An exhibit in Sir John Ritblat Treasures of the British Library Gallery
8 September 2015 to 17 January 2016
This exhibit at the British Library consists of four cases of material to show the different media used for Chinese writing and the different forms of script. The cases show oracle bones, woodslips, silk manuscripts and paper books respectively.
Silk, which has been cultivated in China for over 5,000 years, was used as a writing material in the first millennium BC. Like wood, its use continued even after the invention of paper. Because it was expensive, it was used for special texts, such as the fragment of the Buddhist sutra shown here. While paper became the most common writing material, silk continued to be used in book production, for scroll ties, scroll wrappers, and book covers.
Silk has been used as a medium for writing from the first millennium BC in China, but it was largely replaced by paper from the first few centuries AD as paper was cheaper. However, silk continued to be used for some special and expensive texts: a second century book is described as written on white silk ruled with red columns and wrapped in blue silk with the title in red. The piece shown here is fragment of a Buddhist sutra and was originally part of a longer scroll, like the ones on paper.
Silk continued to be used in book production in China even after the invention of paper, most especially for the braids used to tie the scrolls. These scrolls would have been expensive to produce. The paper was probably made in Central China, dyed with a yellow dye called huangbo containing berberine, which has insecticidal and water-repellant properties. A professional scribe would have copied the text, Buddhist sacred texts or sutras. The person sponsoring the production often had a note added to the end giving the date and the recipient of the merit gained from replicating the words of the Buddha.
In addition to its practical use, writing in Chinese was considered as art with the most famous calligraphers valued more highly than other artists. This piece is a model or copy based on the cursive calligraphy of one such master, Wang Xizhi (303-361): none of his original work survives. Good copies were believed to capture the ‘spirit resonance’ of the master’s work and were highly valued in themselves. It is written on pink dyed paper.
Thanks to Gao Feichi for the Chinese translation.
The Chinese character used on the panels at the exhibit at the British Library is the character for silk 絹. It is taken from a medical manuscript from Dunhuang, probably dating to the 10th century. The British Library, Or.8210/S.76.