Yu Yu Shan Cultural Celebrity Memorial Hall

Yu Yu Shan Cultural Celebrity Memorial Hall

Yu Yu Shan Cultural Celebrity Memorial Hall is a national AAA-level tourist attraction.

Yu Yu Shan Cultural Park

Yu Yu Shan Cultural Park is known as the "Lanting Pavilion of Northern China." As you can imagine, this was once a place where ancient people prayed for rain, truly a feng shui treasure. Today, it houses exhibition halls dedicated to the calligraphy and paintings of four internationally renowned contemporary master artists: Lin Sanzhi, Xiao Xian, Gao Ershi, and Hu Xiaoshi. Lin Sanzhi, originally named Lin Yilin, was born in...

1898 and passed away in 1989 at the age of 92. His ancestral home was in Qikesong Village, Wujiang, Anhui, but his family later relocated to Jiangjiaban Village, Wujiang, Jiangsu—both villages are not far from each other. Lin Sanzhi’s paternal uncle was exceptionally strong from childhood, joined the military at 18, earned numerous military merits, and was eventually appointed as General Jianwei, stationed in Datong, Shanxi. He built over 50 houses in his hometown, intending to retire there comfortably. However, due to his unyielding character, he was betrayed and died in office. Lin Sanzhi was born into such a declining noble family. Historically, Wujiang has long been a renowned place. Over two thousand years ago, Xiang Yu, the Hegemon-King of Western Chu, retreated to Wujiang. The pavilion chief of Wujiang prepared a small boat to help him cross the river, but Xiang Yu, feeling he had no face to return to his homeland, committed suicide, leaving behind the eternal scenic site "Wujiang Overlord Temple." The area also gave birth to many notable figures, including the great Tang Dynasty poet Zhang Ji, Song Dynasty ci poet Zhang Xiaoxiang, and the master calligrapher Zhang Jizhi.

The Lin Sanzhi Museum is a garden-style exhibition hall with typical Ming and Qing architectural styles. Upon entering the park gate, the first pavilion you see is called the “Shuyun Pavilion.” “Yun” means bamboo, and bundling bamboo symbolizes elegance. Inside the pavilion is the inscription of the Lin Sanzhi Calligraphy and Painting Memorial Hall. From the inscription, we learn that the museum was founded in 1988 and opened to the public in 1992. Lin Sanzhi himself donated 210 fine pieces of calligraphy and painting, along with two ancient inkstones: the Zhuang Chang Inkstone and the Lü Liuliang Insect-bitten Inkstone. Lü Liuliang was a righteous figure from the late Ming and early Qing dynasties and also the father of the female swordswoman Lü Siniang in wuxia novels. The inscription was composed by Yu Lu, the son-in-law of Li Keran, a master of modern Chinese landscape painting. On the left side of the path leading to the stele corridor is a pond with a stone tablet inscribed with the words “Mo Chi” (Ink Pond). Speaking of these two characters, we must mention Dai Zongbao, the former Party Secretary of Jiangpu, who, during his tenure, overcame opposition to build this park, leaving behind a precious cultural heritage for the people of Pukou. The stele corridor features 43 works. The first two are by Chinese and Japanese calligraphers respectively, while the remaining 41 are masterpieces of calligraphy by Elder Lin in different styles and periods. Let’s start with the piece written by Zhao Puchu, former President of the Buddhist Association of China. The inscription reads: “No need to peer at the back of the paper to recognize an immortal’s frame; before your eyes lies a sea of shimmering glaze. Wind and rain rustle as the brush falls in awe; spirits leap as flowers bloom. Solemn hues attain the three perfections; aged strokes reveal a dominant talent. For three years I’ve felt your diligent care—ashamed my mind remains yet unliberated from dust.” It’s clear that the first four lines praise Lin Sanzhi’s extraordinary skill in calligraphy, while the latter four say he excelled not only in calligraphy but also in poetry and painting. We all know Zhao Puchu was the head of the Buddhist Association, yet he admitted that after three years of correspondence, he felt his own state of mind wasn’t as transcendent as Lin’s—showing that beyond his artistic brilliance, Lin Sanzhi also possessed a noble spirit. You might find the writing on the second tablet a bit odd. Here, let me explain when and why Lin Sanzhi became famous. Before the 1970s, Lin Sanzhi was only locally known, not recognized nationally. In August 1972, to celebrate the restoration of diplomatic relations between China and Japan, People’s Magazine planned to publish a special edition—“Selected Modern Chinese Calligraphy Works”—and solicited outstanding calligraphy nationwide. At the magazine, a man named Tian Yuan, who had previously met Lin Sanzhi, asked the elder to submit a work. Thus, a cursive script scroll of Mao Zedong’s poem “Dawn Is Breaking in the East” was sent to Beijing. Later, Tian Yuan wrote a humorous poem: “There’s Lin Sanzhi of Wujiang, deaf and self-dubbed Half-Disabled, master of the three perfections—poetry, calligraphy, and painting. A pool returns him home. Qi Gong took off his hat thrice, Lifu rolled his eyes, Pu Lao showed respect, killing the Nos. 1, 2, and 3.” The poem describes: There’s an old man named Lin Sanzhi in

