Wang Xizhi's cursive script is not an old-school Cao Zhang, but a new modern grass. What future generations affirm and admire is that he destroyed the ancient law, cut one, and turned the ancient into the present grass. Wang Xizhi's modern cursive script was produced in the process of sublating Zhang cursive script. Compared with Zhang Zhi's Cao Zhang, Wang Xizhi's Cao Zhang is smart, indulgent and fluent. Although the connection of Wang Xizhi's brushwork is mostly embodied in one word, what he presents is a spiritual connection, not a formal connection, that is, what Emperor Taizong said is "the shape is broken". In this way, the two seemingly incongruous ends of Cao Zhang's calligraphy style and the smooth and leisurely brushwork of modern cursive script have been integrated in Wang Xizhi's modern cursive script, giving it a new look.
Wang Xizhi's modern cursive script has reached the extreme in the changes of pen and structure. The pen is mainly square-folded, rigid, clean, simple and leisurely. Between a painting, the peaks and turns fluctuate; Within a little, I fell to the milli-awn "(the score of Tang Sun Guoting's book). The' shape' and' potential' of stippling are restrained, inclined, long or short, square or round, and almost undeveloped and natural.
Seventeen posts is the representative work of Wang Xizhi's cursive script. Seventeen posts is an emotional book. Footprint is not only a style, but also a form, which is the main carrier of literati calligraphy since Wei and Jin Dynasties. Yan Zhitui of Beiqi said:' It is really cursive, so we should pay attention to it. There is a saying in Jiangnan: "A thousand miles away is a thousand miles away." Ouyang Xiu, a writer in the Northern Song Dynasty, said:' I like to see the remains of pen and ink since Wei and Jin Dynasties, but I miss the lofty aspirations of my predecessors! The so-called law posts are all about questions in illness, mutual stay and communication, which are applied between family and friends, but only a few lines. Gaiqi was unintentional at first, but it was full of interest, dripping and swaying, gorgeous or ugly, all in various shapes, wearing curly letters, so that it was amazing at first sight, and it was memorable after reading it, so that future generations thought it was a spectacle and wanted to see him as a person! "(Postscript Collection of Ancient Books)" Seventeen Posts "is such a letter. The whole article is true, the structure goes with the flow, and changes randomly in the situation of sick books. Skill and talent, reason and sensibility blend together naturally.
Wang Xizhi's Calligraphy Style
Wang Xizhi's Preface to the Collection of Lanting is highly praised by calligraphers of all ages and is known as "the best running script in the world". Wang Jian is good at following the laws of Li, Cao, Kai and Xing, carefully studying the shape, imitating the shape with his heart, learning from others' strengths, preparing everything in one furnace, getting rid of the style of writing in Han and Wei Dynasties, and becoming a family of his own, which has far-reaching influence. His calligraphy is peaceful and natural, and his brushwork is euphemistic and subtle, graceful and graceful. The world often uses Cao Zhi's Ode to the Goddess of Luo: "If you are amazed, if you are graceful, if you are in Youlong, you will be glorious and autumn, and Hua Mao will be spring pine. It seems that if the moon is covered by light clouds, it will float like the wind flowing back to snow. " Praise the beauty of Wang Xizhi's calligraphy. Legend has it that Wang Xizhi practiced calligraphy hard when he was a child. After a long time, the pool water used to clean the brush turned black. Later generations commented: "Floating like a cloud, agile like a dragon", "Yue Long goes to heaven, the tiger lies in the phoenix pavilion" and "nature is natural, and abundant gods cover all generations". There are some idioms about Wang Xizhi, such as cleverness and quick marriage. The most obvious feature of Wang Xizhi's writing style is his exquisite brushwork and changeable structure.
Wang Xizhi's calligraphy has influenced bookstores from generation to generation. Ou Yangxun, Yu Shinan, Zhu Suiliang, Xue Qi, Yan Zhenqing and Liu Gongquan in the Tang Dynasty, Yang Ningshi in the Five Dynasties, Su Shi, Huang Tingjian, Mi Fei and Cai Xiang in the Song Dynasty, Zhao Mengfu in the Yuan Dynasty and Dong Qichang in the Ming Dynasty were all impressed by Wang Xizhi, so they enjoyed the reputation of "book saints". (Atlas data [9- 12])
Wang Xizhi's Historical Evaluation
Yu Yi: "I used to have ten pieces of paper. When I crossed the river, I got lost. I often sigh that the beautiful traces will never disappear. Suddenly, when I saw the first step to write back to my brother, I was radiant and returned to the old concept. "
Xiao Yan: "① Amethyst did not hesitate to escape less, but hesitated to escape less." "Wang Xizhi's calligraphy is full of vigor, such as the sky in Yue Long and the tiger lying in the phoenix, so it is treasured from generation to generation and always wants to practice calligraphy."
