Lin Sanzhi Memorial Hall

Lin Sanzhi Memorial Hall

The Nanjing Lin Sanzhi Memorial Hall is located on Qiuyu Mountain, a scenic hill to the north of Jiangpu County in Nanjing. The mountain is covered with evergreen bamboo, symbolizing Lin Sanzhi’s character—his noble aspirations, tranquil mindset, and unyielding spirit in the face of hardship. Built in January 1988, the over 12,000-square-meter memorial hall lies serenely within the lush green bamboo forest. Its simple and elegant design offers visitors a refreshing sense of purity and tranquility.

Lin Sanzhi is regarded as the “Sage of Cursive Script” of contemporary times. Upon entering the hall, you are greeted by an expanse of verdant ink pools, seemingly emanating the faint fragrance of ink that evokes deep reflection. Turning right, you’ll find a stele corridor stretching over 100 meters, featuring calligraphy works by Lin Sanzhi engraved on black granite slabs. His regular script, clerical script, running script, and especially his cursive script captivate the eye—even those unfamiliar with calligraphy can appreciate the bold strength and flowing grace of his brushwork. The Sage of Cursive Script’s dynamic and unrestrained cursive style stands unparalleled today, earning praise from the renowned Japanese calligrapher Seiryu Aoyama, who declared, “The true legacy of cursive script lives on in this master.”

Winding paths lead through fragrant blooms to the “San zhi Shan Fang” (Sanzhi Mountain House), the main exhibition hall, where over 400 of Lin Sanzhi’s finest calligraphy and painting works are displayed. The largest calligraphy piece is a self-composed poem written on a full-sized 12-foot sheet of rice paper, while the longest is a handscroll stretching over 7 meters. The most astonishing piece is the “Jiangpu Spring Repair Painting,” depicting locals in Jiangpu County engaged in water conservancy projects. Measuring 237.5 cm in length and 33 cm in width, the painting features 635 people, 30 oxen, more than 40 donkeys, 53 houses, 27 wooden boats, and 2 steamships—all rendered in vivid, lifelike detail that seems to leap off the page with vitality. It’s no wonder Zhao Puchu once praised Lin Sanzhi as a master of poetry, calligraphy, and painting—a true “triple threat.” But hearing about it pales in comparison to seeing it in person.

From the “San zhi Shan Fang,” perched halfway up the mountain, visitors can also admire other uniquely charming structures such as the Baima Pavilion, Lianli Pavilion, and Aiyu Pavilion. With their upturned eaves, pointed corners, and grey-tiled roofs, these pavilions blend seamlessly with the main building. Set against a backdrop of flowers and trees, they resemble the diverse styles of Lin Sanzhi’s paintings—some solemn, others light and airy, some ethereal and hazy—each radiating a dynamic charm that stirs the imagination. Visiting during holidays to breathe in the fragrance of ink, admire the artworks, and take in the mountain scenery is a truly enriching experience for the soul.

The Lin Sanzhi Memorial Hall boasts a beautiful environment and a rich collection of art, attracting tens of thousands of overseas visitors each year. It has become an important channel for promoting traditional culture and advancing the art of calligraphy, as well as a key venue for artists and calligraphers from around the world to exchange ideas and refine their skills. Furthermore, it serves as an important window showcasing the economic development and openness of Jiangpu, Nanjing, and even the entire Jiangsu Province.

Lin Sanzhi (1898–1989), originally from Hexian County, was born with the name Yilin and the courtesy name Pengsheng. He later adopted the self-given name Linsanchi, but his teacher Zhang Li’an found the name unsophisticated and changed it to Linsanzi. At the age of five, he began schooling and showed a strong interest in drawing and writing. By eight, he had started learning art. When he was 14, his father passed away, and he began studying painting under Zhang Qingfu. At 16, he learned calligraphy from fellow villager Fan Peikai, marking the beginning of his artistic journey. Two years later, he returned to Wujiang, first studying poetry and literature under Fan Liutang, and at 20, he studied classical poetry and prose under Zhang Li’an. He subsequently worked as a village tutor.

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