Wang Xianzhi is the seventh son of Wang Xizhi. He is a calligrapher and poet in the Eastern Jin Dynasty. He and Wang Xizhi are called the second king. So, how do people evaluate Wang Xianzhi? The following is my evaluation of Wang Xianzhi compiled for you, I hope it can help you.
Character introduction of Wang Xianzhi
Wang Xianzhi (344-386), also known as Zijing, was a minor official slave and the seventh son of Wang Xizhi. Because of his outstanding calligraphy skills, he and Wang Xizhi have always been known as the "Two Kings", or as the "Little Sage". When he reached Zhongshu Ling, he was known as Wang Daling. Wang Xianzhi once held official positions such as Prefectural Registrar, Secretary Lang, Secretary Cheng, Chang Shi, and Wuxing Prefect. After becoming Emperor Jianwen's consort, he was promoted to Zhongshu Ling (equivalent to prime minister). But his political achievements were average and far less prominent than the title of his book.
Wang Xianzhi was born into such a family. His father is a famous "calligrapher", and his mother, uncles, ancestors, and brothers are all great calligraphers. It is inevitable that he has been practicing calligraphy since childhood. Compared with others, he is more diligent, more diligent and focused when learning calligraphy, and his temperament is quite like his father's.
Wang Xianzhi’s study of calligraphy was the same as his father’s. He was not limited to studying one subject, but was able to learn from all the schools. Therefore, he was able to combine the strengths of all schools and the beauty of all styles. He created his own unique style and finally achieved an artistic status equal to that of Wang Xizhi. What he said, "Going up from the mountain valley, the mountains and rivers complement each other, making people overwhelmed" has become a famous saying praising Jishan Jingshui.
Wang Xianzhi’s calligraphy art mainly inherits the family tradition, but does not stick to the rules, but makes new breakthroughs. In his handed down calligraphy works, it is not difficult to see traces of his inheritance of family learning and his own unique approach. The predecessors commented on Wang Xianzhi's calligraphy as "the phoenix dances in the elixir cave and the dragon leaps in the clear spring. It is precise and skillful and comes from the mind." His writing style changed from "internal extension" to "external extension".
His cursive calligraphy is even more praised. Yu Zhuo once said: "Cursive script descends from Zhang Zhi of the Han Dynasty. The most wonderful person is an official slave." His handed down cursive calligraphy treasures include "Yatou Wan Tie", "Mid-Autumn Tie" and so on. Emperor Qianlong of the Qing Dynasty included it in "Sanxi Tie" and regarded it as a "national treasure".
He also created the "one-stroke calligraphy", which changed his father's disconnected grass into connected grass, often with consecutive numbers. Because of his heroic and magnificent calligraphy, he is valued by the world.
Wang Xianzhi devoted his whole life to studying calligraphy. He is very wise and once said to his father: "The ancient rules and regulations are not great... You should change your body." ? (Zhang Huaiguan's "Book Break") He was not satisfied with everything being the same as others, so he created his own style. Zhang Huaiguan's "Shu Yi" said: "Zi Jingcai is highly knowledgeable and far-sighted. In addition to cursive skills, he also opens a new door." The husband's running script is neither cursive nor true. It is separated from the square and rounded, which is between Ji and Meng. Those who are both true and true are called true practitioners; those who carry grass are called grass practitioners. Zijing's method is neither grass nor walking, the flow is facilitated by the grass, the opening is by the walking, and the grass is in the middle... Among the brushwork and posture, it is the most elegant. His new style of calligraphy, which is neither cursive nor written, is called "Po Bo style", also known as "Yiyi calligraphy". Wang Xianzhi's character evaluation
Wang Xianzhi's regular script and his son are famous all over the world. Calligraphers from the Tang and Song Dynasties wrote in regular script with strict, handsome and charming style. The regular calligraphy of their father and son is truly immortal, passed down from generation to generation, and has an indelible appeal.