Emperor Taizong: "I am eager to be hunted by my men, but this man is nothing more than that, and the rest are just trivial matters." How can I talk? "
Yu Hu: The book says:' Looking for masterpieces, Zhong and Zhang Xin are peerless, and the rest are insufficient.' There is another cloud:' My book is better than a clock, Zhang Dang resists walking, and Cao Zhang is still a wild goose.
Sun: "And (Zhong You) is good at official script, and Boying (Zhang Zhi) is especially good at cursive script, which is both beautiful and easy."
Mi Fei: "Xie An's condolence post has ancient characters, which are superior to the two kings, so it is appropriate to criticize Zi Zun's post."
Extended content: a brief introduction to Wang Xizhi's life
Wang Xizhi (32 1 ~ 379, 303 ~ 36 1, 307 ~ 365) has few words. Langxie Linyi (now Shandong) people. Calligrapher of the Eastern Jin Dynasty, officer to right army general, civil servant, known as "Wang Youjun".
After resigning, he settled in Yinshan Huiji (now Shaoxing, Zhejiang). Calligraphy is good at truth, line, cursive script and official script, especially truth and running script. The word potential is vigorous and changeable, and it has the reputation of "Tianmen in Yue Long, the tiger lies in the phoenix pavilion", which has been highly praised by calligraphers in past dynasties and is known as "the sage of books". As a teenager, Wang Xizhi was famous for his diligence, wit and diligence.
Wang Xizhi was born in a bureaucratic family. Father Wang Kuang is the satrap of Huainan, uncle Wang Dao is Stuart, uncle Wang Dun is the secretariat of Yangzhou, and uncle Wang Cheng is the secretariat of Jingzhou. His father's generation were all famous calligraphers at that time, and their learning conditions were very good.
Wang Xizhi seldom spoke when he was a child, and no one could see the difference between him. But he loves learning, likes studying, is resourceful and scheming. He started studying in Linchi at the age of seven. By the time he reached 10, his handwriting was very good, and his uncles liked him very much.
1 1 year-old Wang Xizhi really wants to learn some theoretical works on calligraphy to guide himself. One day, he found a book called Bi Tan under his father Wang Kuang's pillow, all about writing methods. He was so happy that he was ecstatic when he learned that. Just when he was interested, his father found him and asked him, "Why did you steal the secret book under my pillow?" Wang Xizhi just looked at his father and giggled. Mother chimed in: "I'm afraid he's thinking about using a pen!" " "The father said," you are too young now. When you grow up, I will naturally teach you to read. "Wang Xizhi couldn't wait and said unhappily," If I didn't pay attention to brushwork until I grew up, wouldn't it be a sunset study and my youth would be wasted? " Wang Kuang was very surprised at his son's words. He thought that his son had little ambition and should be cultivated from an early age, so he carefully explained the contents of Bi Tan to Wang Xizhi. With solid copying skills and theoretical guidance of written talks, Xi Zhi's calligraphy has risen to a new height in several months' efforts. Later, I worshipped Mrs. Wei, a female calligrapher at that time. Under the careful guidance of teacher Wei, he has made greater progress in practicing calligraphy. Wang Xizhi studied with Mrs. Wei for a period of time, and calligraphy has become very mellow and mature. Even Mrs. Wei had to marvel: "shine on you is better than blue, and this child will definitely surpass me in the future!"
Wang Xizhi's achievements in calligraphy are inseparable from his numerous teachers and efforts.
