Wang Xianzhi is the seventh son of Wang Xizhi. He is a calligrapher and poet in the Eastern Jin Dynasty. He and Wang Xizhi are called the second king. So, what do people think? The following is my evaluation of Wang Xianzhi compiled for you, I hope it can help you.
Wang Xianzhi’s character introduction
Wang Xianzhi ***344-386***, courtesy name Zijing, a minor official slave, and the seventh son of Wang Xizhi. Because of his outstanding calligraphy skills, he and Wang Xizhi have always been called the "Two Kings", or respectfully called the "Little Sage". When he reached Zhongshu Ling, he was known as Wang Daling. Wang Xianzhi once served as the governor of the state, secretary Lang, secretary Cheng, Chang Shi, Wuxing prefect and other official positions; after becoming Emperor Jianwen's consort, he was promoted to Zhongshu Lingbao, which is equivalent to the prime minister. But his political achievements were average and far less prominent than the title of his book.
Wang Xianzhi was born in such a family. His father is a famous "calligraphy sage", and his mother, uncles, ancestors and brothers are all masters of calligraphy. It is inevitable that he has been practicing calligraphy since childhood. Compared with others, he is more diligent, more diligent and focused when learning calligraphy, and his temperament is quite like his father's.
Wang Xianzhi’s study of calligraphy, like his father’s, was not limited to studying one discipline, but was able to learn from all the schools, so that on the basis of “taking into account the strengths of all schools and integrating the beauty of all schools”, he was able to He created his own unique style and finally achieved an artistic status equal to that of Wang Xizhi. What he said, "Going up from the mountains, the mountains and rivers complement each other, making people overwhelmed" has become a famous saying praising Jishan Jingshui.
Wang Xianzhi's calligraphy art mainly inherits the family tradition, but does not stick to the rules, but makes new breakthroughs. In his handed down calligraphy works, it is not difficult to see traces of his inheritance of family learning and his own unique approach. The predecessors commented on Wang Xianzhi's calligraphy as "the phoenix dances in the elixir cave and the dragon leaps in the clear spring. It is precise and skillful and comes from the mind." His writing style changed from "internal extension" to "external extension".
His cursive writing is even more praised. Yu Zhuo once said: "Cursive script descends from Zhang Zhi of the Han Dynasty. The most wonderful person is an official slave." His handed down cursive calligraphy treasures include "Yatou Wan Tie", "Mid-Autumn Tie" and so on. Emperor Qianlong of the Qing Dynasty included it in "Sanxi Tie" and regarded it as a "national treasure".
He also created the "one-stroke calligraphy", which changed his father's grass that was not connected up and down into connected grass, often with consecutive numbers. Because of his heroic and majestic calligraphy, he is valued by the world. .
Wang Xianzhi devoted his whole life to studying calligraphy. He is very clever and once said to his father: "The ancient chapters and chapters cannot be collected and compiled... It is better for you to change the style." *** Zhang Huaiguan's "Book Break" *** He was not satisfied with everything being harmonious. It's the same as everyone else, so I create my own entity. Zhang Huaiguan's "Shu Yi" said: "Zi Jingcai has a far-reaching vision. In addition to cursive writing, he has opened a new door. My cursive writing is neither cursive nor true. It is separated from the square and round, which is between Ji and Meng. Those who are both true and true are called true practices. "Those who carry grass are called walking grass. Zijing's method is neither grass nor walking. It flows in the grass, opens in the grass, and the grass is in the middle... Among the brushwork and posture, it is the most elegant." The new calligraphy style, which is neither cursive nor linear, is called "broken style", also known as "one-stroke calligraphy".
Character evaluation of Wang Xianzhi
Wang Xianzhi’s father and son are famous for their regular script. Calligraphers from the Tang and Song Dynasties wrote in regular script with strict, handsome and charming style. The regular calligraphy of their father and son is truly immortal, passed down from generation to generation, and has an indelible appeal.
