Records of Fangyuan Temple

CHINA; Northern Song dynasty

With a full title of Records of Fangyuan Temple at Longjingshan in Hangzhou, this inscription, consisting of 777 characters written in 87 lines, was scripted by Mi Fu. Its contents were drafted by the Song dynasty (960–1279) monk, Shouyi, in remembrance of his conversation with monk Biancai during his visit to Fangyuan Temple. Biancai spoke about the organization of his temple and shared his metaphysical views of the rectilinear and curvilinear – two discrete geometrical concepts respectively represented in the name of the temple: “fang” and “yuan.” This conversation intrigued Mi Fu, and he decidedly scripted the text. The original calligraphy no longer exists, but remaining in its place is a rubbing of a stone inscription known as the Baojin Study Collection of Calligraphy Specimens, carved by Cao Zhige of the Southern Song dynasty (1127–1279).
Mi Fu was a keen learner of Ouyang Xun’s style in his early years, and his works often exhibited signs of Ouyang’s influence, as observed in his thinly shaped characters, for example. Compared to some of his other early works, the character structure of this piece is well-developed and broadly spaced. Many individual characters appear skewed or slightly canted with varying brushstroke thickness, which only add to the richness, variety, and consistency of the overall flow and form of the script. This piece is considered one of Mi Fu’s most important calligraphic works.
Mi Fu was also known by his style name, Yuanzhang. He was a calligrapher, painter, and seal engraver from Taiyuan (present day Shanxi). He was also a poet and connoisseur of art. Mi is regarded as one of the Four Calligraphy Masters of the Song dynasty, alongside Cai Xiang, Huang Tingjian, and Su Shi.