(1) "Internal expansion" and "External expansion".
The technical characteristics of the "two kings" are often marked by "internal expansion" and "external expansion". For example, He Liang Jun's "Four Friends Zhai Shu Lun" in the Ming Dynasty said: "The big order is expanded with a pen, so it is scattered and colorful." "The right army converges with a pen' squatting inside', and it is amazing." Modern Shen also said: "It is very reasonable for future generations to distinguish the works of the two kings by pouting inside and expanding outside." The king pouted inside, and Xiao Wang swelled outside. Try reading the book of the king, vigorous and straight, beautiful and quiet; Xiao Wang's book is only soft, but it has actually increased. "Explain the meaning of" pushing inward and expanding outward "in an intuitive way." Pushing inward "is a book of strength, while" expanding outward "is a book of strength. You Jun's book "Extending Directly Down" is a vivid expression of "painting sand like a cone" and "extending outward", which can be described as "leaking marks", with more indulgence and less convergence (see a glimpse of the two kings' dharma books). Although "pouting inside" and "expanding outside" can explain many differences in the calligraphy techniques of "Two Kings", they can't cover all aspects, and careful investigation may not be very scientific. The king can be "unfolded" or "unfolded", and Wang Neng Jr. can be "unfolded" or "unfolded" as the master and unfolded. The differences in orientation are based on their respective aesthetic ideals. Pan Boying said: "Some people say that Xi's' pouting internally' means providing it with' external expansion'. This is only half said at most. " (On China's Calligraphy) This statement is quite insightful.
(2) Different sources of technology.
In the Qing Dynasty, Bao once stated his views in "Art Boat and Twin Towers" and criticized Mi Fei's views: "On the true grass calligraphy of the right army, it is divided into Chinese and goes deep into the corps commander (referring to Cai Yong); Daling really practiced the grass method and brought it to Qin Zhuan. The connection with the Prime Minister (referring to Lisi) was wonderful ... Mi Lao said that' the right army contained and Daling extended overseas' was counterproductive. " Hou Jingchang, a modern man, thinks: "Bao thinks that the king's pen originated from Li and the little king's pen originated from seal script, which is debatable." Hou Shi summed up the characteristics and origins of Zhong You, Wang Xizhi and three true cursive scripts in one sentence: Zhong Shan turned over, Wang Shan sang and Xiao Wang Shan zhi; Excavated in the sub-book, Song came from seal script, directly from official script (the authenticity of Wang Zhongzhen's Book and Lanting Preface). Wang's and his son's calligraphy seems to have two main sources, the distant source is Qin and Han seal script, and the near source is Zhong and Zhang, and then they are cultivated and developed into their own style.
(3) The cursive script is different.
Wang Xizhi learned Zhang Zhi's cursive script, which broke through the division, isolation and connection of Cao Zhang from the situation, but generally he did not make multi-word couplets, and only printed two or three words at a time. He took advantage of Cao Zhang's turn and developed into an introverted and accumulated modern grass. Wang Xianzhi not only learned from his father, but also learned from Zhang Zhi, which broke through the pattern of Wang Xizhi's connection and became a "book" with more words; From introversion to extravagance, from accumulation to escape. The so-called "one book" refers to: "The style of characters is formed by strokes, occasionally disconnected and connected by blood, even connected, and the climate is staggered. Only the son respects his profound thoughts, so the words at the beginning of the line often follow the end of the line "(see broken books). The word "One Book" originated from Zhang Zhi, and Wang Xianzhi used Zhang Zhi as a lever and Wang Xizhi's cursive script as a fulcrum to complete a kind of "broken body" creation.
(4) The bone potential is different.
Yang Xin said, "A good servant is not as good as a father." Zhang Huaiguan's Broken Book said: "I regret that it is still rich in youth and autumn. It is unrestrained, its bones are not complete, and sometimes it is trivial." Wang Xianzhi is mainly expanding and fleeing, so sometimes he fails to be calm and happy in the rapid cycle, but he is suspected of being light and slippery; Wang Xizhi, on the other hand, is full of backbone, so his words are strong. Of course, this is a high-level comparison. Didn't Wang Xianzhi dive heavily? For example, in the Thirteen Lines of Ode to Luoshen, Zhang Tingji in Qing Dynasty said in the Ming Postscript of Qingyi Pavilion: "The style is thick and strange." "However, Fengshen shakes, strong bones and muscles, and there is no beauty." Of course, Wang Xianzhi died in middle age. If he can exercise for many years, his bone potential will be better.