In the century and a half from the late Jin Dynasty to the Liang Dynasty, his influence even exceeded that of his father Wang Xizhi. Yuan Ang, a calligrapher and painter of Liang Dynasty, said in "Ancient and Modern Book Reviews": "Zhang Zhi is amazing, Zhong Yao is extraordinary, Yi Shaoding is capable, and he is the best in the world." The four sages are called together. The person with the highest status in calligraphy between Song and Qi Dynasty once recommended Wang Xianzhi. Xianzhi learned calligraphy from his father. He was extremely talented and quick to innovate. He turned to Zhang Zhi and created the cursive script that connects the upper and lower parts. Meiyan even surpassed his father. Liang Tao Hongjing's "Discussing Calligraphy with Emperor Wu of Liang Dynasty" says: "Everyone in the world respects calligraphy." At that time, it almost became Wang Xianzhi's world. It was not until the Tang Dynasty, when Emperor Taizong tried his best to praise Wang Xizhi and belittle Wang Xianzhi, that some calligraphy critics began to think that Wang Xianzhi's calligraphy was not as good as his father Wang Xizhi. However, Mi Fu, a calligrapher of the Northern Song Dynasty, mainly learned from Wang Xianzhi. Hu Xiaoshi, a famous modern scholar and calligrapher, even believes that the "kuangcao" of Zhang Xu and Huaisu's school was developed from Wang Xianzhi's cursive calligraphy.
Wang Xianzhi’s ink collection is very small, and the quantity is far less abundant than that of Wang Xizhi. Because Emperor Taizong of the Tang Dynasty demoted him and did not purchase his works, "only a few of Wang Xianzhi's writings remain in the inner palace."
The calligraphy of the early Song Dynasty was promoted by "two kings". Song Taizong Zhao Guangyi paid attention to calligraphy and ink, purchased the ink of ancient emperors and famous officials, and ordered the calligrapher Wang to copy and engrave ten volumes. This is the famous "Chunhua Pavilion Calligraphy". "Every minister who visits the second government will give him a gift." Half of the posts are the works of the "two kings". There are seventy-three pieces of Wang Xianzhi's calligraphy alone, and more than twenty pieces have been verified by later generations to be forgeries or written by others. During the Xuanhe period of the Northern Song Dynasty, Emperor Huizong of the Song Dynasty refined Wang Xianzhi's calligraphy and collected it in the "Xuanhe Calligraphy Genealogy" The number of Wang Xianzhi's calligraphy pieces increased to more than 80 pieces. However, most of these ink notebooks have not been preserved. There are no more than seven remaining ink notebooks, and they are all copies. Fortunately, some authentic engravings from past dynasties still exist, leaving valuable information for us to learn and understand Wang Xianzhi's calligraphy.
Wang Xianzhi's review
Wang Xianzhi, a great calligrapher of the Eastern Jin Dynasty, dated 344-386***, whose courtesy name was Zijing, from Linyi, Shandong. He is the seventh son of Wang Xizhi, and his father and son have always been referred to as the "Two Kings" in the history of writing. All the sons in Wang Xizhi's family were good at calligraphy, but Wang Xianzhi was the most gifted and daring to innovate, not limited by his father, thus making outstanding contributions to modern regular script and modern script since the Wei and Jin Dynasties. His calligraphy surpassed his father's in terms of style and charm. Mi Fu said that he "handled his pen like a fire chopstick to draw ashes, and the links were connected without any reason. If you accidentally, the so-called one-stroke calligraphy" refers to the "one-stroke calligraphy" in cursive script. Crazy grass. He also persuaded his father to "change his style", which shows his boldness in calligraphy creation and he was worthy of being praised as a "little sage" by later generations.
Born in the home of the "Sage of Calligraphy"
Wang Xianzhi***344-386***, also known as Zijing, also known as Guannu, was born in Linyi, Langya of the Eastern Jin Dynasty*** today in Shandong Linyi *** native. He is the seventh son of Wang Xizhi. He has served as the governor of the state, secretary, and chief historian. He has been promoted to general of Jianwu, prefect of Wuxing, and worshiped Zhongshu Ling, so he is called "Da Ling". He is known as the "Little Sage" in the history of calligraphy, and is also known as the "Two Kings" together with his father.
