Jami' al-tawarikh
The lavish illustrations and calligraphy required the efforts of hundreds of scribes and artists, with the intent that two new copies (one in Persian, and one in Arabic) would be created each year and distributed to schools and cities around the Ilkhanate, in the Middle East, Central Asia, Anatolia, and the Indian subcontinent. Approximately 20 illustrated copies were made of the work during Rashid al-Din's lifetime, but only a few portions remain, and the complete text has not survived. The oldest known copy is an Arabic version, of which half has been lost, but one set of pages is currently in the Khalili Collection, comprising 59 folios from the second volume of the work. Another set of pages, with 151 folios from the same volume, is owned by the Edinburgh University Library. Two Persian copies from the first generation of manuscripts survive in the Topkapı Palace Library in Istanbul. The early illustrated manuscripts together represent "one of the most important surviving examples of Ilkhanid art in any medium", and are the largest surviving body of early examples of the Persian miniature.
Wang Xizhi
In addition to the esteem in which he is held in China, he has been and remains influential in Japanese calligraphy.
Born in Linyi, Shandong, Wang spent most of his life in present-day Shaoxing, Zhejiang and Wenzhou. He learned the art of calligraphy from Lady Wei Shuo. He excelled in every script but particularly in semi-cursive script. His representative works include, in chronological order, "Narration on Yue Yi " (), "The Yellow Court Classic" (), "Commentaries on the Portrait of Dongfang Shuo" (), "Admonitions to the Emperor from the Imperial Mentor" (), "Preface to the Collection of Poems Composed at the Orchid Pavilion" (, also commonly known as "Lanting Xu" ), and "The Statement of Pledge "《告誓文》. Unfortunately, none of his original works remains today.