In 1988, it was established and opened to the public in 1992. Lin Sanzhi himself donated 210 fine pieces of calligraphy and paintings, as well as two ancient inkstones: the Zhuang Chang Inkstone and the Lü Liuliang Worm-eaten Inkstone. Lü Liuliang was a righteous man from the late Ming and early Qing dynasties — he is also the father of the female warrior Lü Siniang from wuxia novels. The inscribed stelae were composed by Yu Lu, son-in-law of Li Keran, a master of contemporary Chinese landscape painting. On the left side of the path leading to the stele corridor, there is a pool with a stele inscribed with the two characters “Mo Chi” (Ink Pond). Speaking of these two characters, we must mention Dai Zongbao, the former Party Secretary of Jiangpu, who, during his tenure, overcame strong opposition to build this garden, leaving behind a precious cultural legacy for the people of Pukou. The stele corridor houses a total of 43 works. The first two are respectively created by a Chinese and a Japanese calligrapher, while the following 41 are exemplary calligraphic works of Lin Sanzhi from different periods and in various styles. Let’s first take a look at the one written by Zhao Puchu, former Chairman of the Buddhist Association of China. The inscription reads: “No need to peer at the back of the paper to discern immortal remains, / Before the eyes lies a vast expanse of glimmering brilliance. / Wind and rain rustle, startling the brush to fall, / Spirited and vibrant, one watches the blossoms bloom. / Solemn hues and forms achieve the triple excellence, / In aged strokes one sees commanding talent. / For three years, I’ve felt your diligence in keeping them pristine, / Ashamed that my own mind remains unliberated from dust.” It’s not hard to see that the first four lines are Zhao Puchu’s praise for Lin Sanzhi’s extraordinary calligraphic skill, while the latter four suggest that not only was Lin’s calligraphy exceptional, but his poetry, calligraphy, and painting were all masterful. We all know Zhao Puchu was the former head of the Buddhist Association of China, yet he admitted that after three years of correspondence, he felt his own state of mind had not attained the same transcendence over worldly concerns as Lin Sanzhi’s — a testament to Lin’s lofty spiritual realm, beyond his extraordinary artistic skills. You might find the characters on the second stele a bit unusual. Here, I’d like to explain when and why Lin Sanzhi became famous. Before the 1970s, Lin Sanzhi was only somewhat known locally, but not widely recognized. In August 1972, to celebrate the restoration of diplomatic relations between China and Japan, the People’s Magazine planned to publish a special edition titled “Selection of Modern Chinese Calligraphy Works,” and sought outstanding calligraphy pieces nationwide. At the time, a man named Tian Yuan at the magazine, who had been acquainted with Lin Sanzhi earlier, asked the elder to contribute a piece. Thus, one of Lin Sanzhi’s cursive calligraphy scrolls featuring Mao Zedong’s poem “Dawn in the East” was sent to Beijing. Later, Tian Yuan wrote a satirical poem: “In Wu River lives Lin Sanzhi, deaf and nicknamed ‘Half-Disabled,’ / Master of the triple arts: poetry, calligraphy, and painting. / From an Ink Pond he returns, / Qi Gong doffed his hat thrice, / Li Fu rolled his eyes, / Pu Lao paid his respects, / Driving the No. 1, 2, and 3 of the Cultural Revolution Committee to envy.” The poem means: In Wu River lived an old man named Lin Sanzhi, who called himself “Half-Disabled” due to deafness, excelling in poetry, calligraphy, and painting. One winter, while bathing, he accidentally fell into boiling water and was later rescued at Gulou Hospital. Lin joked that the Queen Mother of the West wouldn’t take him, and carved a seal that read “Returned from Jade Lake.” In Beijing, after examining Lin’s calligraphy, Qi Gong studied it carefully, then pressed the work against the wall and bowed three times to it. Li Fu, upon seeing it, rolled his eyes, gave a thumbs-up, and said, “Now this is real calligraphy.” Zhao Puchu remarked, “Please send my regards to Elder Lin, and I hope to receive one of his works.” The “No. 1, 2, and 3” refer to the top leaders of the Cultural Revolution Committee. As a result, Lin Sanzhi’s work was featured on the front page of the special edition and sent to Japan, where it quickly caused a huge sensation. In 1984, a delegation of Japanese calligraphers, led by the highly reputed Japanese master Seiryu Aoyama, visited China and specifically requested to meet Lin Sanzhi. The Nanjing municipal government arranged for Lin to meet Seiryu Aoyama at the Yutang Hall in Mochou Lake. Throughout their conversation, Seiryu Aoyama consistently referred to himself as a junior learner. After their talk, they exchanged calligraphy as souvenirs, and Seiryu Aoyama wrote the seven characters: “The legacy of cursive script’s sage resides in this elder.” From then on, Lin Sanzhi’s title as the “Sage of Cursive Script” spread far and wide, both in China and abroad.

Further Reading:

· National Third-Class Museum of China