A Forgery and the Pursuit of Authenticity in Southern Song China: The Case of “Epitaph for My Nursemaid”

In 1202, Epitaph for My Nursemaid, attributed to the Six Dynasties calligrapher Wang Xianzhi (344–388 CE) turned up in the mountains near his hometown, Shaoxing, Zhejiang. Dedicated to his nursemaid, the epitaph contains about 100 carved characters executed in running script. The elegant calligraphy bears a striking resemblance in style to Preface to the Orchid Pavilion by his father, Wang Xizhi (303-361CE). The “Two Wangs” enjoyed great admiration among Song Dynasty calligraphers, especially during the thirteenth century when the call to returning to the Classical tradition and antiquity was gaining momentum. The discovery of the epitaph stimulated excitement and debate between skeptics and supporters of its authenticity. Jiang Kui (1155-1221 CE), one of the most influential theorists of his time, fervently defended the authenticity of the epitaph. His assertion found many determined followers, including the prominent calligrapher Zhao Mengfu (1254-1322), Dong Qichang (1555-1636), and the powerful collector Emperor Qianlong (r. 1736-1795). Most scholars today, however, agree that the epitaph was a forgery. In this paper, I examine the format, contents, and calligraphic style of Epitaph for My Nursemaid, tracing its origins, uncovering the rationale behind its fabrication, and exploring how it was received by later calligraphers and collectors. I argue that, as a product of the thirteenth century, Epitaph for My Nursemaid was the result of a combination of some of the most significant characteristics of that time: the anxiety over securing canonic models of antiquity, the fascination with Preface to the Orchid Pavilion by Wang Xizhi, and the excessive regard for and trust in discoveries from the ground.