seven.
This stele not only praises Meng Jingsu’s virtues but also embodies Taoist ideals of life and death. The brushwork and character composition used by Zhu Su Liang in this work strongly reflect Taoist values.
“Yin Fu Jing” (陰符経)
Zhu Su Liang also wrote the Taoist text “Yin Fu Jing” (陰符経), which is known both as a military treatise and a Taoist scripture. His copies of this text have significant scholarly value and contributed to the spread of Taoist thought.
“Kushu Fu” (枯樹賦)
“Kushu Fu” (枯樹賦) is a Running Style work based on a poem by the Northern Zhou poet Yu Xin. This piece is interpreted as an expression of Taoist views on impermanence and the harmony between nature and humanity.
The Role of Calligraphy in Taoist Rituals
In Taoist rituals, the written word was believed to possess divine power. The characters in scriptures and talismans symbolized the spirituality and religious beliefs of the writer and were considered key to the success of the ritual.
Zhu Su Liang’s calligraphy was highly valued in this religious context. His works, particularly, served as important visual tools for conveying Taoist teachings.
Conclusion
Zhu Su Liang’s calligraphy represents the pinnacle of art reflecting the religious backdrop of the Tang Dynasty and serves as an important cultural heritage where Taoist philosophy and calligraphy converge. His works transcend mere artistic value, continuing to convey philosophical and religious messages.
Through his calligraphy, we can rediscover the spiritual essence of Taoism and understand how calligraphy was intertwined with religion and philosophy, leaving a deep impact on the hearts of people. His works remain a crossroads of Taoism and calligraphy, offering fresh perspectives to many.
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