In the century and a half from the end of Jin Dynasty to the Liang Dynasty, his influence even exceeded that of his father Wang Xizhi. Yuan Ang, a calligrapher and painter of Liang Dynasty, said in "Ancient and Modern Book Reviews": "Zhang Zhi is amazed, Zhong Yao is unique, Yi Shao Ding is capable, and he is the best in the world." ?The four wise men are called together. The person with the highest status in calligraphy between Song and Qi Dynasty once recommended Wang Xianzhi. Xianzhi learned calligraphy from his father. He was extremely talented and quick to innovate. He turned to Zhang Zhi and created the cursive script that connects up and down. Meiyan even surpassed his father. He became a saint from humble beginnings and was called "Er Wang" like his father. Liang Tao Hongjing's "Discussing Calligraphy with Emperor Wu of Liang" says: "Everyone in the world respects the calligraphy of Zi," but "not only in China, we no longer know that there is Yuan Chang, but the same is true for Yu Yishao." At that time, it almost became Wang Xianzhi's world. It was not until the Tang Dynasty, when Emperor Taizong tried his best to praise Wang Xizhi and belittle Wang Xianzhi, that some calligraphy critics began to think that Wang Xianzhi's calligraphy was not as good as his father Wang Xizhi. However, Mi Fu, a calligrapher of the Northern Song Dynasty, mainly learned from Wang Xianzhi. Hu Xiaoshi, a famous modern scholar and calligrapher, even believes that the "Kuaicao" of Zhang Xu and Huaisu's school was developed from Wang Xianzhi's cursive calligraphy.
Wang Xianzhi’s ink writings are rarely preserved, and the quantity is far less abundant than that of Wang Xizhi.
Because Emperor Taizong of the Tang Dynasty demoted him and did not purchase his works, only Wang Xianzhi's calligraphy in the inner palace remains. The calligraphy of the early Song Dynasty was promoted by "Two Kings". Song Taizong Zhao Guangyi paid attention to calligraphy, purchased the ink of ancient emperors and famous officials, and ordered the calligrapher Wang to copy and engrave ten volumes. This is the famous "Chunhua Pavilion Calligraphy". ?Every minister who visits the second government will give him a gift. Half of the posts are the works of "Er Wang". There are seventy-three pieces of Wang Xianzhi's calligraphy alone, and more than twenty pieces have been verified by later generations to be forgeries or written by others. During the Xuanhe period of the Northern Song Dynasty, Emperor Huizong of the Song Dynasty refined Wang Xianzhi's calligraphy and collected it in the "Xuanhe Calligraphy Genealogy" Wang Xianzhi's calligraphy increased to more than 80 pieces. However, most of these ink-printed books have not been preserved. There are no more than seven ink-printed books left, and they are all copies. Fortunately, some authentic engravings from past dynasties still exist, leaving valuable information for us to learn and understand Wang Xianzhi's calligraphy. Commentary on Wang Xianzhi
Wang Xianzhi (344-386), a great calligrapher of the Eastern Jin Dynasty, was born in Linyi, Shandong Province. He is the seventh son of Wang Xizhi. In the history of writing, he and his son have always been called "two kings". All the sons in Wang Xizhi's family were good at calligraphy, but Wang Xianzhi was the most talented, daring to innovate and not limited by his father, thus making outstanding contributions to modern regular script and modern script since the Wei and Jin Dynasties. His calligraphy surpassed that of his father in terms of style and charm. Mi Fu said that his handwriting was like a fire chopstick painting ashes, and the connections were unprovoked. If you inadvertently, the so-called "one-stroke calligraphy" refers to the "one-stroke calligraphy" in cursive script. Crazy grass. He also persuaded his father to change his style, which shows his boldness in calligraphy creation, and he is worthy of being praised as "little saint" by later generations.
Born in the home of "Book Sage"
Wang Xianzhi (344-386), also known as Zijing, also known as Guannu, was born in Langya Linyi (now Linyi, Shandong) in the Eastern Jin Dynasty. He is the seventh son of Wang Xizhi. He has served as the governor of the state, secretary, and chief historian. He has been promoted to general of Jianwu, prefect of Wuxing, and worshiped Zhongshu Ling, so he is called "Da Ling". He is known as "Little Saint" in the history of calligraphy, and is called "Er Wang" together with his father.
Wang Xizhi taught Xianzhi the art of calligraphy since he was a child. It is said that Xizhi once pulled out his pen from behind to test his writing power and sighed: "He will be famous again from now on!" It can be seen that Wang Xizhi had high hopes for him very early. It is said that Wang Xizhi wrote "The Theory of Brushstrokes" and said: "I tell you, Zijing, I have noticed that your calligraphy is excellent, but you are still unruly." Now I will write an article from "The Theory of Brushstrokes" to enlighten you, and also... Today's book "Le Yi Lun" is a copy, which can be found in your collection. Xianzhi truly understands the nature of calligraphy, not only in terms of technique, but also in being able to infiltrate interest into calligraphy. It is said that one time when Xian was out, he saw that the newly painted white walls of the North Hall were very clean, so he took a broom and dipped it in mud and wrote the words "Abbott" in size, which attracted many viewers. When Xi saw it, he marveled at its beauty and asked who made it. Everyone replied: Qi Lang. ?
Wang Xianzhi has superb calligraphy thoughts and far-sightedness. He persuaded his father to change his body, but he was only fifteen or sixteen years old. The depth of his calligraphy insights seems inappropriate for his age, but it is true. Tang Zhang Huaiguan's "Shu Yi" records that Wang Xianzhi said to his father: "The ancient chapters and chapters are not grand and elegant, and they are not different from the true style. The current ones are poor and fake, and are extremely careless. They are not as good as those in the past." The law is solid and special, adults should change their body. ?Xianzhi believes that things need to be flexible, and the independent words of the Zhang Cao and the growth of the waves cannot express a more grand momentum and free rhythm. After in-depth research, he believed that a way to break through the traditional method could be found between the Chinese script and running script, and suggested that his father should change his style. Wang Xianzhi's in-depth research on traditional calligraphy and his careful exploration of innovative approaches are truly outstanding.
The innovative and variant calligraphy is dominated by the soul and guides the descendants of this calligraphy sage. He wants to break through the past and create a new world. He also wants to surpass his father, be better than his predecessors, and establish a new standard. "Lun Shu Biao" written by Yu (龠羾) recorded: "Xie An asked Zijing:" How can the king's book be like the right army (referring to Wang Xizhi)? The answer is: "So we should win." ? Anyun: ? The theory of things is different. ?Zijing replied: ?The world knows that. ?Wang Xianzhi is not an ignorant person, and his self-evaluation is not nonsense. Sun Guoting's "Shupu" records that Xizhi went to Kyoto and inscribed a wall before leaving. Xianzhi secretly erased it and wrote another one, thinking he had written it well. When Xizhi came home and saw it, he sighed and said, "I was really drunk when I left." ?Xianzhi felt ashamed in his heart. This rumor shows that although Xianzhi is determined to compete with his father, he is also self-aware. Xian Zhi learned from his father, and then transferred to Zhang Zhi. He not only advised his father to change his style, but also practiced new methods himself.
Zhang Huaiguan once commented on Wang Xianzhi's creation in calligraphy in his "Book Discussion": "Zi Jingcai is highly knowledgeable and has opened up a new door in addition to cursive writing."
?Zijing’s method is neither grass nor walking. The flow is facilitated by the grass, and the opening is caused by the walking, and the grass is in the middle. ?If the wind is flowing and the rain is scattered, it is polished and blooming. Among the brushwork and posture, it is the most romantic. ?It is a pity that he died at the age of forty-three, otherwise his achievements in calligraphy would be even more impressive. Despite this, he has integrated his talents, unique mental outlook, thoughts and emotions into his calligraphy works one by one, leaving an immortal reputation in the art of calligraphy.
Wang Xian's nature is free and unrestrained, transcending the secular etiquette, and his romantic style is the crown of the moment. "Shu Duan" once recorded: The Taiji Hall was newly built in Taikang of Jin Dynasty. Xie An wanted his son to inscribe the list, thinking it would be a treasure for all generations, but it was difficult to say, so he said that Wei Zhong would inscribe the Lingyuntai incident. Zi Jing knew what he was referring to and said seriously: "General Zhong, a minister of Wei, would you rather have this happen? If you do this, you know that Wei's virtue is not long-lasting." ?Xie An stopped forcing him. Sometimes people ask him for books, but rarely get them; even if the powerful force forces him, he remains unmoved.
