Calligraphy is something every special for Chinese. It is not only an important part of traditional Chinese culture but also a way of life for people of all stripes.
Kuaixue Hall is an iconic building dedicated to calligraphy, featuring three courtyards that display the elegance of traditional Chinese art. Here, visitors can explore the fascinating world of calligraphy, gaining insight into this revered Chinese cultural practice.
Layout of Kuaixue Tang (Snowscape Hall) Courtyards
To enter the courtyards, you will walk through this beautiful Gate of Hanging Flowers 垂花门. This is a typical Chinese architecture method of mortise and tenon 榫卯 and dougong 斗拱 that resulted in upturned eaves and highly decorated beams and roof. Translating as “cap (and) block,” dougong is a system of wooden brackets that can support the overhanging roofs commonly found in Chinese architecture.
This elegant complex is three courtyards deep that includes Chengguan Tang 澄觀堂 (Clear View Hall) and Yulan Xuan 浴蘭軒 (Bathing Orchids Study) that served as Emperor Qianlong’s private quarters, all connected by intricately painted walkways. The last courtyard is Kuaixue Tang 快雪堂 (Snowscape Hall). 1
The first two courtyards, built in 1746, during Emperor Qianlong’s reign in the Qing Dynasty (1644-1911), served as the emperor’s temporary residence. In 1779, Emperor Qianlong had Kuaixue Tang courtyard built to house 48 pieces of stone calligraphy carvings he had collected along the walls of corridors lining the courtyard.
The first and second halls have built-in carvings of calligraphy of Kuai Xue Shi Qing by calligrapher Zhao Mengfu, who employed the style of calligrapher Wang Xizhi of the East Jin Dynasty. In order to preserve them the appreciative Emperor Qianlong ordered that Kuai Xue Hall be built of precious gold-thread phoebe nanmu wood.
Chengguan Hall and Yulan Xuan were both built in the 11th year of Emperor Qianlong’s reign (1746). They were the places where emperor and empress would bathe, change clothes, eat and rest when they came to Chanfu Temple for worship.
In 1923, to commemorate General Cai Er 蔡锷 (courtesy name – Songpo 松坡) who fought against Yuan Shikai 袁世凯, a warlord who had ruled China and wanted to restore imperial rule, with the approval of Li Yuanhong 黎元洪, then president of the Republic of China, the three-courtyard compound was made into the first modern library in China and named Songpo Library for Chinese classics “松坡图书馆”, with Liang Qichao 梁启超, a leading Chinese scholar, serving as its head. In May 1949, it was incorporated into the Beiping Library and stayed open for several more years. 2
In 1987, the three-courtyard compound was returned to Beihai Park. It was renovated and turned into the Kuaixue Tang Calligraphy and Stone Carving Museum and is now open to the public.
The courtyards were restored to their former glory (at least some part of it) during the grand restoration of 2012.
Kuaixue Tang (Snowscape Hall) 快雪堂
The hall is famous for its rich collection of calligraphy, featuring 48 stone slabs inscribed with works from 20 famous calligraphers spanning the Jin to Yuan dynasties. Among these, Wang Xizhi’s “Kuaixue Shiqing Tie” 快雪时晴帖 (Letter of Snow in Spring) and Emperor Qianlong’s own “Kuaixue Tang Ji” 快雪堂記 (Fast Snow Hall Inscription) are particularly renowned.
The entire hall is build from Phoebe zhennan 金丝楠木, a very rare hardwood from Yunnan that would cost its weight in gold. It is said that as you walk past this hall, you can still smell the fragrance given out by these wooden panels. Such is the durability of the wood, which a natural insect repellent just like the California redwood.
Emperor Qianlong also ordered that the famous Taihu stones from the Song Dynasty garden Genyue Garden 艮岳3 be moved to this courtyard, creating another beautiful scenic area. Its fantastic shapes and interconnected holes were formed through long and gradual erosion by water.
Since at least the Tang dynasty (619–907), small Taihu stones were placed in scholar’s studios to provide inspiration, while large ones such as this one, have been used as sculptural elements in garden design.
