At that time, the neat, smooth, round, graceful and smooth "Taige style" norms in the book world in the early Ming Dynasty had been changed, and the pursuit was unrestrained and free book style. Zhang Bi was a typical calligrapher's representative at that time. His calligraphy style was deeply influenced by Huai Su's wild grass. His works are unique in brushwork, smooth in lines, and comfortable in holding the pen, which makes the turning vivid, full of momentum and rich in changes, and embodies the typical characteristics of Zhang Bi's cursive script. Zhang Bi is a representative figure of cursive script in the early Ming Dynasty. He likes to write cursive in big letters. According to historical records, he is not drunk, and he is proud of the spring breeze. He can write dozens of pieces of paper in an instant, as fast as wind and rain, as fast as a snake. The world even thinks that Zhang Dian (Zhang Xu) will come back. Dong Qichang said that Zhang Bi's cursive script was learned from Huai Su. In fact, his relationship with Jie Jin's cursive script is more direct. They represent an understanding and utilization of weeds in the early Ming and Tang Dynasties. On the one hand, as the opposite of the popular Tiger style at that time, they showed more of their own personality and attracted people's attention. On the other hand, they inspired the cursive script in the late Ming Dynasty and directly expressed their spirit. Few people care about Zhang Bi's cursive script of Xiao Zhuan. His works are mature and vigorous, and his structure and composition are naturally changeable. Zhang Bi's running script is compact and vivid, and Fang Bi uses it more, forming his own style and characteristics. Zhang Bi's cursive script, based on Zhang Xu and Huai Su in the Tang Dynasty, is also a continuation of cursive script writers' pursuit of indulgence since they changed the style of writing from Zhao Mengfu in the Yuan Dynasty. In some of his works, Cao Zhang's brushwork has added the Wild Grass by Zhang Xu and Huai Su, which is quite similar in concept to the early Song Ke and Yu He. However, in many of his works, Cao Zhang's pen is completely abandoned, the structure is mainly open and closed, and the brushwork is fast and floating. Therefore, Zhu Yunming once said: "Bow and follow the rules, and then wander around, although the sound is light, but the confidant sighs." He thinks the frivolity in Zhang Bi's works is not desirable. However, Zhang Bi's reformist calligraphy style of seeking novelty and change became the trend at that time. Many people imitate him, and even overseas countries follow his trail. In the meantime, there must be a distinction between fine and coarse. Chen Xianzhang commented on Zhang Bi's cursive script: "Good to the extreme, vulgar to the extreme." The word vulgar to the extreme is indeed a great derogatory term, but it is a very good compliment to the extreme. Calligraphers of Dong Qichang's generation have many comments on Zhang Bi's Rhyme of the Qing Dynasty: the world pays more attention to his Wild Grass, and even Zhu Xizhe comments on books, only pushing the pen of prime of life, but Weng should not hear it. Looking at this moment, everyone is ready, whether consciously or unconsciously, or they are like polite or handsome people. Although I was drunk with Hee Zhe, I was inevitably angry with Zhang Zexi and Zhe, and there was nothing wrong with Weng.
Regarding cursive script, Zhang Bi once asked "(often) to know calligraphy deeply, or asked Zhang to write cursive script, saying,' It's very vulgar. Ask:' How come? Say,' When you write about benefits, you will become clumsy. This passage should help to understand Zhang Bi's cursive art and thought. Du Mu said, "Zhang Gong's cursive script is a well-known ancestral home:" Hong, (Wen Zhong) and (Zhong You) are all named after the book, and they are collectively called Trilogy ". But critics say that the regular book is not as good as the two Song versions, and it is not an ancient method to continue it with a pen. (Hint). "Jose's praise and criticism can be seen here. The main basis of detractors is that "the pen is continuous, not the ancient law." This may be a problem at that time, and there will be many supporters, but according to our understanding today, "ancient law" is not unique, and there can be other styles. Even taking Zhang Xu's cursive script as an example, there is a continuous existence of "pen couplet". In the late Ming Dynasty, Wang Duo, Fu Shan and other big grasses were even more popular today, so we can't be paranoid about our own opinions.
Zhang Bi is often drunk with books, so when he is drunk, he must write quickly, like a whirlwind of showers, and his hands have changed, which shows the legacy of Huai Su. Zhang Bi thinks that his cursive Chinese characters are the best, and it is reasonable to test his calligraphy, which is probably related to a drunken character.
Commenting on Zhang Bi, Dong Qichang said: "At that time, the East China Sea was based on integrity, and its calligraphy was like Huai Su, which was famous for its four countries. There are naturally more calligraphers in Wuzhong, and the sound price is also less. However, it is better to write a book. Few people see it today (Rong Tai Collection). Since Zhang Bi, a number of outstanding calligraphers have emerged in Wuzhong, such as Zhu Yunming, Wang Chong and Wen Zhiming. It is natural that Zhang Bi should "lower his voice and lower his price". However, Dong Qichang has a good evaluation of Zhang Bi's Book of Good Conduct, which deserves our attention. Running script is running script, and the Tianjin History Museum has Zhang Bi's running script "Su Shi Taibai Fairy Poem Volume", which is a rare masterpiece. This volume is well written and writes freely, which shows the level of Zhang Bi's running script.