Appreciation of Pan Tianshou's cursive poems.

Judging from the use of pen, this work is different from Pan Tianshou's seal script and official script, and it is mainly round pen. Instead, it is mostly a pen with a side cut and a middle belt. For example, the first word "Tian" is mostly written in the center, while "Zhu", "Qing", "Xia" and "Yong" are mostly written beside it, which increases the flexibility and potential of using a pen. Moreover, apart from a few exaggerated strokes, or supplemented by lace, stippling is short and cut, and the pen moves forward, or before closing or leaving the pen, or before turning the pen, and rarely hides and turns his head in front. This thin, spicy, steep and slightly barren line shape can be said to be a major feature of Pan Tianshou's calligraphy art, and Pan Tianshou's words are even more valuable in structure. What is valuable is that they are scattered and natural, such as Tian, Ping and Yan, while Zi, Xia, Yong and Zhi are closely linked. From the point of view of font, layout and composition, this work is also remarkable, that is, in a limited line, the artist fully schedules the convergence and dispersion between words, avoidance and generation of grams, and even the interaction between words and lines, dotted lines and blanks, which forms the comparison of retraction, dynamic and static, and the contrast between reality and reality, all of which run through the creative ideas of creating danger, breaking danger, controlling danger and anti-sense. All these show Pan Tianshou's rebellion and breakthrough to traditional conventions, and also reflect Pan Tianshou's aesthetic thinking on calligraphy art, as Sha Menghai said: "From the knot, the payment to the whole layout, the operation is desolate and is remembered in the heart; It is swaying, magnificent and rhythmic, which can be said to be unique. "