Wang Xizhi is one of the famous calligraphers in the Eastern Jin Dynasty. His calligraphy has an important historical status and reference value in our country. So, what do people think? The following is my evaluation of Wang Xizhi compiled for you, I hope it can help you.
What do celebrities say about Wang Xizhi?
Xiao Yanyun: "Zi Jingzhi does not follow Yi Shao, but Yi Yi Shao does not follow Yuan Chang."
Qu Yi: " I once had Boying's chapter written on ten pieces of paper, but it was lost when I crossed the river. Suddenly I saw my brother's letter at his feet, and he was as bright as a god."
Emperor Wu of Liang Dynasty. : "Wang Xizhi's calligraphy is majestic and majestic, like a dragon leaping over the heavenly gate or a tiger lying on the phoenix tower. Therefore, it has been treasured by generations and will always be used as a lesson."
Taizong of the Tang Dynasty: "He is the only one who is admired by his heart and chased by his hands. It's trivial and so on."
Yu He: "Xi Zhi's book says: 'I have searched for famous books, but Zhong and Zhang Xin are the best, and the rest are not enough.' He also said: 'My book. Bi Zhong and Zhang should resist, while Zhang Cao should be like a flying goose.
Sun Guoting said: "Zhong Yao, the chief of Yuan Dynasty, specializes in official script, and Boying, Zhang Zhi. *** is especially good at grass style, which has two beauties, and is both elegant and short. ”
Mi Fu: “The post of thanks and consolation is written in ancient times, and is above the two kings. It is suitable for criticizing Zi Jing at the end of the post.” "
Overall evaluation of Wang Xizhi's calligraphy
Wang Xizhi is known as the "Sage of Calligraphy". Whether he knows calligraphy or not, everyone knows that Wang Xizhi is a unique calligrapher. In the vast ocean of calligraphy, Wang Xizhi has already He has been set up as a beacon by many calligraphers and a model for calligraphers of all ages. Wang Xizhi's standards are used to measure famous calligraphers of all ages. p>
Some comments said: "Although Wang Xizhi is praised as the "Sage of Calligraphy" in the history of Chinese calligraphy, he is not regarded as a solidified icon, but only as a "perfect" calligraphy creation in Chinese culture. symbol. Things are always developing and moving forward. Wang Xizhi reached the pinnacle of "perfection" in his era. This "holy image" will surely call upon those who come after him to reach new pinnacles of calligraphy in their respective eras. "Although the worship of Wang Xizhi was broken here, it still failed to break the pattern of people's understanding of Wang Xizhi. Why is Wang Xizhi's calligraphy the best? Why is Wang Xizhi's calligraphy considered flawless?
Wang Xizhi's calligraphy sage status There are two major factors:
First, Tang Taizong admired Wang Xizhi's calligraphy so much that he summoned calligraphers from all over the world to copy "Lanting Preface". To a certain extent, it promoted Wang Xizhi's calligraphy status. But this is not absolute. Tang Taizong's calligraphy skills are not shallow. He should be able to judge Wang Xizhi's calligraphy level. The main reason is Wang Xizhi himself.
Second, Wang Xizhi's calligraphy skills. Calligraphers of all ages have regarded Wang Xizhi as the "Sage of Calligraphy", so there is no shortcoming to be found in Wang Xizhi's calligraphy, because Wang Xizhi is considered to be perfect. It is absolutely true that Wang Xizhi cannot be surpassed. The calligraphers of the past dynasties, including Ouyan Liuzhao, Su Huangmicai, Weng Liuchengtie and many others, are almost inseparable from Wang Xizhi's calligraphy.
I think the main reason is the orthodoxy and doctrine of the mean in China's feudal period:
Wang Xizhi's calligraphy is respected as the orthodoxy of calligraphy, and Wang Xizhi's method is also respected as the orthodox method by the calligraphy community. Any violation of Wang Xizhi's laws are all considered rebellious, but are all those who violate Wang Xizhi's laws bad? Some people say that Wang Xizhi's laws are still used today, but those laws that violate Wang Xizhi no longer exist. , can this kind of law that was spurned as soon as it came out be passed down? After Wang Xizhi's calligraphy was respected as orthodox, a group of calligraphers such as Ouyang Xun, Yan Zhenqing, Liu Gongquan, Zhao Mengfu, etc. were all influenced by Wang Xizhi to varying degrees. Knowing the imperial examination, the fonts for the imperial examination were based on European style calligraphy to a certain extent. This developed Ouyang Xun and indirectly developed Wang Xizhi. When Ouyang Xun was regarded as a model of European style calligraphy, later European style calligraphy was developed. The painter also took Ouyang Xun as the standard, so he could never surpass Ouyang Xun, and Wang Xizhi, who was copied by Ouyang Xun, became an even more unattainable pinnacle.
Wang Xizhi's calligraphy. It seems to calligraphers that "no one has characteristics and no style", and Wang Xizhi is "beautiful in the mean".
