What is the meaning of Wei-Jin style embodied in calligraphy?

There is no doubt that Wang Xizhi is the representative of the embodiment of Wei-Jin demeanor in calligraphy. Wang Xizhi's important contribution lies in his integration, integration and improvement on the basis of countless achievements of predecessors, so that calligraphy, which is purely out of natural development, enters the lofty and exquisite verve realm. There are two charms in his works: one is to express the beauty of changeable techniques; One is to show the beauty of all kinds of personality. Technically, Wang Xizhi's calligraphy has changed from a simple calligraphy style in the Han Dynasty to a new style of beauty and beauty. Wang Sengqian, a calligrapher in the Southern Qi Dynasty, put forward that "the wonderful way of calligraphy is superior in spirit and secondary in form and quality", which can be said to be an accurate summary of the basic characteristics of Wang Xizhi and his calligraphy works in this era. From the aspect of revealing the beauty of personality, the external form of Wang Xizhi's cursive script is sincere and simple, and the style is smooth and natural, but the inner part is filled with a sense of unrest, which just shows that the celebrities in Wei and Jin dynasties are romantic and chic on the surface, but their hearts are full of sad psychology and emotions. This kind of emotion is vividly displayed in Aunt's Post and Funeral Post. The Preface to Lanting further develops this cultural field and becomes the best interpretation of various personality beauty, showing that the dominant trend of calligraphy creation has shifted from expressing natural spirit to people's own spirit.

"verve" is also reflected in calligraphy theory. During this period, calligraphy theory's works came out one after another, with extensive contents and pioneering significance. The representative works include: Suo Jing's cursive script, Wei Heng's four-body script, Wei Shuo's "Pen Map", Wang Xizhi's "After Mrs. Wei's Pen Map", "On Calligraphy" and "Twelve Chapters on Pen Map". Exploring its origin, Mrs. Wei and Wang Xizhi's calligraphy theory originated from Cai Yong in the Eastern Han Dynasty. Cai Yong's understanding of the essence of calligraphy art includes three levels, namely, "spirit", "potential" and "form", which can be coordinated and fully expressed in calligraphy works through the efforts of the creative subject. On this basis, Mrs. Wei's "Pen Diagram" clearly puts forward the creative idea of "meaning before writing", which has become a classic language in calligraphy aesthetics and laid a solid foundation for the establishment of the aesthetic status of calligraphy itself.

Wang Xizhi studied under Mrs. Wei, and then transferred to many teachers. After Mrs. Wei, his book theory is the most abundant and has a unique aesthetic character of the times. His book theory is full of a series of aesthetic concepts of calligraphy with artistic dialectics, which has become the origin of the aesthetic concepts of calligraphy in pairs since then. These concepts mainly include: size, depression, urgency, fluctuation, length, density, strength, delay, straightness, hiding, height, distance, Fiona Fang, width, thickness, smoothness, surplus and deficiency, etc. There are two main differences between Wang Xizhi's previous book theory: First, the theory of "showing form and showing potential" puts forward the inseparable relationship between "form" and "potential". The second is the inspiring theory of book meaning, which emphasizes the creative principle of "intention before writing", puts "intention" in the commanding position of the general, and decomposes "intention" into two levels: tangible meaning and intangible meaning.