Learn calligraphy Zhong You, learn cursive Zhang Zhi. He himself said that his calligraphy is comparable to that of Zhong You, or better than him. Compared with Cecilia Cheung, it should keep pace with me. He also studied Wei Bei and Han tablet, and traced the origin of calligraphy. He himself said, "I studied Mrs. Wei's calligraphy when I was a child and thought I was very successful." Later, I crossed the river to the north, visited some famous mountains and rivers, and saw the calligraphy of Li Si and Cao. Saw the calligraphy of Xu Xu's Zhong You and Liang Hu; I saw Cai Yong's Three-body Stone Sutra in Charlotte. When I saw the Hua Yue Monument in Zhang Chang in my uncle's brother Wang Qia, I realized that it was not enough to learn from Mrs. Wei. It was just a waste of time. So I changed the teacher's inheritance and learned from historical sites. "
Wang Xizhi studies very hard. Not only does he spend a lot of time practicing calligraphy every day, that is, walking, eating and chatting with friends, but he always thinks about the brushwork of writing and points and strokes everywhere with his hands. It is said that once he was practicing calligraphy in his study, buddhist nun brought his favorite steamed bread dipped in garlic. After urging him to eat several times, he didn't even look up and continued to write straight. Buddhist nun had to ask Wang Xizhi's wife to persuade him to eat. Mrs. Wang came to the study and found him holding a piece of steamed bread covered with ink in his hand and stuffing it into his mouth. It turned out that when he was eating steamed bread, his eyes were looking at words and his mind was thinking about words, so he mistook the ink for garlic paste, ate it while practicing words, and even praised his wife's garlic paste for being delicious!
Wang Xizhi's study of calligraphy is not only a study of rubbings, but also a study of rubbings without words. There are many interesting legends. The ethereal and elegant Jiangnan landscape on Yin Shan Road endows him with a beautiful and elegant style of calligraphy. He not only learned from nature, but also absorbed the aura of calligraphy from nature.
And good at observing animals. He loves geese very much. From the steady steps, crisp chirping and elegant wings of geese, he understands the density of calligraphy knots and the mystery of opening and closing. Once, he heard that a Taoist priest in Yinshan raised some beautiful geese, and Wang Xizhi went to visit with great interest. When I arrived at the Taoist priest, I saw some snow-white geese flapping their wings and chasing and playing. They are really lively and lovely. Wang Xizhi was reluctant to leave, and repeatedly asked the Taoist priest to sell him some geese. The Taoist declined politely, and finally said, "If you really like my geese, please write a moral classic for me, and these geese will be given to you."
Wang Xizhi readily agreed, wrote the Tao Te Ching for the Taoist priest and took the goose home in a cage. In fact, this is because Taoist Rainbow is Wang Xizhi's handwriting, and Wang Xizhi will not write to others easily. The Taoist priest learned that he especially liked geese, and deliberately adopted the method of changing words with geese. Up to now, the Zhu Jie Temple, Lanting and Goose Pond outside Shaoxing are all written by Wang Xizhi.
When Wang Xizhi was young, his calligraphy works had become treasures, which were hard for ordinary people to get. Legend has it that Wang Xizhi once saw an old woman selling hexagonal bamboo fans in Lushan, and no one cared about her in the hot sun, so she moved her heart. I think, if the old lady's fans can't sell and she has no money to buy rice at noon, won't she stop cooking? He went to the old woman's booth and wrote five words on each of her fans. The old woman was very unhappy at first, thinking, what are you doodling on my fan? Wang Xizhi said to her, "All you have to do is say that it was written by Wang Youjun, and it costs 100 yuan!" The old woman drank the price according to this, and the fan was robbed and she liked it very much.
She hurried home and brought some fans for Wang Xizhi to write. Wang Xizhi just smiled and walked away.
Wang Xizhi began to practice calligraphy at the age of six or seven until he died at the age of 59. He kept writing for 50 years. As you get older, you become more and more sophisticated. He admired Zhang Zhi's learning spirit of "learning from the pond, the water in the pond is black" in the Han Dynasty, and often urged himself to do so. According to records, in addition to Shaoxing Lanting, there are Mo Chi in Xincheng Mountain in Linchuan, Jiangxi, Jigu Mountain in Yongjia, Zhejiang, and Guizong Temple in Lushan, Jiangxi. His son Wang Xianzhi inherited and developed his father's style. He is known as the "two kings" in the world and has far-reaching influence. Wang Xizhi's works are no longer authentic. The running script Preface to Lanting, Preface to Saint Education, Aunt, Mourning, Kong Shizhong, and Early Moon in Cursive Script are all imitations of later generations.