Origins of the Carved Calligraphy Stones
Feng Quan 冯铨, a Ming Imperial Scholar obtained rubbing of “Clearing After Snowfall”《快雪时晴帖》and selected 80 additional ink rubbings from 20 calligraphers from the Jin Dynasty to the Yuan Dynasty and commissioned a famous engraver at that time, Liu Guangxi 刘光暘, to engrave them in stone.
The calligraphers included Wang Xizhi 王羲之 and Wang Xianzhi 王献之 from Jin dynasty; Su Shi 苏轼, Huang Tingjian 黄庭坚, Mi Fu 米芾 and Cai Xiang 蔡襄 from Song Dynasty; Yan Zhenqing 颜真卿, Liu Gongquan 柳公权, Ouyang Xun 欧阳洵, Zhao Mengfu 赵孟頫, who were known as the four masters of Kai script; Famous Tang dynasty monk Huai Su 怀素 and his expressive cursive calligraphy masterpieces to name a few. 4
Fast forward to Qing Kangxi reign, the family of Feng Quan went into hard times and pawned the stone carvings. They came into possession of Governor of Fujian and Zhejiang Yang Jingsu 杨景素, who presented them to Emperor Qianlong in 1779. Emperor Qianlong ordered the building of these courtyards to house these stone carvings. 5
There are a total of 48 pieces of stone carvings, each stone carving is 1 metre long, 0.33 metres wide and 0.1 metres thick. There are 24 pieces on the east and west sides of the corridors on both sides of Kuaixue Tang.
Reproduction of inscriptions on stone (or other depictions on other hard surfaces) through a process of rubbing at the surface, using a combination of ink and paper or other absorbent material, has a long history in China.
When these sandstones were engraved, they were not black in appearance. But over time, the ink used has left behind a shiny gloss over the grey sandstone. Many of these rubbings are compiled and published as Model Book 法帖 and has been central to cultural preservation and understanding of these ancient scripts.
Modelbook of Kuaixue Tang《快雪堂法帖》
In the collection of Taipei National Palace Museum is an extremely rare original model book collected by Qing Emperor Qianlong called Modelbook of Kuaixue Tang (Snowscape Hall) 《快雪堂法帖》6
Stone rubbing is the practice of creating an image of surface features of a stone on paper. Many of these rubbings of famous calligraphers have been compiled in books called a model book or “fa tie” 法帖, which students of calligraphy used to mimic the style of the masters.
因命內府摹淳化之善手重撫其蹟。而泐之石。俾長短寬窄較若畫一。其木版仍置堂中。以紀數典。列觀兩廊秩如彬如弗。啻黃氏所未營而亦馮氏所未逮矣。夫快雪堂之建。因石刻非因雪。然循名責實。三冬未逢時。至蒿目焦心。又何有於悅目娛志。而閱古則增滄桑之歎。問今益澟好惡之戒。凡吾所為記多出於誌。愧而不出於誌喜也。
乾隆歲在己亥嘉平月上澣御筆。
清 乾隆 《快雪堂記》
Preface to the Orchid Pavilion Collection《兰亭序》部分
“Preface to the Orchid Pavilion Collection”《兰亭序》is one of most famous calligraphy work ever by Wang Xizhi 王羲之 (303-361). Along with his son, Wang Xianzhi 王献之 (344-386), the two Wangs were considered the greatest calligraphers in Chinese history whose achievements were insurmountable for late generations. And Jin dynasty 晋 (265-420) is the pinnacle of calligraphic works in Chinese history.7 This stone carved version is based on a copy by Tang dynasty calligrapher, Chu Suiling 褚遂良 (596-658). 8
In Tang dynasty (618-907), the Emperor Taizong 唐太宗 (r. 626-649) not only revered Wang Xizhi’s calligraphy, but himself was also good at it. He considered Wang Xizhi as the greatest calligrapher in history. His obsession with Wang Xizhi made him promote his subordinates based on their talents to mimic Wang’s works. Feng Cheng-su 馮承素9 was one such example, and he often helped the emperor copy Wang Xizhi’s work.
