Zeng Xi (1861-1930) and Li Rui-Qing (1867-1920), calligraphers of late Qing dynasty, have not been household names for average museum visitors. Their mutual student, Chang Dai-Chien (1899-1983), however, has been one of the most popular Chinese artists. The National Museum of History have organized several exhibitions about Chang Dai-Chien, and this year we present this exhibition to celebrate his teachers, to bring visitors into the worlds of their painting and calligraphy, and to recreate an age that stood between the new and the old and to recall a history long neglected.

　　The late 19th century and early 20th century witnessed an all-round revolution in politics, culture, arts, and education within China. As the last officials in the Qing court, Zeng and Li found their financial support destroyed by the 1911 revolution. With nothing but their own intellectual identity and cultural foundation, they went to Shanghai and made a living by teaching and selling painting and calligraphy. In the fields of culture and art, the Qing dynasty saw a revival of epigraphy and evidential studies and a consequent change of aesthetic views on calligraphy, which preferred the vigorous style of stele inscriptions to the exquisite taste of model-letter handwriting. Reflecting on this development, Zeng and Li suggested that one should strike a balance between these two calligraphic systems. They proposed that one should begin the study of calligraphy with Chinese bronze inscriptions, and maintained that one can start to emulate handwriting only after the mastery on stone inscriptions. In terms of education, the ancient civil examination system was replaced by the new forms of education; both Zeng and Li were pioneers in this aspect and trained many students who wielded great influences on modern Chinese calligraphy.

　　Both Zeng and Li were important calligraphers in late Qing dynasty and their influences on the art of Chang Dai-Chien are great and profound. To introduce their unbeknown achievements, the Museum puts together 77 pieces of their representative works, borrowed from public institutions and private collectors, and arranges them according to three themes: Cultivation: Stone Inscription versus Handwriting; Market: Selling Calligraphy with a Price; and Lineage: Zeng Xi, Li Rui-Qing, and Chang Dai-Chien. We believe the art of calligraphy records the changes in society and culture. We hope this exhibition will lead modern visitors back to that turbulent and changeful history.