This standard is regarded as the ultimate state of calligraphy, and this idea is obviously restricted by Confucianism. When we equate Wang Xizhi with the essence of Confucianism, we will find that Wang Xizhi has become a Confucius of Confucianism in the calligraphy world and an unshakable saint. No matter how great the subsequent calligraphers are, they are of course incomparable when measured by Wang Xizhi's standards. It is not surprising that comments such as Huaisu, Zhang Xu, and Wang Duo are too bold compared to Wang Xizhi, and Ouyang Xun is too dull compared to Wang Xizhi, etc. In China's feudal society ruled by Confucianism, as long as Confucianism remained unwavering, Wang Xizhi would basically remain unwavering. But it is different in contemporary times. The status of Confucianism has been greatly reduced. Therefore, many calligraphers began to criticize and reflect on Wang Xizhi. Does our calligraphy have to be moderate? Must it be neither left nor right?
If Wang Xizhi is an unreachable peak, then the subsequent calligraphy of the Tang Dynasty was not as good as the Jin Dynasty, the Song Dynasty was not as good as the Tang Dynasty, and the Yuan Dynasty was not as good as the Song Dynasty , the Ming Dynasty was not as good as the Yuan Dynasty, the Qing Dynasty was not as good as the Ming Dynasty, the Republic of China was not as good as the Qing Dynasty, and the contemporary period is not as good as the Republic of China. Putting aside Wang Xizhi’s taboos, shouldn’t our calligraphers reflect on it?
My humble opinion! Let’s review our own opinions after our calligraphy skills improve. See if you can gain new insights in the future.
How does Wang Xizhi evaluate himself?
My book is more popular than Zhong and Zhang Dang, or it may be said that it exceeds them; Zhang Cao is especially popular as a flying goose. Zhang is very skilled, he studied calligraphy in the pond, and the pond is full of ink. If I delay, I may not thank him. Those who understand it later will know that his comments are true. I have been working hard for a long time, looking for old books, but Zhong and Zhang Gu are outstanding, and the rest are minor and not worth paying attention to. Go to the second sage, and the servant book will come second. The meaning of the calligraphy must be deepened and the dots and paintings must be intentional. There are endless words for it, and if you understand its beauty, everything will happen. Pingnan and Li Shi will not thank you for their discussion. The relevant content of "Zi Lun Shu" has been described in "Lun Shu Biao" written by Yu He during the Liu and Song Dynasties in the Southern Dynasties; it has also been recorded in "Book of Jin·Biography of Wang Xizhi"; it has been cited again in Sun Guoting's "Shu Pu" in the Tang Dynasty. Although they are There are small differences in words, but the general idea is the same.
Wang Xizhi puts his calligraphy art on the level of the history of Chinese calligraphy. He believes that "only Zhong and Zhang are unparalleled, and the rest are minor and not worthy of attention." And his own calligraphy is different from that of Zhong and Zhang. Yao and Zhang Zhi are on par with each other, or even surpass them in some places. Compared with Zhang Zhi's cursive script, their level is particularly close. Wang Xizhi's evaluation of his calligraphy art is pertinent and objective. He is not exaggerating, nor is he modest and gentlemanly. He is full of the confidence of a great master. Wang Xizhi spent a lot of hard work learning Zhong Yao and Zhang Zhi. Zhong Yao's "Declaration Table" was highly valued by the Wang family. Many people in the family have studied it. Only Wang Xizhi's calligraphy is comparable to it. Worse than that. Wang Xizhi once said that his "real calligraphy is better than bells, while cursive scripts reduce Zhang." In fact, Wang Xizhi's cursive script is naturally pure and vivid, and is generally recognized as superior to Zhang. This can be seen from cursive scripts such as "Seventeen Tie". Wang Xizhi recognized Zhang Zhi's skill of "learning calligraphy in front of the pond and using all the ink in the pond water", but Wang Xizhi's skill in his later years was not inferior to Zhang Zhi's.
Compared with his contemporaries, Wang Xizhi's calligraphy art is "Ping Nan and Li Shi are not grateful to you". Pingnan is Wang Pingnan, Wang Xizhi's uncle Wang Xian; Li Shi is Mrs. Wei's nephew. They are both famous calligraphers. Wang Xizhi obviously surpassed them. Here it is said that "no thanks to the emperor".
This essay on calligraphy puts forward its own views on calligraphy creation: "It is necessary to deepen the meaning of calligraphy, and there is meaning in the dots and paintings. There are things that cannot be said, and those who get their wonderful things are the same in everything. "The "meaning" exists between the dots, not on the surface of the dots. This "meaning" is mysterious and profound, which can only be understood but cannot be expressed in words. He believes that "meaning" is the highest state of calligraphy. When later generations commented on Wang Xizhi's calligraphy art, they said it was "superb", which means that it has the connotation of "meaning", and "meaning" is the "meaning" of metaphysics to express metaphysical emotions. Using calligraphy as an expression of mysterious emotions, as early as Mrs. Wei's calligraphy theory "Biography", she had already proposed to treat "meaning" and form as a whole as a preparation before creative conception. Wang Xizhi's " "Yi" has been further deepened, taking "Yi" as the boundary between "calligraphy" and non-calligraphy.