Wang Xizhi taught Xianzhi calligraphy skills since he was a child. It is said that Xizhi once pulled out his pen from behind to test his writing power and sighed: "He will be famous again from now on!" It can be seen that Wang Xizhi had high hopes for him very early. It is said in "The Theory of Brushstrokes" written by Wang Xizhi that: "I tell you, Zijing, I have observed that your calligraphy is excellent, and you still have no time to follow the rules." "I will write an article in "The Theory of Brushstrokes" to enlighten you," and " This book "Le Yi Lun" is a copy, "I will keep it for you". Xianzhi truly understands the nature of calligraphy, not only in terms of technique, but also in being able to infiltrate interest into calligraphy. It is said that one time when Xian was out, he saw that the newly painted white walls of the North Hall were very clean, so he took a broom and dipped it in mud and wrote the words "Abbott" in size. The onlookers were packed with people. Xi Zhi admired the beauty when he saw it and asked who made it. Everyone replied: "Qi Lang."
Wang Xianzhi has superb calligraphy thoughts and far-sightedness. He persuaded his father to change his body, but he was only fifteen or sixteen years old. The depth of his calligraphy insights seems inappropriate for his age, but it is true. Zhang Huaiguan's "Shu Yi" of the Tang Dynasty records that Wang Xianzhi said to his father: "The ancient chapters and chapters have not been able to be collected and summarized, and they have not been able to distinguish the true form. Today, the principles of pseudo-synopsis are poor and are extremely careless. They are not as good as those between the lines. Xianzhi believes that things need to be flexible, and the individual words of Zhang Cao and the growth of waves cannot express greater momentum and free rhythm. After in-depth research, he believed that a way to break through the "past method" could be found between Ligusticum chinensis and running script, and suggested that his father should "change his style". Wang Xianzhi's in-depth research on traditional calligraphy and his careful exploration of innovative approaches are truly outstanding.
The innovative and variant calligraphy is dominated by the soul and guides the descendants of this calligraphy saint. He wants to break through the past and create a new world. He also wants to surpass his father, be better than his predecessors, and establish a new standard. "Lun Shu Biao" written by Yu Xianhe and Xie An once asked Zijing: 'How can the king's book be like the right army's army referring to Wang Xizhi's army?' The answer is: 'Therefore, we should win.' An He said, "Things are different." Zijing replied, "The world knows that." Wang Xianzhi is not an ignorant person, and his self-evaluation is not nonsense. Sun Guoting's "Shupu" records that Xizhi went to Kyoto and inscribed a wall before leaving. Xianzhi secretly erased it and wrote another one, thinking he had written it well. When Xizhi came home and saw it, he sighed and said, "I was really drunk when I went there." Xianzhi felt ashamed in his heart. This rumor shows that although Xianzhi is determined to compete with his father, he is also self-aware. Xianzhi studied his father's calligraphy, and then transferred to Zhang Zhi's school. He not only advised his father to "change his style", but he also practiced new methods.
Zhang Huaiguan once commented on Wang Xianzhi's creation in the art of calligraphy in his "Book Discussion": "Zijing is talented and far-sighted. In addition to practicing cursive, he also opens up a new door. ... Zijing's method is neither cursive nor practical. The flow is facilitated by the grass, and the grass is opened in the middle.
... If the wind blows and the rain disperses, the flowers bloom, the brushwork and posture are the most elegant. "It is a pity that he died at the age of forty-three, otherwise his achievements in calligraphy would have been even more impressive. Despite this, he has integrated his talents, unique mental outlook, thoughts and emotions into his calligraphy works one by one
Wang Xianzhi's nature was free and unrestrained, transcending secular etiquette, and "his style was the crown of his time." When he got up from the Taiji Hall, Xie An wanted to ask Zi Jing to write a list, which he thought would be a treasure for all generations, but he couldn't explain it, so he said that General Wei Zhong had mentioned something about Lingyuntai. Would you rather have this? If it is like this, you know that Wei Dezhi will not last long. "Xie An stopped forcing him. Sometimes people asked him for books, but they rarely got them; even if the powerful forced him, he would not be moved.
