A Comparative Study of Brushwork: Emperor Huizong’s Slender Gold Style in the ‘Thousand Character Classic’ versus Chu Suiliang’s ‘Large Character Yin Fu Jing’

Abstract

lthough Emperor Huizong’s Slender Gold Style and Chu Suiliang’s ‘Yin Fu Jing’ share a same aesthetics of forceful and leanness, they exhibit significant differences in brushwork expression. This study, through comparative analysis and the methods of formal analysis, focuses on the three core stages of stroke execution - stroke onset, mid-stroke movement, and closure - to explore differences in brushwork expression and their underlying aesthetic orientations. In the onset stage, the Slender Gold Style is characterized by a formulaic slanted-tip cutting entry, emphasizing uniformity. In contrast, Chu’s script employs a diverse repertoire of techniques, including exposedtip, hidden-tip, and connecting-tip onsets, displaying rich variation. During the mid-stroke stage, the square, sharp turns of the Slender Gold Style contrast greatly to the rounded, lively turns of Chu’s script. In the closure stage, the Slender Gold Style’s ‘willow-leaf press’ and sharp hooks are highly decorative, whereas Chu’s script shows an organic, natural closure. Ultimately, these distinct brushwork techniques reflect profund differences in artistic pursuits: the Slender Gold Style, with its formulation and visual impact, epitomizes the Song Dynasty’s ideal of ‘prioritizing personal expression’ (Shangyi); Chu’s script, through its emphasis on spontaneous generation and coherent vitality (Qiyun), embodies a perfect fusion of disciplined structure and dynamic spirit of Tang Dynasty regular script.