Wang Wenzhi (1730–1802), a renowned Qing dynasty literatus and official, was celebrated for his calligraphy. Together with the grand minister Liu Yong (1720–1805), he was remembered as “the Prime Minister in Dark Ink and the Top Scholar in Light Ink.” While Liu’s brushwork was heavy and forceful, Wang’s was praised for its clarity and elegance. The title “Top Scholar” (tanhua), the third place in the imperial civil examinations, stood below the zhuangyuan (first) and bangyan (second) but still represented a great honor. The epithet suggests that Wang’s style lacked Liu’s imposing vigor but triumphed through its own refined grace and luminous delicacy.

In his career, Wang Wenzhi served successively as Surveillance Commissioner of Jiangsu, Financial Commissioner of Henan, and eventually rose to Minister of War and Governor-General of Liangjiang. He was admired for his integrity, modesty, and warm temperament. Though not known for bold or forceful decisions, he governed with fairness and won respect through humility, bridging the world of letters and politics with poise.

This work reflects the literati practice of “Pan paints, Wang inscribes.” Wang often added poetic inscriptions to the landscapes of his friend Pan Gongshou (1741–1794), known as Lianchao. Their collaboration exemplified the dialogue between painting and calligraphy, art and friendship. Here Wang’s brush moves with supple elegance: running script supported by the bones of regular script, upright yet fluid, rigorous in structure yet alive with rhythm. His slender, tensile lines embody the cultivated grace of the Jiangnan literati.

In Wang Wenzhi’s hand, poetry, painting, and Shufa converge. His calligraphy not only demonstrates refined taste but also mirrors his upright character and scholarly cultivation. This exhibition invites viewers to see in his strokes that Shufa is never merely a visual form, but an outward expression of moral character and inner spirit.

王文治（1730–1802）为清代著名文士与官员，以书法名世。与当朝宰相刘墉（1720–1805）并称「浓墨宰相，淡墨探花」。刘墉以笔力浓重劲健著称，王则以清雅秀润见长。「探花」在科举殿试中虽居第三，位次不及状元、榜眼，却仍为登科之荣。此称既映照出王文治书风在气势上略逊刘墉之雄浑，亦点明其自成一家，以俊逸雋秀取胜。

仕途上，王文治历任江苏按察使、河南布政使，最终官至兵部尚书、两江总督，以清廉持己、性情温厚为世所称。他虽不以果敢决断见长，却能以谦和之德服人，善于调和文士与官场之间的张力，展现出高雅的人格魅力。

此作体现「潘画王题」之雅趣。王文治常为莲巢潘恭寿（1741–1794）的山水题诗作画，绘与书相映成趣，相得益彰，既为艺术互补，亦见交谊深情。此件作品用笔清润婉转，以行书寓楷法之骨，字字端正而不板滞，章法严整而富于流动。其线条纤丽中带劲，恰如江南文士的风神俊秀。

在王文治的笔下，诗、书、画相互渗透，不仅体现高雅的审美趣味，更折射人格的清直与文士的修养。本次展览亦希望观者能从这样的笔墨中体会：书法不仅是形式之美，更是人格与精神的外化。
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Inscription:

Layer upon layer, mist and rain veil endless hills;Each fishing weir, each bend in the bay appears.I still recall once passing by the Wuling stream,The whole family breakfasting within a bamboo fence.

Artist inscribed "My family moved to dwell above Mengxi, where the scenery resembles Wuling. Lianchao (Pan Gongshou, 1741-1794) painted this scene as a gift."With two seals of the artist, wen zhi si yin, wen zhang tai shou

釋文：萬重煙雨萬重山，一個漁梁一個灣。曾記武陵溪上過，全家朝食竹篱间。款識：余家遷於夢溪之上，景似武陵，蓮巢寫圖以贈。鈐印：文治私印、文章太守