The art of calligraphy with deep correction
Wang Xianzhi’s calligraphy skills are rarely preserved, so his calligraphy skills can only be seen in rubbings of inscriptions and inscriptions. "Xuanhe Shupu" has recorded nearly 90 posthumous works, and Wang Xizhi has 243 works collected by Xuanhe's inner palace. It can be seen that the works handed down by Wang Xizhi at that time were already fewer than those of his father. Much more. Moreover, there is controversy over the authenticity of the ink marks of "Er Wang". The contemporary Shen Yinmo once said: "The ink written by Xian is even less than that of Xi Zhi. The only ones I have seen that are credible are copies of "Songli Tie" and "Yatou Wan Tie". In addition, if "Mid-Autumn Tie" and "Dongshan Tie" are used, it is rice (Fu) Lin. The ink mark on the "Rehmannia Tang Tie" that has been passed down from generation to generation was also imitated by later generations, which is quite interesting but not very beautiful. It must not be the original version of the "Daguan Tie". The "Twelve Months Cut to Remaining Tie" presented by the emperor can be seen in the engravings of "Baojinzhai", so it is certainly credible. I have tested it with his writing, and it is similar to the engravings in "Daguan Tie". ?
?Two Kings? Comparison of the Calligraphy Art of Father and Son
The comparison of the calligraphy art of Wang Xizhi and Wang Xianzhi has many opinions in the history of calligraphy, with mixed praise and criticism. Here is a brief introduction.
1. Internal expansion and external expansion. The technical characteristics of "Er Wang" are often marked by calligraphers using "inner (sun)" and "external" extensions. For example, He Liangjun's "Siyou Zhai Shu Lun" of the Ming Dynasty says: "Da Ling's brush is used to expand outward, so it is scattered and colorful;" Youjun's brush is used to draw inward (thrust), but it is convergent and colorful. Huan, Zhengqi is mixed together. ?Modern scholar Shen Yinmo also said: Later generations use internal (扌扌) and external extension to distinguish the calligraphy of the two kings, which is very reasonable. Take a look at the calligraphy of the great king, which is strong and upright, beautiful and quiet; the calligraphy of the little king is strong and soft, and the beauty is actually increased. Use visual terms to illustrate the meaning of "internal extension" and "external extension". "Internal extension" is the book of the victory of the bones (integument), and "external extension" is the book of the victory of the muscles (strength). Right The military book is drawn straight down, just like a cone painted on sand. The figurative expression of "outward expansion" can be described as "house leakage mark", which means more indulgence and less restraint (see "Guide to the Book of Two Kings"). Although the use of "internal (扌剌)" and "external extension" can explain many differences in the calligraphy of "Er Wang", it cannot cover everything, and careful inspection may not be very scientific. The big king can do both internal (扌而) and external expansion, so the internal (扌而) is the main one and the external expansion is the supplement. The little king can do both external and internal expansion. , should be "external expansion" as the main one and internal (extraction) as the supplement, and the difference in orientation is based on their respective aesthetic ideals. Pan Boying said: "Some people say that the inside of Xi's body is the inner one, and the Xian's one is the outer extension." This is only half the story at best. ?("A Brief Theory of Chinese Calligraphy") This statement is quite insightful.
2. Identification of the source of techniques. Bao Shichen of the Qing Dynasty once stated his own views and criticized Mi Fu's views in "Yizhou Shuangyi": "On the right army's true grass method, all the methods are derived from the Han Dynasty, and penetrated into Zhonglang (referring to Cai Yong); the great order's true grass method originated from the Qin Dynasty Seal script, cleverly connected with the Prime Minister (referring to Li Si). Mi Lao said that the right army should be contained in the army and the great order should be extended to the outside world, which was counterproductive. ?Modern scholar Hou Jingchang believes that: Bao Shichen believed that Dawang pen originated from official script and Xiaowang pen originated from seal script. This opinion is worthy of discussion. Hou summed up the characteristics and origins of Zhong Yao, Wang Xizhi and Wang Xianzhi's three schools of real running script in one sentence: Zhong is good at translating, Da Wang is good at melody, and Xiao Wang is good at straightness; translation comes from Fenshu, music comes from seal script, and straightness comes from official script ("Lun"). The authenticity of the Zhongwang Zhenshu and (Lanting Preface)"). It seems that the calligraphy art of Wang and his son has two main sources. The distant source comes from the seal script of Qin and Han Dynasties, and the recent source comes from Zhong and Zhang. They were then cultivated and developed into their respective styles.