Above all, Taizhong regarded the Preface to the Orchid Pavilion Collection《兰亭序》 by Wang Xizhi as the best running script. Prized as his priceless treasure, the emperor kept Wang’s works only for his most trusted subordinates and, after his death, he was buried along with Wang’s works.10 Copies after Tang dynasty are most likely copies of the original by those who have the luck to be able to observe either original or the model book.
“Clearing After Snowfall”《快雪时晴帖》
“Clearing After Snowfall”《快雪时晴帖》is the original calligraphy of Wang Xizhi, one of the few originals of his writings left behind. Of the authenticity of this relic is still debatable. Although a mere 28 words, it demonstrates the elegance and flowing style of his cursive script 行书. It is addressed to Zhang Hou of Shanyin (modern day Shaoxing), and talks about Wang’s happy mood seeing the sunny sky after the sudden snow storm.11
This masterpiece of manuscript was treasured by scholars and connoisseurs throughout the past 1650 years. The great Yuan dynasty calligrapher and artist Zhao Mengfu 趙孟頫 (1254－1322) wrote a testimony or a colophon 題跋 for this manuscript. The manuscript is now kept in Taipei National Palace Museum 國立故宮博物院.
About “Clearing After Snowfall”《快雪时晴帖》
Other Calligraphic Works of Masters from Jin to Ming dynasties
真迹久佚，仅有刻本传世。
Zhong Yao 鍾繇 (151~230), courtesy name Yuanchang 元常, was a prolific calligrapher and politician in Cao Wei 曹魏 period. He is also attributed to be the inventor of Kai script 楷书, which is the foundation script of how Chinese characters look like today. He is the teacher of calligraphy to Madam Wei Shuo 衛鑠 (272—349), who was in turn the teacher to Wang Xizhi.12
Copy of Zhong Yao’s calligraphy by Wang Xizhi 王羲之臨鍾繇書 《力命表》释文
臣繇言。臣力命之用。以無所立。帷幄之謀。而又愚耄。聖恩低徊。待以殊禮。天下始定。帥土欣戴。唯有江東。當少留思。既與上公。同見訪問。昨讌見復蒙逮及。雖緣詔令。陳其愚心。而臣所懷。造膝之事。昔先帝嘗以事及臣。遣侍中王粲杜襲就問臣。臣所懷未盡。冀益絲髮。乞使侍中與臣議之。臣不勝愚款慺慺之情。謹表以聞。臣繇誠惶誠恐頓首上言。
Translation :
Your servant, Zhong Yao, states that with the strength of my life, I have used my abilities to plan and establish strategies.
Furthermore, I am deeply grateful for the late emperor's grace and the extraordinary courtesy bestowed upon me. The world is vast, and I have been entrusted with the responsibility of collecting and preserving knowledge. Only the Jiangdong region should be given some consideration. Having discussed matters with you, as we saw and discussed yesterday, I was again granted a retreat. Although due to imperial orders, I must express my humble thoughts, my heart is conflicted.
In presenting these matters, I believe the late emperor should have handled them with significant importance, thus sending the attendant Wang Tiao and Du Bao to inquire. I, your servant, was surprised and could not fully express myself. I respectfully obey and serve you. I, along with the attendant, reported to you.
I, your servant, am overwhelmed by my foolishness and rudeness. I respectfully submit this report to express my sincerity. Your servant, Zhong Yao, with utmost sincerity, respectfully submits this.
Yan Zhenqing 颜真卿 (709 – 784) was a Chinese calligrapher, military general, and politician. He was a leading Chinese calligrapher and a loyal governor of the Tang dynasty. His artistic accomplishment in Chinese calligraphy is equal to that of the greatest master calligraphers of history, and his regular script style, Yan, has often been imitated.
Mi Fu 米芾 (1051–1107) was a Chinese scholar, calligrapher, artist and poet born in Taiyuan 太原 during the Song dynasty (960-1279). He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers of the Song Dynasty. His contributions to calligraphy and painting field are highly valued. His work can also be found in Great Mosque of Xi’an 化觉巷清真大寺.
