🌿 Folk Prescriptions

In traditional Chinese medicine apprenticeship, there were four guiding principles: “Fine handwriting, mastery of double flute, accurate pulse-taking, and proper seasonal attire.” Fine handwriting ranked first—a cherished tradition among physicians. Renowned physicians always valued neat prescription writing and pursued excellence in calligraphy. He Hongfang (1821–1889), a famed physician across southern and northern China, was also a master of calligraphy. He personally wrote every prescription, refusing to delegate to students—an exception compared to some physicians who verbally dictated ingredients for students to copy. His calligraphy was exquisite; contemporaries treasured his prescriptions as precious artifacts. Japanese visitors to Shanghai even collected his prescriptions, paying up to ten silver dollars per sheet—minimum four to five. At the time, Qi Baishi’s painting fee was only two yuan. Poet Cheng Menxue once wrote a poem praising He’s work: “Each scribbled note reveals genuine simplicity; hand-written prescriptions, each a personal touch. Not only revered in medicine, but his calligraphy alone deserves transmission.” This lauded He not only as a master in medicine but also as a calligrapher worthy of legacy.
Throughout history, many famous physicians were also celebrated calligraphers. The Eastern Jin physician Ge Hong, as a youth, studied diligently despite poverty: “He personally cut firewood to trade for paper and brushes, and spent nights copying and reciting books.” His large characters “Tiantai Zhi Guan” inscribed on a cliff at Tiantai Mountain were hailed by the great calligrapher Mi Fu as “the crown of large characters, unmatched throughout history.”
Northern and Southern Dynasties physician Tao Hongjing, also born into poverty, “used reeds as brushes and practiced writing in ash.” His inscription *Yi He Ming* on the Jiaoshan cliff in Zhenjiang displays majestic and graceful strokes—so much so that the great calligrapher Huang Tingjian mistakenly attributed it to the Sage Wang Xizhi.
Tang Dynasty’s Sun Simiao was also a master calligrapher. His works are included in *Xingzhe Mige Xu Tie*, a collection of imperial calligraphy from the Southern Song Dynasty.
Fu Qingzhu (1607–1684) was honored as “the greatest calligrapher of the early Qing Dynasty,” indicating his immense influence. Shop signs in Taiyuan often proudly displayed his handwriting. His inscription “Jinyuan Zhi Bai, Chapter One” for the Qini Temple’s “Ancient Cypress of Jin Source” features powerful, majestic style—ranked one of the Three Wonders of the Qini Temple landscape. At age 20, Fu Qingzhu obtained a scroll by Zhao Mengfu, initially admiring its smooth flow. But later he realized that artistic quality reflects character: Zhao Mengfu, having changed allegiance from Song to Yuan, had a corrupted heart, hence his brushwork became overly slick. In contrast, Yan Zhenqing remained loyal and resolute, so his calligraphy became robust and solemn. From then on, Fu Qingzhu abandoned Zhao and exclusively studied Yan’s style—truly embodying “the calligraphy reflects the man.” Fu Qingzhu said: “Calligraphy has no tricks—only honesty and simplicity. When simplicity reaches its peak, extraordinary skill emerges. True mastery appears as effortless simplicity.” His aesthetic theory was “Four Prefer, Four Avoid”: Prefer simplicity over cleverness; prefer ugliness over prettiness; prefer ruggedness over superficial smoothness; prefer naturalness over artificiality. This theory still influences the calligraphy world today. His cursive script appears ethereal yet inwardly resolute. His regular script is most refined, profoundly ancient and plain. Today, the Stele Forest Park along the Fen River in Taiyuan houses numerous works by Fu Qingzhu.
Modern famous physicians who excelled in calligraphy are like stars shining brightly across the medical landscape—examples include Fan Wenfu, Xie Lihuan, Ding Ganren, Yun Tieqiao, Wang Zhongqi, Xiao Longyou, Shi Jinmo, Gu Xiaoyan, Xu Xiaopu, Qin Bowei, Cheng Menxue, Yan Cangshan, Chen Daolong, etc. Their prescription sheets are collected and treasured as calligraphy masterpieces.
Zhejiang physician Fan Wenfu earned the reputation of “three masteries in poetry, calligraphy, and medicine.” He roamed the scholarly circles with poetry and calligraphy. He spent his life copying Wang Xizhi, practicing tirelessly regardless of seasons. His writing flows like dragons and snakes, bold and powerful, with unique style. Business signs in Ningbo vied to display his calligraphy.
