Thirteen lines of Luo Shen Fu, referred to as Luo Shen Fu for short, is the representative work of Wang Xianzhi's lower case calligraphy in the Eastern Jin Dynasty. The original ink was written on hemp paper, and the content was the famous poem "Luo Shen Fu" by Cao Zhi, a famous writer of Wei State in the Three Kingdoms period, but it was damaged and lost in the Tang and Song Dynasties.
Handed down prints are rubbings based on the original stone of the Song Dynasty, including "Jasper Edition" and "White Jade Edition", among which
"Jasper Edition" is better. It was unearthed in the former site of Geling Banxian Hall, West Lake, Hangzhou during Wanli period of Ming Dynasty, and is now in Liaoning Museum. Luo Shen Fu is a fine-print work by Wang Xianzhi. It is said that Wang Xianzhi is good at writing Luo Shenfu and has written more than one book. The original doesn't exist anymore. Today, only the stone calligraphy carved by Jia Sidao is called "Jasper Thirteen Lines" because of its jade color. It's in the capital now.
The Thirteen-line Style of Luoshen Fu
Wang Xianzhi's Ode to Luoshen (Thirteen Lines) is elegant in style and free and easy in brushwork, while Vencent Yang's man of iron Zhai Shu Hao in Qing Dynasty thinks that "the words are beautiful and elegant, and the lower case is the best in the world". It can be seen from Luo Shen Fu (line 13) that Wang Xianzhi's writing style of regular script no longer has the meaning of official script, and the glyph has changed from horizontal to vertical, and it is fully mature.
The lettering of this engraved post is strong, elegant and spacious. The strokes such as the left and right strokes in characters are often very long, but they are not frivolous and powerless. The stroke is passed to the end of the stroke, which is vigorous and powerful. The font is symmetrical and harmonious, and the combination of each part has subtle and vivid changes. The size of words is different, and the spacing between words naturally changes. Wang Xianzhi's regular script and Wang Xizhi's. However, the text expression presented is more exposed, and more "extension" brushwork is adopted. Have had a far-reaching impact on future generations. Song Donglang's Postscript to Guang Chuan Shu says: Amethyst's Ode to Luo Shen is difficult to write. Compared with Wang Xizhi's Huang Ting Jing and Yue Yi Lun, it changed from tight to straightforward.
If you want to appreciate the Ode to Luo Shen, then the following reference website has everything from materials, appreciation and translation. You can go there and have a look. I won't copy and paste them one by one.