3. Distinguishing the connection between cursive scripts.
Wang Xizhi studied Zhang Zhi's cursive calligraphy, breaking through the separation and isolation of chapter cursive calligraphy in terms of situation, and connecting it with each other. However, he generally did not combine multiple characters and only used two or three characters in one stroke. He used the power of Zhang Cao to develop into the introverted and reserved Jin Cao. Wang Xianzhi not only learned from his father, but also from Zhang Zhi, breaking through Wang Xizhi's continuous pattern and becoming more connected, which is called "one stroke of calligraphy"; from inward to outward extravagance, from being reserved to being unrestrained. The so-called "one-stroke calligraphy" refers to the style of "one-stroke calligraphy", which is formed in one stroke. Occasionally, there are discontinuities but continuous blood lines. If they are connected, the weather will lead to interlaced lines. Wei Zi respected his profound knowledge, so the words at the beginning of the line often follow the end of the previous line? (See "Book Break"). It is said that "One Stroke Calligraphy" originated from Zhang Zhi, and Wang Xianzhi used Zhang Zhi as the "leverage" and Xizhi's cursive script as the "fulcrum" to complete a creation that broke through the body.
4. Identification of bone potential. Yang Xin said: "Xian is good at Li Gao, but his strength is not as good as his father's." ?Zhang Huaiguan said in "Shu Duan": ?It is a pity that he is still rich in Yangqiu, indulges in unruly, has incomplete bones, and is sometimes trivial. ?Wang Xian's character is about spreading outwards and running freely, so sometimes it is not calm and smooth in rapid circulation, but it seems to be slippery; while Wang Xizhi's character is about the inner character (tiyan) and emphasizes the backbone, so the character is strong and strong. Of course this is a high-level comparison. Why doesn't Wang Xianzhi pay more attention to the strength of bones? For example, in "Thirteen Lines of Luo Shen Fu", Zhang Tingji of the Qing Dynasty said in the "Qingyi Pavilion Inscription and Postscript": "The strong bones and thick bones are wonderful and moving"; Is there any beauty? Of course, Wang Xian passed away in his middle age. If he can continue to hone his skills for many more years, his strength will be even better.
5. Distinguish between charm and interest. Wang Sengqian once said: "The dedication is far less than that of the father, but the charm exceeds it." ?Yang Xin also said the same thing. The style of Wang Xianzhi's calligraphy is like a dancing phoenix and a flying luan, with the grace of flowing hooks and loops, the pleasure of free and easy movement, and the flying colors of ink as the spirit of elegance. Zhang Huaiguan's "Shu Yi" said that his posture is "like the wind and rain, and the polish is blooming." Among the brushwork and posture, he is the most elegant. At the same time, it was also pointed out that Wang Xianzhi was always tired of defeats and ignored his flaws. In fact, Wang Xizhi's books are also very charming, so some people once criticized Han Yu's "Song of Stone Drums" for having the line "Xizhi's vulgar books take advantage of their charming appearance". Zhang Huaiguan also said that he was talented as a girl but not as a man. The charm in Jin people's calligraphy is related to the fashion of the times. This kind of charm is a kind of majestic charm, not soft charm. Xianzhi's charm is dazzling in the flow, jumping, and danger, and is more charming than his father.
6. Discussing artistic philosophy. The philosophical thought of Wang Xizhi's calligraphy art is mainly manifested in neutrality, which is the reconciliation and unity among various opposing factors. He has no fault or inferiority in the shape of calligraphy (such as fat and thin, square and round, short and long, flesh and bone, etc.), and he has no fault in the spirit of calligraphy (such as oddness, magnanimity, charm, etc.). Xiang Mu's "Yayan on Calligraphy" says: "As soon as Yi Shao comes out, he bows and gives way to rituals and music, he is strict and lawful, his spirit is brilliant, and he is a mixture of good and strange." Just like breaking through his father's cursive writing mode, Wang Xianzhi also consciously changed his father's creative thinking. He turned neutrality into imbalance and moved towards a new realm of winning with wonder and danger. Xiang Mu also believed that when the book reaches Zijing, the door to Shangqi will be opened.
7. Distinguishing calligraphy style. Let’s talk about Zhangcao first. Wang Xianzhi inherited his father’s Legalist style, and his style of Zhangcao can be seen from "Tie on July 2nd" and so on. The calligraphy style of this post is quaint and elegant, but the ups and downs and mixed sizes also show a free and unrestrained personality. Let's talk about regular script. In "On Book Tables" written by Yu (龠羾) of the Southern Dynasty Song Dynasty, it was said: "Xian Shi studied his father's script, but the regular script is not similar." ? Zhang Huaiguan's "Book Break" says that Wang Xizhi wrote "Le Yi Lun" and dedicated it to him. He was learned enough to be able to write a very small real book. He could be said to be a saint from a humble age, and his muscles and bones were as tight as his father's. If they are big, they are straight and less graceful. How can they be of the same age? Let’s talk about running script. Wang Xizhi blended it deeply with his emotions, bridged the past with the present, and created excellence. "Lanting Preface" is known as "the best running script in the world". Wang Xizhi consciously and consciously carried out pioneering and legislation, setting an example for future generations. Although Wang Xianzhi also made considerable contributions in running script, his running script failed to break out of his father's standards, and his conciseness, skill, and talent were not as good as those of his father. In cursive writing, father and son each have their own characteristics. Wu Dexuan commented: "The great order is crazy, changing the methods of the right army and opening up its own door, squandering freely and without following the old rules." I said that although Daling's cursive script is as unrestrained as possible, it still retains the charm of Qingyuan. ? (See "Essays on the Book of Chu Yue Lou") Huang Tingjian made a comparison in "Valley Inscriptions and Postscripts": "Da Ling Cao's method is very different from Boying's. Chun Gu Shao hates it, and Mijue Chenger." Therefore, those who comment on calligraphy in the middle regard Youjuncao as the Nengpin, and Dalingcao as the Divine. I have tried to compare the cursive writing of Youjun's father and son. Youjun is like the Zuo family, and the great order is like Zhuang Zhou.
?Of course there are also very unfair evaluations, such as Emperor Taizong of the Tang Dynasty who admired Wang Xizhi and belittled Wang Xianzhi. His "Biography of Wang Xizhi" says: "Although the presentation has the style of the father, it is not a novelty." The style of his calligraphy is sparse and thin, like a dead tree in the middle of winter; the traces of his writing are restrained, like the hungry clerk of the Yan family. It is a dead tree, although its branches are not bent or stretched; it is a hungry slave, but it is restrained and weak but not indulgent. Combining these two, the disease of calligraphy and calligraphy is consolidated!? Tang Taizong's comments were completely on Wang Xi's side, and he was even buried with the original "Lanting Preface".
The independent value of Wang Xianzhi’s calligraphy
Historically, the two kings are often referred to together, and the big king is often used to summarize the little king, but Wang Xianzhi’s calligraphy has its own independent value.
After Wang Xizhi arrived in Kuaiji, his achievements in the art of calligraphy reached its peak. However, after he swore off his official duties, most of his notes were written by ghostwriters, which was criticized. From the death of Wang Xizhi to the beginning of the Liang Dynasty in the Southern Dynasty, it lasted about a century and a half. During this period, Wang Xianzhi's calligraphy was popular among those who studied his calligraphy because of his charming, interesting and elegant style. Among them, the famous masters who imitated the little king, as recorded in "Shu Duan", included Huan Xuan, Emperor Wen of the Song Dynasty Liu Yilong, Yang Xin, etc. In particular, Yang Xin is said to be the only one who enters the house, so people at that time said, "If you buy the king, you will get the sheep, and you will not be disappointed." In addition, there are Bo Shaozhi, Xie Lingyun, Kong Lin, Qiu Daohu, Qi Gaodi Xiao Daocheng, Xiao Sihua, Fan Ye, etc., all of whom also have the interest of Xiaowang. This is one of the reasons why Wang Xianzhi's reputation is growing. Yang Xin's calligraphy skills were unique after Wang Xianzhi's, and he taught them to his disciples, which further expanded Xianzhi's influence.
So why did Emperor Taizong of the Tang Dynasty disparage Wang Xianzhi? Some scholars believe that if Li Shimin wanted to learn calligraphy in the early Tang Dynasty, he must have started with Wang Xianzhi, because at that time Wang Xianzhi's handwriting was easier to obtain than his father's. Later, Li Shimin saw Wang Xizhi's ink marks. Perhaps Li Shimin was not willing to live under Wang Xianzhi, so he took his father out. Because Li Shimin praised the great king and belittled the young king, people at that time were frightened by the emperor's decree, so they erased his name from the relics signed by Wang Xianzhi, or changed it to the names of Yang Xin, Bo Shaozhi and others. However, there are still many people in the Tang Dynasty who imitated the Little Kings, especially those who studied cursive script in the Tang Dynasty. Ouyang Xun's truthfulness and practicality both imitate the great king and imitate the little king, and they are integrated into one body. Shen Zengzhi, a recent scholar, also said: "Shu Geng (referring to Ouyang Xun) followed the rules and made changes according to the master's orders." ?Yu Shinan and some other calligraphers also imitated Wang Xianzhi, and Zhang Huaiguan said: ?Yu's calligraphy contains the grand regulations of the great order, which contains the upright colors of the five directions, showing off his appearance, wisdom and courage. Wang Shaozong had a clear vision and far-sightedness. He was talented and wrote ancient books, and his ancestors told Zijing. Sun Guoting, Boya has articles, and the cursive charter is the second king. ?People in the Tang Dynasty attached great importance to Wang Xianzhi's cursive script, especially Kuang cursive script. Zhang Xu's cursive script was developed from Wang Xianzhi. Cai Xizong of the Tang Dynasty said in "Dharma Calligraphy": Zhang Cao's majestic appearance is for the heaven, and some commentators think that Zhang Gong is also the king's second appearance. Huai Su also converted to Xiao Wang. His "Notre Dame Tie" was light and round, and passed through the Wang family's base several times before pulling out its red banner (see Zhao Han's "The Essence of Graphite"). It can be seen that although Li Shimin belittled Xiao Wang, many people in the late Tang Dynasty still learned from Wang Xianzhi.
After the Five Dynasties, Yang Ningshi of Zhou Dynasty studied "two kings" concurrently, and achieved outstanding achievements by learning from it. Shen Zengzhi said: "The changes in the grass situation are that the nature of the grass is wrinkled, spread out and let go, big order changes, relaxed and proud, wrinkled and cracked, to collect and release." (Zhang) Xu and (Huai) Su Qijiao both came from this place, and Yang Jingdu was his direct descendant. ?("Hai Ri Lou Zha Cong")
Mi Fu, one of the four great calligraphers in the Song Dynasty, said: ?Zi Jing is innocent and transcendent, how can he compare with his father? Ash, even without any reason, if not inadvertently, the so-called "writing" is the first one in the world to pay tribute to. Mi Fu admired Wang Xianzhi, and liked the "innocent and transcendent" interest of hand chasing. Mi Shu and Xiao Wang Shu are closely related. Another calligrapher, Cai Xiang, also said: In the early Tang Dynasty, there were still many handwritings of the two kings. Scholars at that time imitated them, but few of them survive today. However, the names of Ou (Yangxun), Yu (Shinan), Chu (Suiliang), and Liu (Gongquan) are all famous books, and the calligraphy of the contract is all from the Wang family and his son. Those who studied the great order were mostly indulgent, while Xizhi devoted himself to it. There is magic everywhere in the pen. ?Cai Xiang admires Jin Yun, and his charming and refined temperament is similar to that of Xiao Wang. Huang Tingjian also praised "Da Ling Cao as a god", Huang Shu's brush strokes are round, vigorous and old, and the structure is tight vertically and horizontally. For example, Su Shi's writing is not similar to that of "Er Wang", but there are similarities. Jiang Kui also highly praised Xiao Wang. He once said: "Except for "Luo Shen Fu", which is written in regular script, most of the imperial decrees written in the world are written in cursive. "Nanny Zhuan Zhi" is written in regular script, with all the rules and regular scripts, and the writing style is strong and upright, which is the same as "Lanting". " and "Le Yi Lun" are combined to seek the methods of the two kings, but do not believe in them.
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Since the Yuan, Ming and Qing Dynasties, those who have studied Xiao Wang’s calligraphy and made outstanding achievements include Zhao Mengfu in the Yuan Dynasty, Zhu Yunming, Wen Zhengming, Dong Qichang in the Ming Dynasty, Wang Duo in the Qing Dynasty, etc. There are many examples, and I cannot list them all.