The art of calligraphy by Shen Heng's transformation
Wang Xianzhi’s ink writings are rarely stored, so his calligraphy skills can only be seen in the rubbings of tablets and inscriptions. The Xuanhe Calligraphy Book records nearly 90 pieces of his writings, while Wang Xizhi has 243 pieces. The Dharma book is in the collection of Xuanhe's inner palace, which shows that the number of works handed down by Xian at that time was much less than that of his father. Moreover, there is a dispute over the authenticity of the ink written by "the two kings". There are even fewer ink leftovers than those of Xi Zhi. The only ones I have seen that are reliable are copies of "Song Li Tie" and "Yatou Wan Tie". In addition, if "Mid-Autumn Tie" and "Dongshan Tie" are used, it means Mi *** Fu *** Lin. The ink mark on the "Rehmannia Tang Tie" that has been passed down from generation to generation was also imitated by later generations, which is quite interesting but not very beautiful. It must not be the original version of the "Daguan Tie". ... The "December Cut to Remaining Tie" presented by him can be found in the engravings of "Baojinzhai", so it is certainly credible. I have tested it with his writing, and it is similar to the engravings in "Daguan Tie". ”
Comparison of the calligraphy arts of the “two kings” and his son
The comparison of the calligraphy arts of Wang Xizhi and Wang Xianzhi has been widely discussed in the history of calligraphy, with mixed praise and criticism. Here is a brief introduction. < /p>
1. The technical characteristics of the "two kings" are "internal and external extension". Calligraphers often refer to "internal and external extension". It is marked with "external extension". For example, Ming Dynasty He Liangjun's "Siyou Zhai Shu Lun" says: "Da Ling used his pen to 'externally extend' to expand, so it was scattered and colorful"; "Youjun used his pen to 'internally expand'." It is disgusting and restrained, and the spirit is radiant, and the good and the strange are mixed together. "Modern person Shen Yinmo also said: Later generations use the internal and external extensions to distinguish the calligraphy of the "two kings", which is very reasonable. The big king "internal and external extensions", and the small king "Outward expansion". Let's take a look at Da Wang's book, which is strong and upright, beautiful and quiet; Xiao Wang's book is strong and soft, and the beauty is actually increased. The meaning of "Outer Extension" is that "Internal Extension" is the book for the victory of bones and strength, "Outer Extension" is the book for the victory of muscles and muscles, Youjun Shu "One extension goes straight down", which is "like a cone drawing sand". The visual expression of "outside extension" can be described as "a leak mark in the house", which means more indulgence and less restraint. See "Guide to the Book of Two Kings"*. **. Although the terms "internal * 扌氰 * *" and "external extension" can explain many differences in the calligraphy of the "two kings", they cannot cover everything, and careful inspection may not be very scientific. "Internal *** irritates ***" can also "externally expand". When "internal *** irritates ***" the main task is "external extension" as a supplement. Xiao Wang can "externally expand" as well as "internally expand". "***" should be "external expansion" as the main one and "internal extension" as the supplement, and the difference in orientation is based on their respective aesthetic ideals. Pan Boying said: " Some people say that Xizhi's "inner body is disgusted with the body" and Xian's "external expansion". This is only half the story at best. "*** "A Brief Theory of Chinese Calligraphy" *** This statement is quite insightful.
2. Identification of the source of techniques. Bao Shichen of the Qing Dynasty once stated his own views and criticisms in "Yizhou Shuangyi" Mi Fu's opinion: "Taking the true calligraphy skills of Youjun are all derived from the Han Dynasty. The thorough investigation of Zhonglang refers to Cai Yong. . ...Mi Lao's theory of "containing the right army and expanding the army outside" is counterproductive. "Modern Hou Jingchang believes that: Bao Shichen believes that Dawang pen comes from official script and Xiaowang pen comes from seal script. This view is worth discussing. Hou summarized the characteristics and origins of the three real running scripts of Zhong Yao, Wang Xizhi and Wang Xianzhi in one sentence: Zhong Shantrans , the great king is good at music, and the little king is good at straightness; the translation comes from Fenshu, the music comes from seal script, and the straightness comes from official script*** "On the Authenticity of Zhongwang Zhenshu and ***Lanting Preface***"***. There are two main sources for the calligraphy of Wang and his son. The distant source comes from the seal script of Qin and Han Dynasties, and the recent source comes from Zhong and Zhang. They were then cultivated and developed into their respective styles.
