Thirteen Lines of Luo Shenfu, referred to as Luo Shenfu for short, is the representative work of Wang Xianzhi's lower case calligraphy in the Eastern Jin Dynasty. The original ink was written on hemp paper, and the content was a famous article "Luo Shen Fu" written by Cao Zhi, a famous writer of Wei in the Three Kingdoms period, but it was damaged and lost in the Tang and Song Dynasties.
Handed down prints are rubbings based on the original stone of the Song Dynasty, including "Jasper Edition" and "White Jade Edition", among which
"Jasper Edition" is better. It was unearthed in the former site of Geling Banxian Hall, West Lake, Hangzhou during Wanli period of Ming Dynasty, and is now in Liaoning Museum. Roshenko is Wang Xianzhi's works in lower case. It is said that Wang Xianzhi likes writing "Ode to Luoshen" and has written more than one book. * * * Thirteen lines, the original no longer exists. Today, only the stone books carved by Jia Sidao have been handed down. Because the stone color is like jasper, it is called "thirteen lines of jasper". Now it is in the Capital Museum.
The Thirteen-line Style of Luoshen Fu
Luo Shen Fu (line 13) is elegant in style and free and easy in brushwork, while Vencent Yang's man of iron Zhai Shu Hao in Qing Dynasty thinks that "the words are beautiful and elegant, and the lowercase letters are the best in the world". From the poem "Ode to Luoshen" (line 13), we can see that Wang Xianzhi's writing style of regular script no longer has the meaning of official script, and the font changes from horizontal to vertical, which is a fully mature regular script.
At the moment, the calligraphy pen is powerful, beautiful in style and spacious in structure. The strokes such as left and right strokes in characters often stretch very long, but they are not frivolous and powerless. The stroke force is delivered to the stroke tail, which is vigorous and powerful. The font is symmetrical and harmonious, and the combination of each part has subtle and vivid changes. The size of words is different, and the spacing and spacing of words naturally change. Compared with Wang Xizhi, Wang Xianzhi's regular script is different: Xizhi's words are implicit, and he uses the brushwork of "internal resentment"; But the text presented is more expressive and uses more "extension" brushwork. They all had a profound influence on future generations. Song Donglang's Postscript of Guang Chuan said: Amethyst's Ode to Luo Shen is difficult to write. Seen from the side, they don't match each other; There are both subjects and objects, and interest is strict. Compared with Wang Xizhi's Huang Ting Jing and Yue Yi Lun, it is a tight and sincere state reversal, and it is deified as straightforward and sparse.
If you want to appreciate the Ode to Luo Shen, then the information on the following reference website is complete, appreciated and translated. You can go there and have a look. I won't copy and paste them one by one.