Provenance

Bai Jiao (1907-1969) stands out as a seminal figure in modern Chinese history, renowned for his commitment to "Tie Xue" (the study of calligraphic models), with a particular reverence for the methodologies originated from "Two Wangs" (Wang Xizhi, 303-361, and Wang Xianzhi, 344-386). In the wake of national decline since the late Qing Dynasty, a wave of patriots and visionaries began to scrutinize the country's ailments from every conceivable angle. The "Epitaph School," led by Kang Youwei (1858-1927) and Liang Qichao (1873-1929), argued that the erosion of traditional Tang dynasty calligraphy by the bureaucratic styles of the Ming and Qing Dynasties had sapped them of their vitality, pushing them to the brink of obsolescence. In response, they sought to redefine the boundaries of tradition, turning to the raw and unbridled calligraphic styles of the earlier Northern Wei Dynasty. Their goal was to infuse paper-based calligraphy with the dynamic spirit of stele inscriptions and the freedom of unstructured character formation, aiming to invigorate national consciousness and overhaul outdated systems. With hindsight, such endeavors might elicit skepticism for their perceived naivety in believing that mere stylistic shifts in calligraphy could galvanize a collective spirit of resistance. Yet, these efforts were marked by a deep-seated earnestness, captivating and inspiring a significant cohort of enthusiasts committed to the study of stele inscriptions.

Bai Jiao, a literatus imbued with deep-seated passion, penned a series of incisive critiques such as "A Review of the History of the Xinhai Revolution.” He was acutely aware of the reasons behind the "Epitaph School's" rise to prominence. Yet, he also recognized the futility of single-handedly challenging the prevailing currents of his time. His response was to steadfastly uphold his artistic convictions while striving for continual refinement. As stele studies evolved, particularly after the restoration of China's national strength, they inadvertently fostered a tendency towards crudeness—a relentless pursuit of eccentric character forms and carving techniques at the expense of fundamental calligraphic beauty and the tactile experience of the brush. This shift became a point of contention for many.

Undeterred by the prevailing trends of his era, Bai Jiao's allegiance to the disciplined study and practice inspired by the "Two Wangs," along with his commitment to the core principles of brush usage and the aesthetic virtues of "Tie Xue," ultimately garnered him a devoted following. As society stabilized and the people's confidence in Chinese culture was renewed, Bai Jiao's legacy attracted a multitude of faithful adherents and scholars eager to study and emulate his work, underscoring his enduring influence on the landscape of Chinese calligraphy.

白蕉（1907-1969）是民国近代以来以“二王”为宗，倡导“帖学”最重要的实践者之一。清末以来，国力凋敝，具有爱国情怀的仁人志士从各个角度反省国家之弊病。以康有为、梁启超为首的“尊碑派”认为传统的唐楷、帖学在明清馆阁体的不断侵蚀下已经行将就木，毫无生命力，所以他们试图与传统划清界限，追寻更早期如北魏原始狂放的书法态度，力图将碑刻的刀笔气息及无固定模式的结字融入到纸本书法作品中，希冀以此唤醒民族自觉并革新旧制。现在回望，我们或许会对此等尝试哑然失笑。清廷的积弱难返是多方面的，写字如此表象的改变与界限的划清如何可以影响国民的奋斗精神？但是此番尝试不可谓不用心良苦，感染并影响了相当一大批志气相投的人鑽研碑学。

作为曾着《辛亥革命史的回顾》、《殖遍问题之检讨》等一系列针砭时弊的文章的有情怀的文人，彼时白蕉如何不理解“尊碑”之所以风行的原因，奈何个人如何能与时势相抗衡。他唯一能做的，就是坚持自己的艺术观点并不断地精进。碑学的发展也在中国国力恢复后产生了“质胜文则野”的现象，一味追求字形的乖张与刀法用笔反而丧失了基本的书法审美与毛笔的使用体验，这让另一拨人痛心疾首的情况则又是其他话题了。白蕉的书法，在碑学风头正健的时候没有随波逐流，严格尊崇了“二王”为宗的学习及练习方法，贯彻中锋用笔以及“帖学”审美的基本法则，终于在社会状况稳定以及人民内心对中国文化不再自我怀疑后，为他带来了一大批忠实拥趸以及研究并学习他的人。

释文：未必百年无日月，长将孤抱看山河。
款字：白蕉
钤印：“江左白蕉之印”