What is Yang Weizhen's contribution to the literary world?

In Yuan Dynasty, Yang Weizhen was a calligrapher with unique personality charm. Judging from the source of his calligraphy teacher, it seems that he is no different from contemporary calligraphers. Regular script ruled the Jin and Tang Dynasties, especially Ouyang Tong and Chu Suiliang; Running grass as far away as France, Han, Jin, Zhang Zhi, finally took a completely opposite road to the current trend. Compared with Zhao's rigorous and law-abiding calligraphy, Yang's calligraphy is wild, eccentric, cold and simple; The former has the temperament of royalty, while the latter has the appearance of Ye Fu in the mountains. Analyzing the reasons, firstly, it has something to do with his lofty and maverick character, and secondly, it has something to do with his calligraphy thought. Yang Weizhen attaches great importance to the expression of "facial bone" and "temperament and tolerance", so although his calligraphy is developed on the basis of learning tradition, he strongly opposes conformism and does not think about change.

Epitaph of Zhou Chat is the representative work of Yang Weizhen's regular script, with clear handwriting and great momentum, including Ouyang Tong Daochang Monument, Chu Suiliang and Ni Kuan Zantie. Every stroke is dignified and dignified, and the ending is even more dignified.

His representative works include Zhen Jing Academy Book, South of the City Choir, Poetry Book and Youxian Choir. These works are sloppy and messy, and truth, line and grass are mixed together. At the same time, Cao Zhang's brushwork and structure are mixed, which is very strange. Knots are changeable, with different sizes, thick and thin; Composition is even more bizarre and archaic, and the spacing between words is often greater than the spacing between lines, which breaks the traditional layout of calligraphy and creates a new look; In the seemingly chaotic pattern, there is a jumping and exciting rhythm, such as a thousand troops coming out of Ma Benteng, which is imposing. Wu Mingkuan commented: "The general moved his troops, and the three armies fought Kai, but the axe was broken and short, so it was carried back."

Yang Weizhen's calligraphy is unlimited, and his creative principles of spontaneity and self have a far-reaching influence on later generations, especially the innovative calligraphy school in Ming Dynasty.