Why don't regular script always use Wang Xizhi's words?

Wang Xizhi, who was honored as a "book saint", absorbed the essence of previous calligraphy and found a new way. He is good at regular script, running script and cursive script, and his words are fresh, "flowing like clouds, swift as a dragon". Based on the book reviews of past dynasties, Wang Xizhi's calligraphy style is magical, ever-changing, unique and at its peak, namely regular script, running script and cursive script (now grass). Since the Han and Wei Dynasties, the three bodies of Qi, Xing and Cao have gradually evolved. The direction of evolution is to simplify the complex and tend to be fast and practical. The way of evolution is the efforts of folk craftsmen, official calligraphers, dignitaries and Confucian scholars, which have been tempered and sublimated by outstanding calligraphers of Gaomen clan, influenced each other and merged into the mainstream. Wang Xizhi is a typical representative of these excellent calligraphers. Regular script, or regular script and original script, is a kind of writing formed in the evolution of official script. In Han bamboo slips, the embryonic form has been seen. During the Eastern Han Dynasty, official script prevailed, while regular script was only popular among the people. By the end of the Eastern Han Dynasty and the Western Jin Dynasty, due to the processing and refining of literati and officialdom, it was different from official script and became a fashionable style. Wang Xizhi's regular script "Gebian Guti" has made a positive contribution to the finalization of modern regular script. During the Eastern Jin Dynasty, Wang Xizhi rose suddenly, and his lower case letters were cherished by people at that time. Representative works include Le Yi Lun, Huang Ting Jing, Dong Fangshuo's Painting Praise, Taishi Zhen, Luo Shen Fu, Persuasion Table, etc. In the early Tang Dynasty, when collecting Wang Shu, Emperor Taizong collected Le Yi, Huang Ting, Hua Zan and Lan Ting into the Imperial Palace. Wang Xizhi's regular script was directly taught by Mrs. Wei and her uncle Wang, belonging to the Zhong You system of Wei in the Three Kingdoms period. His regular script style should be relative to that of Zhong You. Zhong You's original regular script, Wang Xizhi can see a lot at that time, and there is indeed a record in the Shangshu Declaration Form. It was given to him by his uncle Wang Dao after he brought it from Langya to Jianye (now Nanjing). Later, Wang Xizhi lent the original to Wang Xiu, who was thirty years younger than him. When Wang Xiu died, his mother buried the declaration form with him. Therefore, the handed down Declaration Form is actually a copy of Wang Xizhi. This temporary "Declaration Form" and "Recommended Season Table" handed down from generation to generation by Zhong You are written in the form of official script, which can represent Zhong You's regular script style. Zhong You's regular script also has a strong sense of official script, especially the official script in the Three Kingdoms period at the end of Han Dynasty, which is very obvious in his regular script. However, this flying brush gesture disappeared in Wang Xizhi's regular script and was replaced by a regular and symmetrical brush gesture. As a kind of regular script that has begun to take shape, Zhong You's regular script has some long and irregular strokes, while others are temporary and appropriate. Within a word, the structural relationship between strokes is not clear. So the standard is incomplete, the combination is loose, the vertical is short and the horizontal is long, and it looks like a flat plum, which has the potential of transverse tension. This situation has been greatly improved in Wang Xizhi's regular script. Wang Shu extended the vertical stroke downward to make it straight and used it in his pen. NE36 1？ Other stippling echoes symmetrically, so it tends to spread vertically. Wang Xizhi's brushwork changed the beginning and end of the official brushwork of Zhong Shu. At the beginning of the brushwork, there was a disappointment, mostly because Fang Bi entered the paper; And the pen receiving place did not intentionally fold the pen and press it again, but gently lifted the tape back; In terms of pen speed, it is slow before and then urgent; In the form of strokes, it is even and compact, like an array. After this transformation, the regular script font is in Wang Xizhi's hands, and the configuration relationship between strokes is basically established. The structure changes from horizontal to vertical, regular and vigorous, graceful and elegant, and generous. This is a huge change. After this reform, Wang Xizhi introduced regular script into a dignified and vivid "close-to-body character" stage. This change was finally completed in the strict law of the Tang Dynasty. Running script, like regular script, was also very popular in Han Dynasty. From Han bamboo slips, we can see the early running script. This early running script is also a new writing method gradually developed from the practical writing of official script. It is simple, open and relaxed, and has a strong proper limit. During the Eastern Han Dynasty, running script entered the upper class and was constantly standardized. Zhang Huai? NF 146？ "Shu Duan" contains: Liu Desheng, a master of running script in the Eastern Han Dynasty, is known as the "father of running script". Liu Desheng, a native of Yingchuan, is famous for his running script (146- 188). Although he was a pioneer, he was also beautiful and graceful, which was unique at that time. Of course, Liu Desheng didn't "create" the running script, but what is absolutely certain is that Liu Desheng has unparalleled finishing power. Zhong You, Hu? ND5D 1？ Both of them studied in Liu Desheng, but they have different styles, and they are called' Hu Pang Zhong Shou'. Hu? ND5D 1？ , the word Kongming, Yingchuan (now Xuchang, Henan) people. He was born in a noble family, unwilling to be an official, devoted himself to music and Taoism, entertained himself with classics, and was especially good at official business, which was as famous as Zhong You and Han Danchun. Especially Xin Xin, was a model for people at that time. But none of the works survived. Zhong You was born in Yingchuan. When the Emperor was offered in the later Han Dynasty, he was a servant of Shangshu and was appointed as Wuhou Ting. Cao Wei was then prime minister and appointed Dingling Hou. Good stele book (official script), articles of association book (regular script), banknote book (running script). Calligraphy is all the rage because of its high official position. His calligraphy style was still very popular when Wang Xizhi arrived. At the beginning of the founding of New China, Sima Yan, Emperor Wu of the Jin Dynasty, decided to write a paper, which was based on the books of Zhong You and Zhao Hu. Learning Chinese characters in the early years naturally cannot surpass Zhong and Hu. Wang Xizhi compared Hu and Zhong's calligraphy, followed the tradition of Wei and Wang, and chose Zhong You's calligraphy style. The characteristics of Zhong You's running script are similar to those of Li Bai's literature in the Western Jin Dynasty, even more primitive. The left and right strokes are underdeveloped, the official script is heavy, the vertical painting is short, and the horizontal painting is thick and long, showing a slightly left-leaning horizontal posture. Wang Xizhi's early running script "Tie Auntie" still has the horizontal and vertical writing habit of official script, with little ups and downs and cadence, which is rarely shown. The writing speed is relatively gentle, almost uniform, and the style is simple and simple in Gu Zhuo, not divorced from the clock. Wang Xizhi's later running script works have changed greatly in style and taken on a new look. Representative works include Preface to Lanting, Mourning Post, Confucius Post, You Mu Post, Sunny Snow Post, Cold Cutting Post, Yuan Huan Post and Shangyu Post. In these works, the posture of strokes has a vivid tendency, and' those who are upright and incorrect have a refreshing atmosphere' (Liang's Book Review of Ancient and Modern Times). This sideways trend is attractive and compact in structure, clever and dense in trend, and contains a kind of "potential" and "state" that comes to an abrupt end and is ready to go, that is, the so-called "Dragon in the sky, tiger lying in the phoenix pavilion". There is a reflection band between words, which seems to be broken, such as' smoke falling and dew knot'. This kind of running script occupies a large proportion in Wang Xi's works and is the main theme of his running script style. When Wang Xizhi's new running script came out, Zhong You's running script was both ancient and old. People in the Eastern Jin Dynasty admired beauty, and the trend of the times became new and tired of the old. Wang Xizhi's running script became a model for dignitaries, nobles and literati to imitate, thus ending the era when Zhong You's running script unified the book world. In Wang Xizhi's new calligraphy, the center and the side wings are mutually used, and the words are clear at a glance. The writing speed is relatively fast, and it has a striking charm. Because of the coherence of strokes, the echo relationship between strokes is closer, and the situation of stippling has changed accordingly, such as pressing the foot, which is no longer flat after heavy pressure, and more is a long point-like back pressure. Wang Xizhi introduced cursive brushwork into the running script, which made the running script have a flattering style. His "Lanting Tie" has rich brushwork, strong brushwork, smooth speed and smooth form. Moderate fiber, natural and