Zhan Jingfeng's artistic creation is based on calligraphy, among which cursive script is the most outstanding achievement. At the end of the Ming Dynasty, when Zhu Mouxie compiled Shangshu Huixu, he thought: Zhan Jingfeng ... was more profound than calligraphy. He used an extraordinary pen, like a crowned man, dignified and respectable. With the help of God, the wild grass is full of changes without losing the ancient law. Critics say that you can be the master of the contemporary era with Zhu Jingzhao (Yunming). This evaluation is obviously very high-he has been considered as a representative figure of cursive script in Ming Dynasty. Among Zhan Jingfeng's cursive scripts handed down from generation to generation, the most famous one is Qian Caoshu published in Ming Dynasty. According to the Catalogue of Ancient Paintings and Calligraphy in China, compiled by China Ancient Paintings and Calligraphy Appraisal Group and published by Cultural Relics Publishing House, there are three kinds of long cursive scrolls of Zhan Jingfeng: one is made by Shen Bing in the summer and June of the 24th year of Wanli (1596) and is now in the Xiuning County Museum of Anhui Province; One is a book written by Ding You (1597) in the 25th year of Wanli, which is now in the Guangdong Provincial Museum. The other volume is the introduction of this book. A thousand words near Huai Su, a cursive script handed down from ancient times, is now in the Jiangxi Provincial Museum.
Before this handed down volume, there was a picture of "Ink Bamboo Map" written by Zhan, and after the inscription, there was a postscript by Zhan Er. As can be seen from the postscript, this volume was written by Ding You (1597) on the fourth day of December in the 25th year of Wanli. When it was cold and snowy, Zhan Jingfeng put a pen and inkstone on it a few times, but it didn't freeze. He also felt that the guests in Yoga Yu were sitting, their salaries were in the stove, their pineapples were in the pot, and their hands were white, so he wrote this book on impulse. The whole volume 14 1 line, the text plus the title and paragraphs, 1080 words, can be written in one day. Zhan Jingfeng himself was quite satisfied with this book, so after two days, he wrote a postscript in fine print: there are very few books about his life, which were written recently because of customers. However, many ordinary things were finished in two or three days. But this volume is a stroke of a pen, thinking it was accidental. Therefore, the day when the topic starts and ends again is two days later. On the sixth day, Feng Jing. In the postscript, the time when the topic begins and ends is like this, and the end of the topic is the postscript; The leader, or the "ink and bamboo map" with the leader. Shortly thereafter, this volume was obtained by my brother Fan Kuifu. On September 13 of the following year, Zhan Fucao wrote this volume: Kui Fufan Shixiong got this volume, holding a pavilion of heaven and seeking for an inscription. Zhan Jingfeng, 1898 Four days after Chongyang Festival.
Qian Wen Zi has been circulated since the Southern Dynasties, and it is the favorite writing content of calligraphers in past dynasties. Qian Wen Zi is a four-rhyme article, which tells the knowledge of nature, society, history, ethics and education. Since the Sui Dynasty, especially after the Song Dynasty, it has become one of the most widely circulated enlightenment books in ancient China. According to the biography of Liang Shu and Zhou Xingsi, Liang Wudi ordered Wang Xizhi, the second rhyme of Zhou Xingsi, to write a thousand words and an article. According to "Fa Shu Yao Lu Wu Pingyi"
As the predecessors commented, Zhan Jingfeng's cursive script is both original and varied. His cursive script is wild, with both a loose temperament and a skillful side. Zhan Jingfeng's three cursive scripts "Thousand Characters" handed down from ancient times are all blue paper, and the creation time is only one and a half years, but there are great differences in artistic appearance between them. Generally speaking, in my opinion, the artistic level of this volume is the highest among the three, and it is more dynamic in structure. In the main performance of center's round pen, the rational use of Fang Bi's flank and the rich and boring ink color are also naturally revealed in quick writing. This avoids the slipperiness of writing and enriches the interest of pen and ink. The success of all this is undoubtedly related to the calligrapher's cursive skill and the excellent creative state of writing this volume on impulse. Therefore, Zhan Jingfeng himself thinks it is accidental. This shows that in artistic creation, skill is the foundation and inspiration is accidental. Only the perfect combination of skill and inspiration, that is, the matching of heart and hand, can be poor and abnormal, and can be put into paper.
Although he was a small official in his life, his artistic achievements were not low. His articles mainly study Han Fu and pre-Qin prose such as Zhuangzi and Zuo Zhuan. On the other hand, painting learns the landscapes of Yellow River and Ni Zan in Yuan Dynasty, and is good at folding branches and flowers. In his later years, calligraphy was used as a painting method, and it became mozhu, which was handed down from generation to generation and was typical. Wang Xizhi and Wang Xianzhi's father and son's calligraphy were fond of grass in their later years, imitating Huai Su. They belong to the calligraphy style range of seeking novelty in the later period, but their intentions are better than statutes and they are often rough. He was even criticized by his contemporary Zhou Zhishi as "a monster in the end, and a restaurant is full of things."