3. Distinguishing the connection between cursive scripts. Wang Xizhi studied Zhang Zhi's cursive calligraphy, breaking through the separation and isolation of chapter cursive calligraphy in terms of situation, and connecting it with each other. However, he generally did not combine multiple characters and only used two or three characters in one stroke. He used the power of Zhang Cao to develop into the introverted and reserved Jin Cao. Wang Xianzhi learned not only from his father but also from Zhang Zhi, breaking through Wang Xizhi's continuous pattern and integrating more words into a "one-stroke calligraphy"; turning from inward to outward extravagance, and from being reserved to unrestrained. The so-called "one-stroke calligraphy" refers to "the style of the characters is made up of one stroke. Occasionally they are not connected but have continuous blood lines, and those that are connected are connected by the weather. Wei Zi Jingming understands his profound knowledge, so the characters at the beginning of the line are often "Continuing the end of the journey"***See "Book Break"***. The world-famous "one-stroke script" originated from Zhang Zhi, and Wang Xianzhi used Zhang Zhi as the "lever" and Xizhi's cursive script as the "fulcrum" to complete a "broken body" creation.
4. Identification of bone potential. Yang Xin said: "Xian is good at Li Gao, but his bones and strength are not as good as his father's." Zhang Huaiguan's "Shu Duan" said: "It is a pity that he is still rich in Yangqiu, indulges in unruly, has incomplete bones, and sometimes is trivial." Wang Xianzhi is outside. Tuo and running freely, so sometimes in the rapid circulation, it is not calm and smooth, but seems to be slippery; and Wang Xizhi's main character is internal aversion, disgusting and strong, so the character is powerful. Of course this is a high-level comparison. Why doesn't Wang Xianzhi pay attention to the strength of the bones? For example, in "Thirteen Lines of Luo Shen Fu", Zhang Tingji of the Qing Dynasty said in the "Qingyi Pavilion Inscription and Postscript": "The style and bones are thick and exciting"; There is no beauty without perfection." Of course, Wang Xian passed away in his middle age. If he can continue to hone his skills for many more years, his strength will be even better.
5. Distinguishing charm. Wang Sengqian once said: "The dedication is far less than that of the father, but the charm is even greater." Yang Xin also said the same. The style of Wang Xianzhi's calligraphy is like a dancing phoenix and a flying luan, with the grace of flowing hooks and loops, the pleasure of free and easy movement, and the flying colors of ink as the spirit of elegance. Zhang Huaiguan's "Shu Yi" said that his posture "is as if the wind and rain disperse, and the polish is blooming. Among the brushwork and posture, it is the most elegant." At the same time, it was also pointed out that Wang Xianzhi "was tired of defeats from time to time and ignored his flaws." In fact, Wang Xizhi's books are also very charming, so some people have criticized Han Yu's "Song of Stone Drums" for saying "Xi's popular books take advantage of their charming appearance". Zhang Huaiguan also said that he was "talented as a girl but not a man." The charm in Jin people's calligraphy is related to the fashion of the times. This kind of "charisma" is a kind of majestic charm, not soft charm. Xianzhi's charm is dazzling in the flow, jumping, and danger, and is more charming than his father.
6. Discussing artistic philosophy. The philosophical thought of Wang Xizhi's calligraphy art is mainly manifested in neutrality, which is the reconciliation and unity among various opposing factors. He is excellent in the physical aspects of calligraphy, such as fat and thin, square and round, short and long, flesh and bone, etc., and is excellent in the spiritual aspects of calligraphy, such as oddness, magnanimity, charm, etc. Be well-behaved and unruly. Xiang Mu's "Elegance of Calligraphy" says: "As soon as Yi Shao comes out, he bows to etiquette and music, he is strict and lawful, his spirit is brilliant, and he is a mixture of right and strange." Just like breaking through his father's cursive writing model, Wang Xianzhi also consciously changed his father's style. In his creative thinking, he turned "neutral" into "imbalance" and moved towards a new realm of winning with "oddness" and "danger". Xiang Mu also believed that "when writing comes to Zijing, the door to Shangqi will open."