The hall’s peaceful surroundings make it an ideal place for both relaxation and inspiration.
About Beihai Park 北海公园
Beihai Park 北海公園 was originally Beihai 北海, or North Sea, of the “Three Seas of the Imperial Western Gardens” 西苑三海 of the Ming and Qing Dynasties. It is located within the Imperial City, northwest of the Forbidden City, and was the royal garden only for enjoyment by the royal family of the Liao, Jin, Yuan, Ming and Qing Dynasties, spanning across a period of almost a thousand year. In 1925, it was opened to the public as a park.
First built in the 12th century, Beihai is among the largest of all surviving Chinese gardens and contains numerous historically important structures, palaces, and temples. The present park has an area of around 71 hectares (180 acres) with a lake that covers more than half of its area.
At its centre is Jade Flower Island 瓊華島/琼华岛, whose highest point is 32m. The park’s lake is connected at its northern end to the Shichahai 什刹海 (a nightlife area of pubs and restaurants around the lake) and to Zhonghai 中海 (where the central government of China operates and closed to public) to the southern end.
As with many of Chinese imperial gardens, Beihai was designed to imitate renowned scenic spots and architecture from various regions of China, particularly Jiangnan around the Yangtze Delta. Various aspects of the park evoke the elaborate pavilions and canals of Hangzhou and Yangzhou, the delicate gardens of Suzhou, and the natural scenery around Lake Tai with its famously porous stones. Beihai Park itself is now reckoned one of the masterpieces of Chinese gardening and landscaping.
The park is opened all year round, and can be accessed from four gates, two on the southern end (West and South gates), one in the north (North gate) and one on the east side (East gate). The park would need at least 4 hours to see everything.
Opening hours for the park are 6am – 9pm (peak season, Apr-Oct), 6.30am – 8pm (off peak, Nov-Mar); Opening hours for the attractions are 8am – 6pm (peak season), 8.30am – 5.30pm (off peak)
Visited May 2023
Footnotes :
- 快雪堂为三进院落，分别为澄观堂、浴兰轩、快雪堂，院内四周由彩绘游廊连接。其中，澄观堂、浴兰轩建于清乾隆十一年（1746年），是皇帝的行宫。乾隆四十四年（1779年），乾隆皇帝为收藏48方书法石刻，特增建快雪堂院落， ↩︎
