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Among the important items at The Precious Collection of the Stone Moat special exhibition catalogued by the Palace Museum, the Paper Scroll of Lanting Xu（Preface to the Poems Collected from the Orchid Pilion） by Feng Chengsu in the Tang Dynasty （618-907） has drawn particular attention.
In the spring of 353, the ninth year of Yonghe, Wang Xizhi, dubbed the ‘Sage of Calligraphy’, wrote Lanting Xu during an enlightened gathering of his friends at the Orchid Pilion near Shaoxing. Composed of 324 Chinese characters in 28 lines, Lanting Xu expressed the author’s melancholy caused by the uncertainty of living and dying, through his depiction of the beautiful landscape around the Orchid Pilion and the pleasure of being in the gathering. It has been celebrated by generations of calligraphers as a masterwork.
Emperor Taizong of Tang was one of those obsessed with Lanting Xu. Acclaimed by the emperor, Lanting Xu attained the utmost calligraphic excellence, thus reputed as the "the world’s No. 1 semi-cursive script." Unfortunately, the original version was said to he been buried, and it never became public. Feng Chengsu’s version of Lanting Xu is traditionally regarded as the most precious duplicate version. Hing been stamped with a seal, with the words "Divine Dragon" of Emperor Zhongzong of the Tang Dynasty, this version was honored as the Shenlongben （神龙本）, or"Divine Dragon Version."
The Divine Dragon version was believed to he been created by Feng Chengsu, who traced impressions of inscriptions in the Tang Dynasty’s Taizong era. He served Taizong with his calligraphic talent when he was young. Although he was obscure in his lifetime, he became famous after Guo Tianxi, a collector in the Yuan Dynasty, speculated that he might be the calligrapher of the Divine Dragon version. However, such speculation appears baseless. Besides, the engred seal of "Divine Dragon" itself is questionable, though the version was composed during the Tang Dynasty. Compared with other inscriptions, the Divine Dragon version was copied so exquisitely that it was strikingly close to the original. This is the viewpoint of most present-day calligraphers and historians. The Divine Dragon version best reflects the original features of Wang Xizhi’s authentic work. As the famous Chinese calligrapher Qi Gong observed, “Judging from its exquisite strokes, the Divine Dragon version may not be far away from the original work.”
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