Since 1982, Hua Rende (born 1947), a native of Wuxi, Jiangsu Province, has served as a research fellow at the Soochow University Library. However, his research interests and academic contributions are not in library studies, but rather in the history of Chinese calligraphy. He is particularly interested in stele inscriptions from the Han dynasty through the Six Dynasties period, as well as late Qing calligraphy influenced by stele inscriptions. As a calligrapher, he also excels in the “stele school” tradition.Qianshen Bai, “The Theoretical Value of Hua Rende’s Research in the History of Chinese Calligraphy”, in Hua Rende, Hua Rende shuxue wenji 華人德書學文集 (Beijing: Rongbaozhai chubanshe, 2008): 11.

In contrast to earlier “stele school” practitioners, such as Li Ruiqing 李瑞清 (1867–1920), who crafted undulating strokes to simulate the effect of stone engraving, or Kang Youwei康有為 (1858–1927), who emphasized strong brushwork, Hua Rende believes that the visual power of calligraphy is not necessarily generated from exaggerated brushwork.“Tanyun yu Hua Rende fangtanlu” 譚雲與華人德訪談錄, in Hua Rende shuxue wenji 華人德書學文集: 284. In fact, his consistent strokes with ample space between characters—without emphasis on any particular character—have a bookish quality, which represents an innovative approach to “stele school” calligraphy.

This eight-character couplet in the collection of the Seattle Art Museum was written in May, the year of jichou (己丑2009), when Hua was sixty-two years old. The text, which alludes to perseverance, is popular with many other calligraphers. The style of the calligraphy, however, is distinctive and cannot be easily traced to any particular model of the past. The characters are executed with fluid, angular strokes, emphasizing horizontals and flaring na strokes; their composition is square or rectangular, tight and compact. His calligraphy, individualized yet reflecting his extensive practice and research on the history of Chinese calligraphy, is animated, possessing a sense of inner power.

Hua Rende's interest in calligraphy dates back to his childhood. Following tradition, he began by copying and learning from the works of the ancient masters, including Yan Zhenqing 顏真卿 (709–785), Liu Gongquan柳公權 (778–865) and Zhao Mengfu趙孟頫 (1254–1332). Thus, even when he was young, his calligraphy was elegant. In college, however, Hua began to focus on works by anonymous masters of the Qin, Han and Six Dynasties. In addition, he had the opportunity to study firsthand nearly all the important rubbings in the Peking University Library, an experience that strengthened his resolve to study the “stele school” tradition. To Hua, the structures and strokes of Han and Six Dynasties calligraphy, as opposed to being stylized, are simple, direct and natural. In his opinion, Han clerical script is superior to the tradition of Zhong You 鍾繇 (151–230) and Wang Xizhi王羲之 (321–379).Hua Rende, “Wo de shufa chuangzuo he xueshu yanjiu tujing” 我的書法創作和學術研究途徑, in Sun Xiaoyun, Xue Longchun ed., Qingxun qiben: gudai shufa chuangzuo yanjiu guoji xueshu taolunhui lunwenji請循其本：古代書法創作研究國際學術討論會論文集 (Nanjing: Nanjing daxue chubanshe, 2010): 29-34. Through rigorous study of such famous steles as Ode to Shimen (Shimen song石門頌), Epitaph for Zhang Qian (Zhang Qian bei張遷碑), Stele for Guangwu General (Guangwu jiangjun bei廣武將軍碑), and other epitaphs and bamboo and wood slips,Hua Rende, “Kuaizhibei er meiqinzi” 快炙背而美芹子, in Hua Rende shuxue wenji 華人德書學文集, : 288-289. he gradually combined the structure of characters in Wei’s stele inscriptions and the brushwork of Han clerical script to create his own distinctive style. This couplet is a fine example of his calligraphy.

© 2013 by the Seattle Art Museum