7. Distinguishing calligraphy style. Let’s talk about Zhangcao first. Wang Xianzhi inherited his father’s Legalist style, and his style of Zhangcao can be seen from "Tie on July 2nd" and so on. The calligraphy style of this post is quaint and elegant, but the ups and downs and mixed sizes also show a free and unrestrained personality. Talking about regular script, "Lun Shu Biao" written by Emperor Yu of the Southern Dynasty and Song Dynasty said: "Xian Zhi Shi studied his father's calligraphy, but the regular script is not similar." Zhang Huaiguan's "Shuguan" said that Wang Xizhi wrote "Le Yi Lun" to Dedicate it, present it "I have learned a lot and can write very small books. I can be said to be a saint from a humble age. My muscles and bones are as tight as my father's. If I am big, I will be straight and slim. How can I be the same age?" Let’s talk about running script. Wang Xizhi blended deeply with his emotions, bridged the past with the present, and created excellence. “Lanting Preface” is known as “the best running script in the world.” Wang Xizhi consciously and consciously carried out pioneering and legislation, setting an example for future generations. Although Wang Xianzhi also made considerable contributions in running script, his running script failed to break out of his father's standards, and his conciseness, skill, and talent were not as good as those of his father. In cursive writing, father and son each have their own characteristics. Wu Dexuan commented: "Da Ling Kuang Cao has changed the right army's method and opened up his own door. He is squandering freely and does not follow the old rules. I said that although Daling Kuang Cao is as unrestrained as possible, he still does not lose the charm of Qingyuan." *** See Huang Tingjian's "Valley Inscriptions and Postscripts" from "Chu Yue Lou Essays on Calligraphy" also makes a comparison: "Da Ling Cao's method is very different from Boying's. Chunyu Shao is hateful, but Mijue Chenger. Therefore, those who comment on calligraphy in the middle use Youjun Cao It is of the energy grade, while Dalingcao is of the divine grade.
I have tried to compare the cursive writing of Youjun's father and son. Youjun is like the Zuo family, and the great order is like Zhuang Zhou. "Of course, there are also very unfair evaluations. For example, Emperor Taizong of the Tang Dynasty worshiped Wang Xizhi and belittled Wang Xianzhi. His "Biography of Wang Xizhi" said: "Although Xianzhi has the style of his father, it is not a novelty. The style of his calligraphy is sparse and thin, like a dead tree in the middle of winter; the traces of his writing are restrained, like the hungry clerk of the Yan family. It is a dead tree, although its branches are not bent or stretched; it is a hungry slave, but it is restrained and weak but not indulgent. Combining these two, the disease of calligraphy and calligraphy is consolidated!" Tang Taizong's comments were completely on Wang Xi's side, and he was even buried with the original "Lanting Preface".
The independent value of Wang Xianzhi's calligraphy skills
Historically, the "two kings" are often referred to together, and the younger king is often summarized as the great king, but Wang Xianzhi's calligraphy art has its own independent value.
After Wang Xizhi arrived in Kuaiji, his calligraphy achievements reached their peak. After Wang Xizhi's death, most of his notes were written by ghostwriters, which was criticized for about a century and a half after Wang Xizhi's death. It was very prosperous for a while. Among them, famous masters learned from the little king, such as Huan Xuan, Emperor Wen of the Song Dynasty, Liu Yilong, Yang Xin, etc., especially Yang Xin, who was called "the only one who entered the house." "Gong", so people at the time said, "Buy the king and get the sheep, and you will not be disappointed." In addition, there are Bo Shaozhi, Xie Lingyun, Kong Lin, Qiu Daohu, Qi Gaodi Xiao Daocheng, Xiao Sihua, Fan Ye, etc., who also have their own little kings. Interesting. This is one of the reasons why Wang Xianzhi's reputation is growing. Yang Xin's calligraphy skills were unique to Wang Xianzhi, and he taught his disciples, which further expanded Xianzhi's influence.