(5) Different tastes.
Wang Sengqian once said: "Dedication is far less than father's, but there are too many charms." Yang Xin said the same thing. Wang Xianzhi's book style is like a phoenix dancing and flying, with the beauty of returning hooks, the joy of flying, and the flying ink as an escape soul. Zhang Huaiguan's "Book Theory" said its posture, "If the rain is scattered and polished, the most romantic brushwork posture is also." At the same time, it also refers to Wang Xianzhi, "Sometimes tired, regardless of defects." In fact, Wang Xizhi's book is meaningless, so it was criticized. There is a saying in Han Yu's "Song of the Stone Drum" that "Wang Xizhi's ripe body is beautiful". Zhang Huaiguan also said that he: "There are girls, but no husbands." The charm of Jin people's calligraphy is related to the fashion of the times. This charm is a male charm, not a gentle charm. Wang Xianzhi's charm is more attractive than his father's, in flowing and jumping, in precipitous and relaxing.
(6) Different artistic philosophies.
Wang Xizhi's calligraphy philosophy is mainly manifested in the neutralization, harmony and unity among various opposing factors. His calligraphy is perfect in form and quality (such as fat, thin, Fiona Fang, short, long, flesh and blood, etc.). ), and he is innocent in the expression of calligraphy (such as strangeness, capacity, rhyme, interest, etc.). Xiang Mu's elegant words in calligraphy say: "If you escape a little, you can be polite, strictly abide by the law, you can be talented, and you can be as strange as you." Just like breaking through his father's cursive pattern, Wang Xianzhi also consciously changed his father's creative thinking. He turned "neutralization" into "imbalance" and went to a new realm of winning by "strangeness" and "danger". Xiang Mu also thinks: "Book Jingzi, the door of novelty is open."
(7) Different writing styles.
Let's talk about Cao Zhang first. Wang Xianzhi inherited his father's legalist thoughts, and his Cao Zhang style can be seen from the article on July 2nd. The brushwork of this post is simple, but the pitch and jump, the size is patchy, and it also shows a free and informal personality. In addition to regular script, Yu and Lun Shu Biao in the Southern Song Dynasty said: "The first sacrifice of learning from the father's book is not similar." Zhang Huaiguan's "Book End" said that Wang Xizhi wrote "Le Yi Lun" to Wang Xianzhi, "He can learn very little and really, which can be described as a poor man, with close bones and muscles, and does not reduce his father." If it is big, it will be particularly straight. How can it be the same year? "Besides, running script, Wang Xizhi's affection is deep and harmonious, and he will learn from the past and create excellence. Preface to Lanting is known as "the best running script in the world". Wang Xizhi consciously explored legislation and set an example for future generations. Although Wang Xianzhi also made great contributions to running script, his running script failed to get out of his father's norms, and it was not as concise, elegant and brilliant as his father. In cursive script, father and son have their own characteristics. Wang Xizhi stands out from the crowd, knows this well, saves complexity and creates a new cursive system, but he is better than his father in "one book". Wu Dexuan commented: "The big order is crazy, changing the law of the right army and creating your own portal. It is extravagant and can't be the main thing. "I said that Daling cursive script, although vigorous and unrestrained, still does not lose the charm of Qingyuan." (See "The Book of the Early Moon: On Lou"). Huang Tingjian made a comparison in "The Postscript of the Valley Monument": "The big order grass method is extremely forced to England, simple and hateful, and the achievement is felt. So in the middle of the book, the right army grass enters the energy product, and the big order grass enters the spiritual product. I tried to compare the cursive scripts of the right army father and son. The right army is like the left, and the big order is like Zhuang Zhou. " Of course, there are also unfair comments. For example, Emperor Taizong worshipped Wang Xizhi and belittled Wang Xianzhi. His biography of Wang Xizhi said: "Although it is paternal, it is not a new coincidence. Look at its character, thin, like a dead tree in the middle of winter; Look at the trace of his pen. Is Yan's family hungry? So are its dead trees, although they are bent and stretched; If he is hungry, he will be restrained from indulgence. Both of them, Gu Hanmo's illness! " Emperor Taizong's criticism was completely inclined to Wang Xizhi's side, and he even died with the original preface to Lanting.