Mrs. Wei's ancestral home was Wei, and she was an ordinary official in the Western Jin Dynasty. She recorded the history of ministers, while Suo Jing was only good at cursive script, which was called "a set of two unique skills". Starting from his father Wei Heng, Huang Menlang became an official, and his calligraphy was also very good. He wrote four-body calligraphy. Father Wei Zhan, Jiangzhou historian, Ting Wei, died in the official. Mrs. Wei is not very studious and likes calligraphy. She has been studying under the great calligrapher Zhong You for a long time, learning its composition, and her official script is very good. According to her self-report: "Learning to be excellent is an official, imitating Zhong You for many years." She once wrote a poem about cursive script and was entrusted to write an "urgent chapter" for the court. Although his calligraphy works have not been circulated so far, we can still get a glimpse of his style from the relevant discussions of the predecessors. Jin people once praised Mrs. Wei's calligraphy: "The ice of the jade pot is broken, the moon of the Yao platform is rotten, graceful as a tree, and silent as the wind." It fully affirmed the characteristics of Mrs. Wei's calligraphy, such as elegance, simplicity, fluidity and thinness. In fact, this is the inheritance of Zhong You's calligraphy style, but on the basis of Zhong You's thin and neat flying, it reveals a graceful and agile charm. Xu Wei in the Tang Dynasty said: "Mrs. Wei's books are like flower arranging dancers, with low lotus;" Another example is the beauty on the stage, and the fairy is the shadow; Red lotus reflects water and governs clouds. "Comparing her calligraphy with three groups of beautiful images, we can see that Mrs. Wei's calligraphy is full of aesthetic feeling and has a feminine style unique to women, which is quite different from that of Zhong You. This is Mrs Wei's development and creation based on her own temperament and learning from Zhong You. Therefore, Mrs. Wei is listed as a famous calligrapher, below the top grade, that is, first-class and third-class Li Sizhen of the Tang Dynasty also held the same opinion, pointing out that Mrs. Wei was "excellent in integrity". The famous calligraphy theorists in the Tang Dynasty even listed Mrs. Wei's calligraphy as a wonderful work, second only to several first-class products with the highest quality. Zhang Yanyuan, an art historian, has a relatively low evaluation of Mrs. Wei. He classified Mrs. Wei as a second-class first-class product. But at the same time, he said, "Li's wife, Wei Shi, is a sect in China. "From the above comments, we can completely see the important position of Mrs. Wei in the book circle at that time.
Mrs. Wei not only made outstanding achievements in the practice of calligraphy art, but also made great achievements in the theory of calligraphy art, made a comprehensive and in-depth discussion, wrote a volume of "Pen Tu", comprehensively and in-depth consulted relevant calligraphy theory, and put forward her own views. In her book, she first pointed out that the beauty of calligraphy is "not using a pen first". Advocating learning calligraphy should be traced back to the source, learning from the ancients, and opposing practice makes perfect, learning without support, learning without use, learning without success. Mrs. Wei also suggested that when studying and creating, we should pay attention to the varieties and origins of pens, ink, paper and inkstones, and emphasize that if workers want to do well, they must first sharpen their tools. It is also emphasized that attention should be paid to writing, and different writing styles should adopt different writing methods. Through concrete analysis, it is said, "Those who are impatient in write slowly are those who are impatient in write slowly. The pen is close but not tight, and the heart is uneven. The first pen will fail; If the pen is in a hurry, the one who intends to write first wins. " Beyond the simple discussion of writing with a pen, this paper makes a profound discussion on the relationship between pen and meaning in calligraphy art and the cultivation of calligraphers. Mrs. Wei also has an incisive discussion on using a pen when writing different fonts. She thinks that there are six ways to use a pen, namely, seal script "flying over the eaves", composition "dangerous and horrible", eight-part essay "graceful and graceful entry and exit" and flying white characters "Geng Jie and Te Li". If "every word is like its shape", then ". It should be said that Mrs. Wei's exposition on the use of pens still has some merits today. In essence, she raised the question of calligraphers mastering different writing styles. As for strokes, Mrs. Wei put forward seven standards for seven different strokes. Teacher Wei's vivid and appropriate description of seven basic strokes is a good way for beginners to get started. In addition, Mrs. Wei also put forward the theoretical principles of beginners' calligraphy in Bi Tu, such as "you must write big books first, not small ones" and "good scholars don't write, good writers don't learn", which is also valuable experience. On the basis of the above discussion, Mrs. Wei summed up her overall understanding of calligraphy art and put forward the theory of "strength and strength": "If you write a little ink painting, you must do your best to send it." "Well written is skinny, and poorly written is fleshy. The skinny and fleshy one is called Jin Shu; The fleshy bones are called ink pigs. The strong and the strong are holy, and the weak are sick. " This is essentially the result of Mrs. Wei's life-long practice of calligraphy art, which represents her overall understanding of the theory of calligraphy art, points out the direction and road for later calligraphers, becomes an important content and evaluation standard in China calligraphy theory, and has a great influence on the development of calligraphy theory and practice in past dynasties. Although Mrs. Wei's "brush drawing" refers to and draws lessons from some predecessors' expositions, on the basis of inheritance, Mrs. Wei's development and creation are indispensable.
Mrs Wei's fame has spread all over the world. Wang Xizhi, a famous calligrapher, used to study calligraphy at the door when he was a teenager. Later, "Looking at You" became a leading figure in the history of calligraphy in China. As an adult, Mrs. Wei married Li Moment, the satrap of Ruyin and the secretariat of Tingzhou. A son named Li Chong is an official assistant of Zhongshu. Influenced by his mother, he has a title.