Shuzhi 書指

Shuzhi 書指 "The compass of calligraphy" was written during the late Ming period 明 (1368-1644) by Tang Lingchu 湯臨初, about whom little is known.

The book, comprising 2 juan, advocates a calligraphic style that values simplicity and naturalness, emphasising that calligraphy values substance over technical precision, subtlety over flamboyance, and natural flow over deliberate contrivance. The text asserts that mastering calligraphy requires a profound understanding of seal script (zhuan 篆書) and the chancery script (lishu 隸書), and that studying ancient methods is essential to achieving the highest artistic expression. The author evaluates various calligraphers, with Wang Xizhi 王羲之 (303-361) receiving the highest praise for inheriting the robust and vigorous style of the Han 漢 (206 BCE-220 CE) and Wei 曹魏 (220-265) dynasties, reaching an exceptional level of artistry. Tang-period 唐 (618-907) calligraphers, such as Yu Shinan 虞世南 (558-638), Ouyang Xun 歐陽詢 (557-641), Chu Suiliang 褚遂良 (596-658), and Xue Ji 薛稷 (649-713), are acknowledged for their achievements, although their techniques are perceived as diverging from those of the Jin dynasty. The author even argues that the styles of Yan Zhenqing 顏真卿 (709-785) and Liu Gongquan 柳公權 (778-865) contributed to the decline of the graceful and refined aesthetic of Jin and Wei calligraphy.

Furthermore, the book is notably critical of Song-period 宋 (960-1279) calligraphy, asserting that Song scholars' evaluations of calligraphy are as unreliable as their critiques of poetry. While acknowledging the erudition and skill of Su Shi 蘇軾 (Su Dongpo 蘇東坡; 1037-1101), Huang Tingjian 黃庭堅 (1045-1105), and Mi Fu 米芾 (1051–1107), the author believes their opinions are somewhat biased. The book also provides assessments of the calligraphy of Zhao Mengfu 趙孟頫 (1254-1322), Huaisu 懷素 (737-799), and Cheng Miao 程邈 (240–207 BCE). Overall, the author presents a unique and insightful perspective on calligraphy, though at times, their views are overly rigid in applying ancient standards to later works.

The book offers profound insights into various aspects of calligraphy, such as brush handling, brush movement, brush intent, brush momentum, the concepts of "bone" and "flesh" (gu rou 骨肉) in calligraphy, the techniques for writing characters of different sizes, and the appreciation of calligraphy. With regard to "bone" and "flesh" in calligraphy, the book contends that these distinctions are artificial and emerged only after the "Brush Formation Diagram" (Bizhentu 筆陣圖) was transmitted. It clarifies that "bone" originates from the brush and "flesh" from the ink, rendering them inseparable. The author criticises those who mistakenly emphasise stiffness and dryness to illustrate "bone" or create an exaggerated thickness to depict "flesh," arguing that both methods distort the essence of calligraphy. Instead, the ancients attained a natural balance of light and heavy strokes, thick and thin lines, resulting in fluidity and vibrancy.

In discussing the appreciation of calligraphy, the book states that one should first observe the "energy" (qi 氣), then the "spirit" (shen 神), and only afterwards assess technical skill. It mentions that some calligraphers may possess technical skill but lack spirit, while those with genuine spirit will naturally display technical refinement. Mastery of brushwork results in effortless elegance, where the energy and vitality of a piece transcend mere technique. While spirit emerges from the brush and ink, energy extends beyond them — spirit can be analysed, but energy is intangible and can only be felt by the observer, sometimes even beyond the artist's own awareness.

The Shuzhi is included in the collection Liuyi zhiyi lu 六藝之一錄.