There are many. The famous ones handed down from ancient times include the copies of "Chu Yue Tie", "Hanqie Tie", "Xing Rang Tie", "Shangyu Tie", as well as the engravings of "Seventeen Tie" and "Wang Lue Tie". "Tie" etc.
But these are all cursive scripts today. Yu He said in "On Shu Biao" that Youjun: "I tried to answer Yu Liang with Zhang Cao, and showed it to show his wings. Yi was impressed, because he told Xi Zhi's book: 'I once had ten pieces of cursive script written by Boying (Zhang Zhi), and passed by When the river was lost, it was always painful, and the wonderful traces were lost forever. Suddenly I saw the letter from my brother, who was as bright as a god, and suddenly returned to the old view.'" From this, we can see that Xizhi is good at Zhangcao. This should be a very standard and strict cursive style at that time. Among the scholar-bureaucrats and literati circles, this style was regarded as a very high-end calligraphy style that could show off their skills. Dawang Zhangcao adopted the method of Zhang Zhi, and since then Zhang Zhi has been praised as "flying geese". However, the Tang copies handed down today are all Jincao. I don't know why, or maybe the Tang people favored Jincao because of the fashion of the times? Among the above-mentioned Tie, "Hanqie Tie" is the most rich and smooth, with smooth writing style and round and graceful posture. Its charm is quite close to that of "Pingfu Tie" by Lu Ji in the Western Jin Dynasty. The difference is that "Hanqie Tie" is fluent and rich, while "Pingfu Tie" "Tie" is simple, plain and dark, and clearly has the legacy of Zhang Cao. However, the inheritance relationship between Western Jin cursive script and Wang's cursive script can be clearly seen in the style and style of writing. The collection of "Seventeen Posts" is all Wang Xizhi's letters and is one of the Xi's volumes collected by Li Shimin, Emperor Taizong of the Tang Dynasty. The calligraphy of most of the letters in front of it has the same meaning as "Han Qie Tie". The two copies of the Tang Dynasty version of "Zhanjing Longbao" in the collection of the British Museum and the Tang Dynasty version of "Huijintie" in the National Library of Paris (Fig. 79) are both copied from "Seventeen Pictures". In comparison, , it can be seen that the obvious effect of mediocre calligraphy style is quite different from that of Dawang calligraphy. Another example is the copy of "Chu Yue Tie", "Shangyu Tie", and "Wang Lue Tie" (engraved version of "Baojin Zhai Fa Tie"), which are similar in meaning and interest to the last few letters in "Seventeen Tie" and are more robust than "Hanqie Tie" It has a strong atmosphere, and there are many connecting strokes between strokes and between characters. It is calm and cheerful, which is different from the relaxed and ethereal atmosphere of "Han Qie Tie". "Xing Rang Tie" is the most unrestrained and refreshing work in Dawang's cursive script, which seems to show signs that his writing style has shifted from internal extraction to external expansion. The royal cursive calligraphy handed down from ancient times can be roughly divided into the above three categories, and may have been made in the three periods. It is said in Yu He's "On Shu Biao" that "the two kings are better than the young in their later years." From the analysis of the calligraphy of these works, it seems that "Hanqie Tie" is the earliest, with occasional continuous strokes between the characters. In addition, the characters are basically independent, and there are few continuous strokes between the radicals. The stipples are rich and thick, which has an ancient meaning, and can be connected with the cursive scripts of the Western Jin Dynasty. "Tie" is indulgent and smooth, with more consecutive strokes, no matter whether there are blurred characters in the radicals or more connected words, and an enhanced sense of rhythm, it is probably the latest work after "Hanqie Tie", among which "Xing Rang Tie" is probably the latest. The size of the characters is so different that it has never been seen before, and the momentum of the characters is cascading down, the body is open, and the posture is changeable. It is even more than the above-mentioned paintings. It is the first of Wang Xian's "Shangqi" calligraphy style. Zhu Xi of the Song Dynasty said: ""Ten". "Qi Tie" plays with its brushwork, calmly and generously, and has a transcendent atmosphere. Not tied to the Dharma, not seeking to be freed from the Dharma, the true meaning flows out from one's mind one by one. There are many calligraphers who know its beauty, but they may not know why it is beautiful. "Because he can naturally express his soul when writing ("everything flows out from his mind"), and he can write within the laws and regulations, but is not bound by the laws and regulations. He can adapt to the changes of the situation and adapt to the situation ("not in accordance with the laws and regulations"). "Be bound, don't seek to escape"), and there is nothing forced about it. The aesthetic and creative views of ancient Chinese calligraphy are well reflected in Wang Xizhi's calligraphy. Emphasizing on the expression of temperament rather than on expressive expression, this is the traditional The reason why the art of calligraphy has always been a high-level means for literati and literati to cultivate their minds.