Wang Xianzhi practiced calligraphy with his father since childhood, and he was very ambitious. Later, he regarded Zhang Zhi as a whole. He is famous for his running script and cursive script, but he also has a deep foundation in regular script and official script, because Tang Taizong didn't appreciate his works very much, and his works were not as many as his father's. The masterpiece "Thirteen Lines of Luo Shen Fu" handed down from ancient times is also called "Thirteen Lines of Jade Edition". The predecessors commented on Wang Xianzhi's calligraphy "Dancing in the snow, Yue Long in the clear spring". Precise and ingenious, unexpected. "His pen, from" extension "to" extension ".
His cursive script is even more valuable. Yu Zhuo once said: "The cursive script was handed down from Zhang Zhi in the Han Dynasty, just a wonderful person and a slave." His cursive script Mo Bao handed down from generation to generation includes Duck Head Pill Post and Mid-Autumn Post, all of which are imitations of the Tang Dynasty. His "Duck Head Pill Tie" is a cursive script with the word * * * 15 in silk. Wu Qizhen praised this post in the Book of Calligraphy and Painting in the Qing Dynasty, saying: "(This post) calligraphy is elegant and straight, amazingly beautiful, naturally interesting, and it is the supreme product." His Mid-Autumn Post is a cursive script with 22 words. It looks new and rare in the world. Emperor Qianlong of the Qing Dynasty listed it as a "national treasure".
Like his father, Wang Xianzhi's study of books is not limited to the whole subject, but poor. Therefore, we can create our own unique style on the basis of "gathering the strengths of many families and the beauty of many bodies". Finally, he achieved an artistic position alongside Wang Xizhi. Book traces include Mid-Autumn Post written by Mi Fei in the Song Dynasty.
Wang Xianzhi was a giant among calligraphers in Wei and Jin Dynasties. The careful teaching and guidance of his father Wang Xizhi laid a solid foundation for his brushwork. As one of the masters in the late Wei and Jin Dynasties, he objectively provided him with the opportunity to learn from others and to be eclectic, and won the artistic status and prestige that kept pace with Wang Xizhi. Xie An once asked him, "How does your calligraphy compare with your father?" Wang Xianzhi said, "Of course it's different, each has its own strengths." Xie An said: "Other people's comments are not like this." Wang Xianzhi said: "Where do others know?"
He also created a "book", which turned his father's unconnected grass from top to bottom into connected grass, often a coherent number. Because of its magnificent calligraphy, it is valued by the world.
Wang Xianzhi's regular script father and son are famous all over the world, and the regular script written by calligraphers below the Tang and Song Dynasties is neat and handsome, full of charm. Their father and son's calligraphy is really immortal and has indelible appeal. Huan Xuan loved their father and son's calligraphy very much, and made two book bags, which contained their father and son's calligraphy and painting respectively, and kept them for appreciation.
For a century and a half from the end of Jin Dynasty to Liang Dynasty, his influence even surpassed that of his father Wang Xizhi. Yuan Ang, a painter and calligrapher in the Liang Dynasty, said in the Book Review of Ancient and Modern Times: "Zhang Zhiqi, Zhong You is the best in the world." Combine the four sages. Wang Xianzhi was once pushed by the highest calligrapher during the Song and Qi Dynasties. Concentrated on learning books from his father, he was very talented and sensitive to innovation. He transferred to Zhang Zhi and created a cursive script that runs from top to bottom. He even surpassed his father and became a saint, and he was called "two kings" with his father. Liang Tao Hongjing's On Books says: "Everyone in the world respects books", "Everything in the world is nothing more than ignorance." At that time, it almost became Wang Xianzhi's world. Until the Tang Dynasty, Emperor Taizong highly praised Wang Xizhi and belittled Wang Xianzhi. Some calligraphy critics began to think that Wang Xianzhi's calligraphy was inferior to his father Wang Xizhi. But Mi Fei, a calligrapher in the Northern Song Dynasty, mainly learned from Wang Xianzhi. Hu Xiaoshi, a famous modern scholar and calligrapher, thinks that Weeds by Zhang Xu and Huai Su was developed from Wang Xianzhi cursive script.
Wang Xianzhi's ink remains are rarely preserved, and the quantity is far less than that of Wang Xizhi. Wang Xianzhi's works in the imperial palace "only exist" because Emperor Taizong condescended to provide them instead of buying them. Calligraphy in the early Song Dynasty emphasized "two kings". Song Taizong and Zhao Guangyi attached great importance to calligraphy, bought Mo Bao, a famous ancient emperor, and ordered Wang Shuzhu to copy ten volumes. This is the famous Spring Flower Pavilion. "Every minister who goes to the second palace will get a gift." Half of the posts are the works of "Two Kings". There are 73 pieces of Wang Xianzhi's calligraphy works, and more than 20 pieces have been verified by later generations as fakes or written by others. During the reign of Xuanhe in the Northern Song Dynasty, Song Huizong was good at Wang Xianzhi's calligraphy, and the collection of Wang Xianzhi's calligraphy in Xuanhe Pu Shu increased to more than 80 pieces. However, most of these ink books have not been preserved, and the remaining ink books are no more than seven, and they are all manuscripts. There are still some original prints in the past dynasties. Wang Xianzhi is good at painting. At the invitation of Huan Wen, he changed the ink on the fan into a black horse cow. Zhang Yanyuan described his paintings as "inferior in quality" in the Record of Famous Paintings in Past Dynasties.