Li Hongzhang, Couplet in Regular Script

Dimension: calligraphy 170.5 x 40.5 cm; mounting 201.5 x 46 cm

Calligraphy: 存儼若思養浩然氣，視己成事讀未完書。 Translation: Reserving dignified thoughts to cultivate upright spirit, reviewing past deeds to continue reading books

Inscription: 光緒辛巳七月。 少荃李鴻章書。 Translation: Guangxu reign, in the year of xinsi [1881], July. Written and signed by Shaoquan [alternate name], Li Hongzhang.

Artist's Seal: 李鴻章印 The seal of Li Hongzhang, 大學士肅毅伯 First class Earl with the designation Suyi

Li Hongzhang (1823-1901, alternative names Zifu, 子黻; Shaoquan, 少荃; Jianfu, 漸甫; Yisou, 儀叟) was a native of Hefei, Anhui province. He passed the national exam and became a jinshi in 1838. Li Hongzhang successfully suppressed the Taiping Rebellion and was rewarded the rank of first class Earl with the designation Suyi, which is one of the seals on this calligraphy. While encountering intensive political and economic pressures from within China and from foreign countries during late Qing period, Li Hongzhang advocated developing and learning technology from Western countries, strengthening military forces by arming with modern weapons, and encouraging commercial development. Li Hongzhang tried to reform Qing governance, but he did not succeed in reforming the infrastructure of the Qing government. After China’s defeat in the Sino-Japanese war, Li Hongzhang was sent to Japan by the Qing court and there he signed the Treaty of Shimonoseki. He was not able to prevent the Qing court from declining further. Written with black ink on bright orange paper, this couplet creates a very compelling visual effect, even though the calligraphy is regular style script. The writing is very neat. Each character was written on a circle pattern, in which dragons are flying on clouds. These were possibly painted with silver pigment. The couplet, “Reserving dignified thoughts to cultivate upright spirit, reviewing past deeds to continue reading books,” indicates Li Hongzhang’s ambition and his way to achieve a goal. About the paper The paper used for writing this couplet may be identified as waxed paper (lajian 蠟箋). Waxed paper was first produced in the Tang dynasty. The technique used to produce waxed paper during the Qing period was a combination of powder paper (fenjian 粉箋) and waxed paper. The fibers of paper are uneven and have tiny gaps among them, which may influence the absorption of ink. So people will use powdery materials such as starch, along with some kind of glue, to brush them on the paper or mix them with paper pulp, and then leave it until dry so as to create a smoother surface. The craftsman also can put different colors with the powder to dye the paper. This is the basic process of making powder paper. In order to create a glossy effect, the papermaker will rub the paper gently with a round stone so that it can make the fibers and other filling materials spread evenly. This technique is called yaguang (玡光). Moreover, to achieve a better result, Chinese people started to apply wax on paper even after mixing powder and yaguang. The wax is brushed on the paper lightly to form a very thin surface. If the wax layer is too thick, the paper will not be able to be used for writing or painting because of the water resistance. Sometimes the papermaker applies the wax to both sides of paper, or they stick several pieces of paper together as a foundation. So the waxed paper is a kind of very strong and durable paper that can be preserved for a long time, paperworm free. Most often it is used for writing, rather than painting. Waxed paper became very popular among members of the court and the nobility during the Ming and Qing dynasties. The paper became more and more lavish and it often had elaborate decorations painted with silver and gold all over the paper. The paper’s colors usually are pink, bright blue, cream yellow and orange. The motifs include dragons flying on the clouds, flowers and birds, and auspicious plants and animals. The best quality paper was made by Suzhou Zhizao ju (蘇州織造局) during Qianlong reign and painted by court artists (figure). The style was developed by Jiang Tingxi and Zou Yigui. People usually wrote couplets on this kind of paper for celebrating festivals, for hanging on the palace’s wall. Because of the complicated process and technical skills needed to make waxed paper, it was a luxury product and the price was even higher than silk. The paper sample from Li Hongzhang’s calligraphy may not contain the high quality as the waxed paper made for imperial usage. But the elaborate decorations with dragons flying on the clouds, painted in silver, suggest the high social status of the artist. Reference Christies, “Three sheets of imperial coloured waxed paper,” http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5379789, opens in a new window (accessed May 11, 2011) Christies, “Two sheets of imperial coloured waxed paper,” http://www.mailchristies.com/lotfinder/LotDetailsPrintable.aspx?intObjectID=5379788, opens in a new window (accessed May 11, 2011). Hummel, Arthur W. ed. Eminent Chinese of the Ch’ing Period, 1644-1912. Taipei: Chenwen chuban she, 1972. Guo Wenlin, Zhang Xiaowei, and Zhang Xuguang, “Qinggong lajianzhi de yanjiu yu fuzhi 清宫蜡笺纸的研究与复制.” Palace Museum Journal, 6 (2006): 145-152. Pan Jixing. Zhongguo zaozhi jishu shigao 中國造紙技術史稿. Beijing: Wenwu chuban she, 1979. Xilin yinshe Auction Co. Ltd., “Li Hongzhang,” http://www.xlysauc.com/appreciate/zhongguoshuhua/2010cpyhjp1/2010-06-07/1182.html, opens in a new window (accessed May 11, 2011). Xilin yinshe Auction Co. Ltd., “Li Hongzhang,” http://www.xlysauc.com/results/2009nianchunpai/zhongguoshuhuagudaizuopinzhuanchang2009chun/2009-08-21/14412.html, opens in a new window (accessed May 11, 2011). Xilin yinshe Auction Co. Ltd., “Li Hongzhang,” http://www.xlysauc.com/results/2008nianqiupai/2008qiu001/2009-01-06/9367.html, opens in a new window (accessed May 11, 2011). Zhongguo zaozhi shihua 中國造紙史話. Taipei: Mingwen shuju, 1985. Zhou Ti ed. Zhongguo lidai shufa jianshang dacidian 中國歷代書法鑑賞大辭典. Beijing: Beijing yanshan chuban she, 1990.