implicit, harmonious and peaceful structure, not irritating. On the other hand, the "Burial Post" has fast strokes, jumping, cursive, hyphenated, intense emotions and vigorous strokes. These two posts are the representative works of Wang Xizhi's new running script, which have become the' code' of running script and have been followed by future generations. Cursive script has sprouted in the late Qin and early Han dynasties. Since the 20th century, a lot of cursive ink has been unearthed in the northwest of China. As soon as the cursive script appeared, it aroused the ecstasy of the Han people. Learning cursive script can forget to eat and sleep, day and night, and you can build a wall by drawing until your arm and finger are broken and your mouth is full of blood. Write once every ten days and use a few pills of ink a month. Cursive script has become the most expressive style of calligrapher's artistic personality, which is highly praised by scholars and calligraphers. Most of the cursive scripts in the Han and Wei Dynasties are Cao Zhang, which retains the brushwork of official script, and a few are the embryonic form of modern cursive script, which is simpler than Cao Zhang. The difference between the two is that: the former is independent of the characters, equal in size, incoherent in strokes and full in waves; The latter word can be connected, uneven in size, free at will, and rotated more. At the end of Han Dynasty, some cursive writers appeared, such as Cui Yuan, Du Du, Luo Hui and Zhao Xi. One of the most outstanding representatives is Zhang Zhi. Zhang Zhi, whose real name is Boying, is from Jiuquan, Dunhuang. He is good at cursive writing. He studied Buddhism from Du Du, Cui Yuan and others, but it was more subtle and unique, so he was called "the sage of grass". Calligraphers in the Three Kingdoms and the Jin Dynasty used Zhang Zhi as a model if they learned cursive script. Zhang Zhi's cursive script, due to the limitation of the times, has not been divorced from official script, but is actually cursive script. Zhang Huai? NF 146？ "Introduction" said: "Later people called it Cao Zhang, but Zhang Boying made it extremely obscure." The most reliable blueprint for Wang Xizhi to learn cursive script is Suo Jing's July 26th Post. This post was written by Wang Xizhi's uncle Wang? ND447？ Gift. There are few works handed down from Cao Zhang by Wang Xizhi, and the most reliable one is The Leopard Slave Post. His Cao Zhang, written beautifully, is amazing. Wang Xizhi's cursive script is not an old-school Cao Zhang, but a new modern grass. What future generations affirm and admire is that he destroyed the ancient law, cut one, and turned the ancient into the present grass. Wang Xizhi's modern cursive script was produced in the process of sublating Zhang cursive script. Compared with Zhang Zhi's Cao Zhang, Wang Xizhi's Modern Grass is smart, indulgent and fluent. Although the connection of Wang Xizhi's brushwork is mostly embodied in one word, what he presents is a spiritual connection, not a formal connection, that is, what Emperor Taizong said is "the shape is broken". In this way, the two seemingly incongruous ends of Cao Zhang's calligraphy style and the smooth and leisurely brushwork of modern cursive script have been integrated in Wang Xizhi's modern cursive script, giving it a new look. Wang Xizhi's modern cursive script has reached the extreme in the changes of pen and structure. The pen is mainly square-folded, rigid, clean, simple and leisurely. Between a painting, the peaks and turns fluctuate; Within a little, I fell to the milli-awn "(the score of Tang Sun Guoting's book). The' shape' and' potential' of stippling are restrained, inclined, long or short, square or round, and almost undeveloped and natural. Seventeen posts is the representative work of Wang Xizhi's cursive script. Seventeen posts is an emotional book. Footprint is not only a style, but also a form, which is the main carrier of literati calligraphy since Wei and Jin Dynasties. Yan Zhitui of Beiqi said:' It is really cursive, so we should pay attention to it. There is a saying in Jiangnan: "A thousand miles away is a thousand miles away." Ouyang Xiu, a writer in the Northern Song Dynasty, said:' I like to see the remains of pen and ink since Wei and Jin Dynasties, but I miss the lofty aspirations of my predecessors! The so-called law posts are all about questions in illness, mutual stay and communication, which are applied between family and friends, but only a few lines. Gaiqi was unintentional at first, but it was full of interest, dripping and swaying, gorgeous or ugly, all in various shapes, wearing curly letters, so that it was amazing at first sight, and it was memorable after reading it, so that future generations thought it was a spectacle and wanted to see him as a person! "(Postscript Collection of Ancient Books)" