"Sang Luan Tie" is a Tang copy of Wang Xi's ruler tablets, written in cursive script. Hard yellow ring extension, double hook outline and ink mark on white linen paper. "Sang Luan Tie" has exquisite brushwork, many sideways poses, and a strange and unrestrained style. It is a typical work of the latest postures created by Wang Xizhi. Collected in the Sannomaru Shozokan, Imperial Household Agency, Japan. There are 62 characters in 8 lines, which are connected with the "Er Xie Tie" and "De Shi Tie" into one sheet, with a length of 28.7 cm and a width of 58.4 cm. It was introduced to Japan during the reign of Emperor Shomu. In March 2006, it was exhibited at the "Sino-Japanese Calligraphy Treasures Exhibition" held at the Shanghai Museum. Original text: Xizhi paused: The mourning was extremely chaotic ①, first tomb and then left ② poisoned ③, the pursuit of ④ was extremely cruel, the ⑤ admiration ⑤ was destroyed, ⑥, the pain penetrated the heart and liver, and there was nothing to do when the pain was so painful! Even though it was repaired, it didn't get a Mercedes-Benz⑦, and the sorrow became deeper and deeper, but there was nothing I could do! I feel choked before the paper, and I don’t know what to say! Xi Zhidun nodded. [3] Notes ① Sangluan: Death and chaos. Later, it was mostly used to describe the current situation or political turmoil. ① Li: suffer together, suffer hardship or misfortune. ③Poison: poison, mutilate. ④Zhui Wei: Also known as "Zhui Wei". Reminisce; recall. ⑤Haomu: It refers to mourning the loss of parents and expressing feelings of nostalgia and admiration. ⑥Destroy: Extremely sad. ⑦ Benz: generally refers to traveling quickly. "Chen Qing Shi Biao" written by Li Mi of Jin Dynasty: "If the minister wants to follow the imperial edict and run fast, Liu's illness will get better and better." ⑧ Feeling choked: I was so moved that I burst into tears. The calligraphy style of "Sang Luan Tie" is strong and strong, the structure is long and vertical, and the weight and speed are very varied. It completely gets rid of the remnants of official script and Zhangcao and becomes a very pure cursive style. When writing, he writes first and then scribbles, and when he writes, he scribbles again, which shows that his emotions change drastically from depression to excitement. Han Yutao's article "Evaluation of Wang Xizhi's "Sangluan Post"" said that this post is incompetent for four reasons: first, it is an excellent essay in itself; second, the writing of this post is powerful, and it is the true face of the Right Army and the real The character of Youjun; thirdly, "Sangluan Tie" has both majestic and bleak beauty; fourthly, this post shows the complete process from walking to grass. Therefore, "Sangluan Tie" is a rare treasure and is Wang Xizhi's most representative work in his late years, superior to Feng Chengsu's copy of "Shenlong Benlan Pavilion". [6] "Sang Luan·Er Xie·De Shi Tie" is full of brilliance, exquisite brushwork and strong sense of movement. The structure is multi-faceted and sideways, with a strange and unrestrained appearance. It is a typical work of the latest postures created by Wang Xizhi and a representative work of his sideways style. It has always been valued by calligraphy learners. Scholars of composition, calligraphy theory and calligraphy Jia Qiu Zhenzhong analyzed the composition of "Sangluan Tie" in his article "The Composition of Chapters": "The composition of "Sangluan Tie" is extremely rich: the fold axis with a large swing, the reappearance of strange connections, the subtle cooperation between the row axes... these Everything makes their axis diagrams show unprecedented moving changes." Tilt: "In Wang Xizhi's previous works, the tilt of the axis of a single character generally did not exceed 6 degrees, and most of them were close to the vertical line." "In Wang Xizhi's "Frequently Sad Misfortunes" and "Sangluan Tie", the single character axes exceeding 6 degrees account for 73%, but they are well connected with other single character axes, so the line axes are presented as continuous polylines, which creates a strong feeling Fluctuation, while maintaining the coherence of the work. For example, the first and third lines of "Frequently Sad Misfortune" and the second, seventh and eighth lines of "Sangluan Tie" are balanced: "The axis of most lines of "Sangluan Tie" is slightly oriented. The tilt to the left forms the special appearance of this post; the first character axis of the first line breaks away from this trend and shifts slightly to the right, which just maintains the stability of the entire axis of the line, but does not hinder the tone of the axis flowing downward; second The axes of the fourth, fifth, and seventh rows become variations on the theme of the first row; the axes of the third and sixth rows tend to be vertical, balancing the instability of the work's center of gravity shifting to the left. These two axes subtly echo the linear shapes of the axes on both sides. , the extremely careful kissing of the lower part makes them become invisible pillars in the work; the axis of the eighth row also has a similar effect. Its right-leaning axis of the first character of the sixth row is together with the right-leaning axis of the first character of the sixth row, and the left-leaning axis of the beginning of the other rows. The trend of confrontation has also become an important force in maintaining the balance of the work." [9] The writing style of "Sang Luan Tie" has completely lost its official style, and the structure has completely lost its balance. His graceful and free manner makes him feel sophisticated and smooth, without a trace of artificiality.
[14] Regarding "Jin people's brushwork", calligraphy theorist and calligrapher Qiu Zhenzhong wrote an article "Some Issues About the Evolution of Brushwork" in 1981. The article said: "In the Eastern Jin Dynasty, in Wang Xizhi's "Chu Yue Tie" and "Seventeen Tie" "In works such as "Zhangcao", Zhangcao has developed into modern grass, and at the same time, the twisting and turning brushwork has achieved unprecedented achievements." "Wang Xizhi's "Frequently Sorrowful Tie", "Sangluan Tie", "Kong Daizhong Tie" and other works, like "Chu Yue Tie", are masterpieces of calligraphy art in this period." "If we do not regard the stipples in the work as lines, but as blocks of various shapes, we can find that the shapes of these blocks are relatively complex. The edges of the blocks are a combination of complex curves and polylines. , the curves are beautiful, the folds are strong and straight, and at the same time, the pointillism has a strong sense of sculpture, and the ink color seems to have a tendency to overflow from the edges of the pointillism. This richness and three-dimensional feeling are all due to the tapered surface of the brush. Every bit of the work is like a ribbon flying in the air. Its different sides are intertwined and twisted, and are presented to us at the same time; it seems that it is no longer a flat object, it has created volume. : The side of this section implies the space occupied by the other side. This is the "Jin people's brushwork" that people talk about. It is the fruit of twisting. " Regarding the two incidents of poisoning Wang Xizhi's tomb, Han Yutao said. In the article "Evaluation of Wang Xizhi's "Mourning and Luan Tie"", it is believed that the "first tombs" of Youjun refer to the ancestral tombs of Wang Xizhi, that is, the cemeteries from below Wang Ji in the Western Han Dynasty to above Wang Lan in the two Jin Dynasties. The location of the first tomb is in Nanrenli, the capital of Linyi (according to "New Book of Tang Dynasty: Genealogy List of Prime Ministers"). "Xian Tomb" was "free from Tudu" at the beginning of Wuhu's chaos in China, that is, before and after the Jin Dynasty crossed the river, but Wang Xizhi was not yet an adult at this time. Han Yutao believes that "Reliving the Poison" occurred in 356 AD (the twelfth year of Yonghe) during the battle between Yan Taiyuan King Murong Ke and Duan Gong in Guanggu. At that time, Murong Ke besieged Duan Gong in Guanggu for seven months. Duan Gong, who surrendered to the Eastern Jin Dynasty and was appointed as the general of Zhenbei, could not support himself, so he asked for help from the Eastern Jin Dynasty. In August 356, the Eastern Jin Dynasty sent Xuzhou Governor Xun Xian to rescue him. When Xun Xian traveled to Langya, he encountered the Yan army Wang Teng and Zhao Pan attacking Langya and Juancheng. So Xun Xian attacked Yangdu (now Yinannan, Shandong) and killed Wang Teng. "Book of Jin Xun Xian Biography" records: "When Murong Jun attacked Duan Ni in Qingzhou, he ordered Xian to rescue him. Jun general Wang Teng and Zhao Pan attacked Langya and Juancheng, and there was a commotion in the north. Xian attacked him, captured Teng, and Pan Bing. Go. The army retreated to Langya, but the niche was gone. Xian returned to Xiapi, leaving General Zhuge You, Gaoping Governor Liu Zhuang and other 3,000 men to guard Langya, and Dai Sui and Xiao Ju had 2,000 men to guard Mount Tai." Han Yutao believed after research. Wang Xizhi's ancestral tomb in Linyi, Langya, was poisoned by the Yan army. As a good friend of Wang Xizhi, Xun Xian "restored it immediately" after beheading Wang Teng, so it was logical. Therefore, it is believed that "the "Sangluan Tie" was written in August of the twelfth year of Yonghe." It was against this historical background that the tomb of Wang Xizhi was destroyed again and again, but he could not rush to repair the tomb, so he wrote a letter to express his helplessness, grief and indignation. "Not only in the Han Dynasty, but even in the Eastern Jin Dynasty when people were cultivating both rituals and Xuan, this was extremely painful and intolerable. The outcry expressed in "Sangluan Tie" is not difficult to understand."