(2) The second line "Therefore, the information was sent by the purpose" sentence: "Purpose": intention. Send: Send a book (letter). In Wang Xizhi's book post, there is "the sound is difficult to pass." I have deep feelings, so I want to send, ask and talk "(Secretary of the Right Army, 37 1 page), and" Is your slave poor? "Surprisingly a serious illness. Typhoid fever is terrible and worrying. When the news also "("the secretary of the right army ",page 374)," people who gather and disperse, often also after He Yun? I only hope that the first step is to protect love, so that we can wait until later. Therefore, I am sending this letter in order to take the first step of crossing the river (page 377 of the Secretary of the Right Army). The writing methods of "Missing Do not forget your initiative mind" in "Mourning for the Past" are listed as follows:
1, the word "Japanese book" on the Qin bamboo slips of Yunmeng Sleeping Tiger Land at the end of the Warring States Period (Rijia 135, unearthed in Yunmeng County, Hubei Province);
2. The right side of the word "Mao" in the silk book "Letters of the Warring States" of Mawangdui in the Western Han Dynasty (unearthed in Changsha, Hunan);
3. The second half of the word "jade" in Mawangdui's silk book "Ming Jun" (unearthed in Changsha, Hunan).
Compared with Wang Xizhi's Wan, the above three items are mostly written according to Chu characters.
Xu Shen's Shuo Wen Jie Zi in Han Dynasty, Volume 14 Wan: Cong B, can be used for reference. According to Qiu Zhenzhong's analysis, the line axis of "Worrying Post" tends to be stable, which is similar to Wang Xizhi's "menstruation Post", but the axes of each paragraph are closely consistent. The two dislocated breakpoints in Trouble Hanging have become powerful setbacks in the smooth and meticulous rhythm, adding vividness to stability. In Wang Xizhi's early works, the inclination of the axis of a single character is mostly less than 6 degrees, mostly close to vertical.
The echo of spool is an extremely important feature of Wang Xizhi's works. There is harmony between the first and second lines of "Trouble Hanging Post": the wave pattern of the axis in the latter line is similar to that in the previous line, but the details are different, resulting in a touching effect on composition.
Wang Xizhi's works are vivid and highly unified masterpieces because of the rich changes and ingenious cooperation in composition. Each of his works has a distinctive composition, which can not be achieved by deliberately using various techniques at the formal level.
Emotion is the most important variable that affects random appearance. Frequent mourning sticks and mourning sticks are related to mourning for the dead, so the broken lines with clear ups and downs and strong swings in the works are far from the axes of Confucius sticks (including hanging sticks) and Derbyshire sticks. Look carefully at the text, emotional rhythm and axis line type, and the whole axis diagram, there is a tacit understanding.
Wang Xizhi's works mark a new height of the Axis cause. Qiu Zhenzhong commented that after a long period of development, the single-character axis system finally unified neat and anti-neat free writing. Wang Xizhi became an important milestone. The various ways of axis commitment are concentrated in his works. This is not a simple meeting, but a free use of sinking deep into the heart and blending with psychological content. Wang Xizhi hinted at the ideal state of grasping the line structure. "The dynamic characteristics of the composition of" Sorrow Hanging Post ":each word of Chinese characters can draw a straight line, and its position is to indicate the direction of the word tilt, and at the same time divide the word into two parts with equal weight. The drawn straight line is called the moving line of a single word, which is used to determine the position and direction of the work. The word "worry" at the beginning of "worry post" is greatly misplaced, but it does not affect the spirit. On the contrary, it brings a little fluctuation in continuity and strengthens the spiritual sense of the work. Moving lines appeared constantly in calligraphy works until the last chapter, which formed the musical attribute of a work-melody. The temporality and fluidity of calligraphy is a silent and tangible melody.