Purely play by hand, hope~~.
I think this work is undoubtedly authentic. Fan Zeng's calligraphy structure still follows the basic principles of traditional regular script, but it also has some unique contents of his own.
The whole structure strives to be square and square, but it still maintains a balanced attitude. In the history of Chinese calligraphy, there are many regular calligraphers. We can compare his calligraphy with the structure of the four great regular calligraphers: Ou, Yan, Liu and Zhao.
The structure of European regular script is famous for its strange and steep structure. I think Fan Zeng’s calligraphy obviously has reference in this aspect, especially the later calligraphy, such as the hook when writing vertical curved hooks. Pick the extension and drag it out, and when writing spoken words, the vertical paintings on both sides are concave, etc. This way of writing is a common phenomenon in European style. This writing method has the advantage of making the characters appear strong and graceful, but if used improperly, it will reduce the strength of the calligraphy and feel counterproductive. For example, if the vertical curved hook is dragged outward too gently, the vitality will leak out. If the wording is too concave, it will feel restrained.
The structure of Yan style calligraphy has always been famous for its broadness and openness on all sides. This aspect can also be seen in Fan Zeng's calligraphy. For example, when writing Chinese characters and picture characters, the large outer frame uses an outwardly convex writing method. This writing method existed in early Fan Zeng's regular scripts. This is completely different from the European structure. The early wide, fat and square structure is also similar to the style of Yan body.
Liu calligraphy is known for its thin and vigorous style. Fan Zeng’s regular scripts in his late period are dominated by many square strokes, such as the use of horizontal folding hooks and the final gap in the painting. Some willow body styles.
Although the Zhao style character comes from Er Wang and Ouyang Xun, it also strengthens the steady and solid side. For example, Ouyang Xun's regular script is long and Zhao Mengfu's regular script is square, which gives a sense of honesty. Fan Zeng's calligraphy is generally square. In addition, Fan Zeng's calligraphy can also see some features of calligraphers after the Song Dynasty.
There are also some characteristics in his regular scripts which are the changes of frustration and gentleness, the changes of rough painting and fine painting, and the changes of lengthening and shortening. Abruptions and gentle changes are always present in Fan Zengkai's works, and this has become a characteristic of his calligraphy. The contrast between the frustration and the gentleness is very strong, forming a distinct sense of rhythm. But it also conceals its overall pursuit of change and the vagueness of individual strokes. For example, in the early days, the horizontal drawing with a pen was a thinner line, and the vertical drawing was a thicker vertical stroke. Although there are contrasts and changes between the horizontal and vertical lines, the strokes themselves are relatively simple.
He thought carefully about the changes between rough painting and fine painting. For example, some words are heavy on the left and light on the right, some words are heavy on the right and light on the left, and there are also changes in light and heavy up and down. The middle palace is heavily narrowed and the four sides are lightly exposed. These changes are based on some strengths and experiences of ancestors and even contemporary famous writers. For example, Mr. Qi Gong’s regular script structure has some emphasis on priorities, and Liu Bingsen’s vortex brushwork (named by himself) in official script can also be seen in Fan Zeng .
The change of lengthening and shortening is also a characteristic of Fan Zeng's regular script. For example, sometimes the length of the stroke is shortened and the length of the stroke is lengthened, which will give a sense of uprightness, such as when writing the characters "天地地" and "多夫地" When writing characters, some characters exaggerate the length of the vertical hook for this purpose. Therefore, his later fonts are more vertically elongated than his earlier ones.
In short, your calligraphy is very consistent with the characteristics of Fan Zeng’s calligraphy and better reflects Fan Zeng’s calligraphy style.