- The second branch of Songpo Library Shihu Hutong(Lane)had foreign language books. Chengguan Tang was the reading room of Songpo Library; the books were in Yulan Xuan, and Kuaixue Tang served as a memorial hall in honor of General Cai Er. In early 1929, Liang Qichao died of illness. Due to shortage of funds, the two branches of Songpo Library were merged.
1923年，为纪念讨袁护国运动的著名将领蔡锷（字松坡）将军，经黎元洪批准，将快雪堂三进院落拨作“松坡图书馆”第一馆，梁启超出任馆长，第一馆专藏中文书籍（石虎胡同成立第二馆藏外文书籍）。松坡图书馆内，澄观堂为阅览室，浴兰轩为藏书室，快雪堂辟为“蔡公祠”。1929年初梁启超病故，因经费不足，松坡图书馆两馆合并，1949年5月又与北平图书馆合并，图书馆继续开放几年后关闭。1987年快雪堂三进院落交还北海公园。经修缮后，改为“快雪堂书法石刻博物馆”面向游人开放。 ↩︎ - There were five Imperial parks in the Song capital Bianjing (now Kaifeng), four of which were situated at the gates on the four sides of the city. These parks were opened to courtiers and officials on set occasions, and one was opened to the general public for a short while each year. The fifth park, Genyue, the Northeast Marchmount, was for the private use of the Emperor and his guests. It was built beside the imperial residence on a site selected by a geomancer in the northeast of the city. He recommended that the earth be heaped up and artificial mountains constructed, to ensure the Emperor plenty of heirs. (The character ‘Gen’ 艮 of Genyue is from the I Ching and represents mountains, the northeast, and sons). https://japonicaplants.co.uk/2020/07/29/genyue-the-garden-that-brought-down-a-dynasty/ ↩︎
- 明末，世传晋代书法家王羲之的绝世之作《快雪时晴帖》（有人认为此帖为唐人摹本）被大学士冯铨所得，冯铨又辑选了晋代至元代20位书法家的墨迹80余篇，与王羲之的《快雪时晴帖》共计81篇，书法家包括：晋代王羲之、王献之父子，宋代苏轼、黄庭坚、米芾、蔡襄，楷书四大家之称的颜真卿、柳公权、欧阳洵、赵孟頫；唐朝僧人怀素的狂草等优秀的书法佳作，并请当时的镌刻名家刘光暘摹刻上石。 http://iqh.ruc.edu.cn/qdhjylyjzx/xszl/wxda/52fc4ca666b2408baaed2142cb2e4493.htm ↩︎
- 清康熙年间冯铨的后代因家道败落，将石刻当于质库，后由易州牧、福建人黄可润赎出，并带回福建。之后，闽浙总督杨景素又从黄可润手中购得此套石刻。乾隆四十四年（1779年），杨景素将这套石刻献于乾隆皇帝，乾隆皇帝为保存这套稀世珍宝，亲命在北海公园北岸的浴兰轩后增修一进院落，修建了楠木殿宇快雪堂及两侧游廊，将石刻镶嵌在东西两廊内壁上，原石刻中有三块为木刻，乾隆帝命内府镌刻高手将木刻文字摹刻上石，并亲自题写了《快雪堂记》亦镶于廊内。 http://iqh.ruc.edu.cn/qdhjylyjzx/xszl/wxda/52fc4ca666b2408baaed2142cb2e4493.htm ↩︎
- Modelbook of the Lively Snowfall Hall (Kuaixue Tang), (Five): Record for the Lively Snowfall Hall (Kuaixue Tang) 快雪堂法帖（五） 冊 清乾隆快雪堂記https://digitalarchive.npm.gov.tw/Collection/Detail/16644?dep=P ↩︎
- 王羲之是东晋伟大书法家，他一变汉魏朴质书风，开晋后妍美劲健之体，创楷、行、草之典范，后世莫不宗法。他行书字帖《兰亭序》是他的的代表作，被书法界誉为“天下第一行书”，千百年来倾倒了无数习书者。王羲之亦因此被后人尊称为“书圣”。唐太宗李世民倡导王羲之的书风。他亲自为《晋书》撰《王羲之传》，搜集、临摹、欣赏王羲之的真迹，《兰亭序》摹制多本，赐给群臣。在中国书法史上，帝王以九五万乘之尊而力倡一人之书者，仅此而已。宋代姜夔酷爱《兰亭序》，日日研习，常将所悟所得跋其上。有一跋云：“廿余年习《兰亭》皆无入处，今夕灯下观之，颇有所悟。”历时二十多年才稍知入门，可见释读之难：一千六百多年来无数书法家都孜孜不倦地释读过，何尝不想深入羲之的堂奥，但最终只能得其一体而已。因此，《兰亭序》可以说是由杰出的书法智慧所营造成的迷宫。 王羲之(303-361)字逸少，东晋时期人。祖居瑯琊(今山东临沂)，西晋末年南迁后，定居在会稽山阴(今浙江绍兴)，遂为绍兴人。王羲之故居位于绍兴城内蕺山脚下的戒珠寺。在绍曾任会稽内史，官至右军将军，所以世称王右军。在他任职期间，薄功名利禄，为人耿直，关心百姓疾苦，是一个务实为民的清官。同时时常以作书养鹅为乐。晚年辞官隐退后，放浪形骸于山水之间，卒年59岁，葬于嵊州市金庭镇瀑布山。羲之生七子，均有书名。幼子献之得羲之真传，书法不下乃翁，世称“小王”。http://www.shuhuamrt.com/jiazuoxinshang/44.html ↩︎