One of Beijing’s Four Famous Physicians, Xiao Longyou, excelled in poetry, painting, and calligraphy, using art to cultivate his spirit. His calligraphy encompassed all styles—regular, clerical, running, and cursive—masterfully executed. Both inside and outside Beijing, “his medical prescriptions were regarded as treasures.” Before liberation, collectors offered high prices to purchase his original prescriptions, framing them as artworks. Today, the Kong Mansion in Qufu still displays several of his couplets.
Gu Xiaoyan, one of Shanghai’s Ten Famous Physicians, once said: “Handwriting is the face of a prescription—a reflection of a physician’s cultural foundation and intellectual depth. Many patients judge a doctor’s competence by examining the prescription first. Poor handwriting may affect business, but worse, illegible writing risks pharmacists misreading and causing fatal errors. All apprentices must first learn calligraphy. Each morning, they practice writing, and only after the master approves their work may they study medicine. This has become standard. After about a year, when their large script is solid enough, they may begin learning running script. He himself favored *Zheng Zuowei* by Yan Zhenqing, whose style strongly resembles Yan’s. He maintained close friendships with renowned artists like Zhang Daqian, Wu Hufan, and Huang Binhong, exchanging calligraphy regularly. Wu Hufan praised him: “His prescription handwriting carries the grandeur of a general of Yan Zhenqing’s school.”
Xu Xiaopu possessed profound calligraphy skills, drawing inspiration from Su Dongpo and Huang Tingjian. His brushwork is forceful and majestic, exuding the aura of a master.
Cheng Menxue was multitalented, famed for his “three masteries” in poetry, calligraphy, and painting. He once said: “My poetry comes first, calligraphy second, medicine last.” Additionally, he excelled in seal carving—his knife work and layout were “on par with experts” (as noted by He Shi Xi).
Qin Bowei studied Zhao Zhiqian’s style. His tiny regular script is smooth and balanced; his clerical script is well-grounded. An early couplet he wrote still hangs in the main hall of Shanghai’s City God Temple.
Yan Cangshan received early training at home, practicing calligraphy daily as a routine. He particularly admired *Sun Guoting’s Shupu*, mastering its essence. His calligraphy blends grace with depth, elegance with strength—refined and expressive. In the 1960s, a hospital needed a headline for a bulletin board but struggled to write the three characters “Blackboard Report.” Yan Cangshan walked by, picked up a brush, and wrote them instantly—round, full, and beautiful—earning universal praise. The renowned painter Ding Bin was present and exclaimed: “Few today can match this.”
In 1945, Shanghai physician Chen Cunren, inspired by *Zhu Zi Jia Xun*, composed the “Medical Maxims,” praised for its elegant language and wisdom. Medical practitioners across Shanghai admired it and requested Chen to write it. Chen was not skilled in regular script, so his mentor, Xie Liheng (editor-in-chief of *Chinese Medical Encyclopedia*), whose calligraphy was outstanding and highly respected, was commissioned. Chen advertised in *Chinese Medicine Monthly* that Xie would write the maxims for a fee. Over 670 requests poured in from across the country. Xie spent five months completing all commissions.
Chen Daolong of Shanghai practiced calligraphy from childhood, never ceasing until old age. Early on, he copied Zhao Mengfu, later imitating Mi Fu and Wang Xizhi. In his later years, he studied Wen Zhengming, synthesizing diverse styles into a unique identity—bold yet graceful, firm yet gentle. People say his prescriptions are themselves excellent models for calligraphy practice. When the great calligrapher Shen Yinmo first saw his handwriting, he exclaimed: “I didn’t expect my junior cousin in medicine could produce such remarkable calligraphy.” He enjoyed deep friendships with renowned artists like Liu HaiSu, Wu Hufan, Xie Zhiliu, and Cheng Shifa, often discussing art together.
The above examples are merely a glimpse. Undoubtedly, many more famous physicians’ calligraphy remains unrecorded. If compiled into a book titled *Master Prescriptions and Calligraphy Treasures of Modern Famous Physicians*, it would surely be a valuable volume combining medical excellence and calligraphic artistry. May someone undertake this endeavor.