The Letter of Loss and Confusion 王羲之《丧乱帖》

Lanting Xu, the famous work by Wang Xizhi (303-361), is reputed to be the best Xingshu (walking script) in the Chinese calligraphy history. As a whole, the brushwork of it is exquisite with thick strokes being robust but not awkward, while narrow strokes are delicate but not weak. The calligraphy was completed in a rhyme with the proper use of force of the brush, light or heavy, fast or slow. Its strong and clear-cut lines and round and mellow forms present us with a fresh, clear, exquisite and closely linked work of art.

However, some calligraphy critics feel that Lanting Xu is not Wang’s best work and instead, prefer the Sangluan Tie (The Letter of Loss and Confusion).

Original works of Wang Xizhi's calligrahy are rarely seen today and most, if not all of the works we see now are rubbed copies of his works by others. It is believed that both Lanting Xu and Sangluan Tie we see today are copy works of later calligraphers. It is not deniable that later calligraphers had done a great job in making the copy works look like the original works. However, in terms of reflecting the original and spiritual mood of the calligrapher, it is pointed out that the copy work of Sang Luan Tie had captured the spirit of Wang’s writing better than that of Lanting Xu.

The text of the calligraphy says, ‘Xizhi kowtows; I am lost and confusing to extremity. The ancestry tombs came apart again! The torment poisoned and pressed me quite brutally. I cried and wailed in despair. The pain has gone through to my heart and my liver. What can I do? Although the tombs are being repaired right now, I cannot go see to the work done. Oh the sorrow, like poison, is running deep each and every moment. What can I do? How can I be? Having come to the paper, I am at a loss of what more to put down. Xizhi kowtows ... kowtows.’

Wang lived in the Wei-Jin period which was a time of turbulence and changes. The Wang family had to flee from the north to the south. It is quite obvious that this letter was written at a time when he felt he was so confused and helpless on knowing that the ancestral tombs in the north were damaged and destroyed. The anger and frustration was displayed thoroughly by words full of hopelessness and grief, and the non-conventional, bold and wild strokes.

The emotion was strong and calligraphic strokes were non-conventional in displaying that emotion – these are the conditions and elements that make Sangluan Tie a great masterpiece.

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王羲之（303-361）的著名的《兰亭序》在中国书法史上被认为是最好的行书作品。整体来说，它的笔法绝妙，笔画键实而不笨拙，细致而不软弱。整幅作品节奏完美，表现于用力得体，有轻有重，有快有慢的线条。它的强健而清晰的笔画及圆而熟的形式所带来的是一幅清鲜、晴朗与绝妙的紧凑的作品。

但是，有些书法评论者却觉得《兰亭序》并不是王羲之最好的作品，而偏爱《丧乱帖》。

现在很难看到王羲之的正品。如果不是全部，可说大多数是后来书法家的临摹作品。据说《兰亭序》与《丧乱帖》都是膺品。无可否认，后代书法家在临摹时，下了苦功，形态极像原作。可是，就表现书法家原本与精神而言，有人认为在反映王羲之书写精神方面，《丧乱帖》比《兰亭序》好。

王羲之《丧乱帖》全文如下：“羲之顿首：丧乱之极，先墓再离荼毒，追惟酷甚，号慕摧绝，痛贯心肝，痛当奈何奈何！虽即修复，未获奔驰，哀毒益深，奈何奈何！临纸感哽，不知何言！羲之顿首顿首。”

王羲之生活的魏晋时期，局势动荡不安与变动连连。王羲之的家族要从北逃离到南方。明显的，这封信是他在知道祖坟在北方遭受到破坏与损坏之后，感到混乱与无助而写的。无助与悲痛的语言，非传统、强烈与无束的笔画，通篇表达愤怒与挫折之情。

强烈的感情，以非传统的书法笔画来表达情感 – 这些都是使《丧乱帖》成为名帖的条件与因素。