- Chu Suiliang 褚遂良 (596-658), courtesy name Denghan (登善) was a native of Hangzhou, Zhejiang province (浙江杭州). Also known as the Duke of Henan (河南郡公) or Chu Henan (褚河南), Chu was a famous Chinese calligrapher, historian and politician. He served as a chancellor during the reigns of the emperors Taizong (唐太宗) and Gaozong (唐高宗) in the Tang Dynasty. His most famous masterpiece is Yanta Shengjiao Xu (雁塔聖教序 Preface to the Sacred Teaching at Wild Goose Pagoda). https://patricksiu.org/four-imitation-copies-of-lanting-xu-蘭亭序摹本四種）/ ↩︎
- Feng Chengsu 馮承素 (617-672), courtesy name Wan Shou (萬壽), born in present-day Jizhou (衡水市) was a highly skilled calligrapher and imitator in early Tang Dynasty. Emperor Taizong (唐太宗) ordered him to make copies of Lanting Xu (蘭亭序) and other Wang Xizhi’s works. His imitation of Lanting Xuis known as the most lively and elegant. This imitation copy is known as Shen-long version. It derived its name from the stamp of a small seal on the beginning of the copy bearing the two characters ‘Shen-long (神龍)’, the title of the 705-707 CE reign of Tang Emperor Zhongzong (唐中宗). https://patricksiu.org/four-imitation-copies-of-lanting-xu-蘭亭序摹本四種）/ ↩︎
- https://www.chinadaily.com.cn/a/201803/21/WS5ab1ecf5a3106e7dcc144231_2.html ↩︎
- 这幅作品仅有短短28字，却展现了王羲之在大雪初晴时的愉快心情，及对亲人的深切问候。其笔法雍容古雅，圆浑妍媚，行笔流畅，神采飞扬，是书法史上的瑰宝。https://patricksiu.org/kuai-xue-shi-qing-tie-快雪時晴帖/ ↩︎
- 鍾繇（151~230年），字元常，三國時期魏國穎川人。
漢末官至尚書僕射，魏明帝時進太傅，人稱「鍾太傅」。是「書聖」王羲之的老師衛夫人的老師，中國書法史上，由隸書進入楷書轉形時期的著名書法大
家。
屢立戰功 位極人臣
鍾繇出身名門望族，自幼聰慧過人。東漢舉孝廉出身，助漢獻帝東歸洛陽，受冊封為東武亭侯。得曹操信任，
任司隸校尉，鎮撫關中。官渡之戰時送二千餘馬匹給曹操，曹操稱譽「昔蕭何鎮守關中，足食成軍，亦適當爾。」曾降服單于，屢立戰功，曹操表封為前軍師。曹操受封魏公後，鍾繇任大理，掌管刑獄。其後，曹操進爵魏王，鍾繇又遷相國。
曹魏代漢後，鍾繇屢受加封，以太尉之職和司徒華歆、司空王朗並列「三公」，位極人臣。甚受曹丕嘉許，稱三人為「一代之偉人」。當時鍾繇膝蓋有疾，華歆亦年長多病，特別被允許朝見時坐車，由虎責衛士抬上殿就坐，開了後世三公患病時受到特別優待的先例。
各體兼擅楷書鼻祖
在中國書法史上，三國時期是漢字演變承前啟後的重要時期。鍾繇既是政治家，也是當時著名的書法家，書法造詣深厚，各體兼擅，自成一家，尤以小楷為最。因酷愛書法，和一樣喜愛書法的丞相曹操關係極佳，經常與之討論書藝。據說楷書就是由他最先衍化出來的，後世尊稱「楷書鼻祖」。
唐代張彦遠《法書要錄•筆法傳授人名》有言：「蔡邕受於神人，而傳與崔瑷及女文姬，文姬傳之鍾繇，鍾繇傳之衛夫人，衛夫人傳之王義之，王義之傳之王獻之。」其書體稱「鍾體」，又和徒孫王羲之並稱「鍾王」。https://www.secretchina.com/news/b5/2024/05/25/1055035.html ↩︎
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