Wang Chong's calligraphy surpasses that of Jin people in Song, Yuan and Jin Dynasties, which is very obvious in Li Bai's ancient poems. This cursive script won the charm of Jin people, which opened a distance from the calligrapher's style around him. Compared with Wang Xizhi's cursive script, its breath is elegant and soft, unlike Wang Xizhi's frank and sophisticated writing style.
If compared with, it is smart, while Wang Chong is clumsy, which makes Joe have a more euphemistic and rich emotional appeal. Wang Chong lost a lot of edges and corners when he was all thumbs, and his bones and muscles were not exposed. Instead, he was wrapped in a layer of moist ink, which seemed weak and boneless, but in fact his bones and muscles were included, which made him look beautiful.
Wang chong's specific pen is like this, even, inclusive and solid, and there is no disparity in weight. Each pen is about the same thickness, and there are few elements between words, but words change rapidly, and each word seems to be completed in an instant. Brush gestures bring coherence and fluency. On closer inspection, it was Wang Chong who took an oblique posture to facilitate the insertion of strokes.
Often the right shoulder is raised, the left is low and the right is high, forming a slope, and the line drops with a sense of subduction. Some long lines are wonderful, such as the last vertical of the word "belt", which binds all the words together. When the vertical falls far away, the space becomes open and sparse instantly, and the rules become active.
It can be said that the tendency is for the sharpness and tolerance of the pen, but the whole volume of Li Bai's ancient poems does not seek victory. It is gentle and docile because of its skill in using ink. In the end, the pen is always hidden, bald and astringent, mainly containing but not sending, so it is graceful and restrained to achieve the effect of escape. Judging from Wang Chong's age, there are two disadvantages in writing: naivety; The second is the propaganda spirit.