So, why did Emperor Taizong disparage Wang Xianzhi? Some scholars believe that when Li Shimin wanted to learn calligraphy in the early Tang Dynasty, he must have started with Wang Xianzhi, because at that time Wang Xianzhi's handwriting was easier to obtain than his father's. Later, Li Shimin saw Wang Xizhi's inkwriting, and Li Shimin might not be willing to be subordinate to Wang Xianzhi. His father was carried out. Because Li Shimin praised the great king and belittled the young king, people at that time were frightened by the emperor's decree, so they erased his name from the relics signed by Wang Xianzhi, or changed it to the names of Yang Xin, Bo Shaozhi and others. However, people of the Tang Dynasty learned. There are still many small kings, especially "Tang Dynasty cursive calligraphers all imitate the Great Ling" ***Wu Dexuan's words*** Ouyang Xun's Zhen and Xingbian imitate both the Great King and Xiao Wang, and are completely integrated with the contemporary Shen Zengzhi. It is also said: "Speed ??change *** refers to Ouyang Xun's rule of thumb, and the implementation of the teacher's order to change it again. "Yu Shinan and other calligraphers also imitated Wang Xianzhi, and Zhang Huaiguan said: "Yu's calligraphy has a huge set of regulations for the great order, which contains the correct colors of the five directions, showing off the beauty, wisdom and courage. Wang Shaozong had a clear vision and far-sightedness. He had great talent and wrote ancient books, and his ancestors told Zijing. Sun Guoting, Boya has articles, and cursive script is the second king. "People in the Tang Dynasty paid great attention to Wang Xianzhi's cursive script, especially Kuang Cao. Zhang Xu's cursive script was derived from Wang Xianzhi. Tang Cai Xizong's "Lun Dharma Calligraphy" said: Zhang Cao's "majestic appearance is for heaven." "The Duke is also the reappearance of Xiao Wang." Huaisu also converted to Xiao Wang, and his "Mother's Post" "turns around lightly and easily, passing through the Wang family's base several times and pulling out its red flag." ***See Zhao Han's "The Essence of Graphite" 》***. It can be seen that although Li Shimin belittled Xiao Wang, many people in the late Tang Dynasty still learned from Wang Xianzhi.
After the Five Dynasties, Yang Ningshi also learned from the "two kings". Xianzhi achieved outstanding achievements. Shen Zengzhi said: "The changes in the grass situation are that the nature is wrinkled, the spread is relaxed, the order is changed, the body is relaxed and proud, the wrinkles are wrinkled, and the growth is released. Zhang Xuexu and Su Qijiao both came from this place, and Yang Jingdu was his direct descendant. "*** "Hai Ri Lou Zha Cong" ***
Mi Fu, one of the four great calligraphers in the Song Dynasty, said: "Zi Jing is so naive and transcendent that he can't compare with his father!" "Da Ling's December Post "The brush strokes are like fire chopsticks and ashes, and the connection is unprovoked and unintentional. The so-called 'one stroke of writing' is the first post in the world." Mi Fu admired Wang Xianzhi and admired the "innocent and transcendent" interest of hand chasing. Mi Fu Cai Xiang, another calligrapher, also said: "In the early Tang Dynasty, there were still many handwritings of the two kings, and scholars at that time imitated them, but few of them survive today. However, the titles of Ou *** Yang Xun ***, Yu *** Shinan ***, Chu *** Suiliang ***, and Liu *** Gongquan *** are famous books, with the word "contract" in them. Dharma is produced by the father and son of the Wang family. Those who study the great orders are often indulgent, but there is magic in everything Xi writes. "Cai Xiang admired Jin Yun, and his charm and refinement were similar to those of Xiao Wang. Huang Tingjian also praised "Da Ling Cao as a divine product" and Huang Shu's "brush strokes are round, vigorous and old, and the structure is tight vertically and horizontally, picking up from the masters of Yanliu. "Xixian" ***Da Chongguang Yu***. Just like Su Shi, although his written list is not similar to that of "Two Kings", there are similarities.
Jiang Kui also highly praised Xiao Wang. He once said: "Except for "Luo Shen Fu", which is written in regular script, most of the imperial decrees passed down from generation to generation are written in cursive. "Nanny Zhuan Zhi" is written in regular script, with full regular script and strong writing style. It is the same as "Lanting". ", "Le Yi Lun" combined, seek the method of the two kings, don't believe in it."
Since the Yuan, Ming and Qing Dynasties, those who have studied Xiaowang's calligraphy and made outstanding achievements include Zhao Mengfu in the Yuan Dynasty, Zhu Yunming, Wen Zhengming, and others in the Ming Dynasty. Dong Qichang, Wang Duo of the Qing Dynasty, etc., there are many examples, it is not possible to list them all.
In short, Wang Xianzhi’s calligraphy has a profound influence on later generations and has its own independent value. The collective name "Two Kings" has also become a proper name in the history of calligraphy. "The harmonious spirit of the father and the divine horse of the son are both unique in ancient and modern times." No wonder people call Wang Xizhi the "Sage of Calligraphy" and Wang Xianzhi the "Little Sage".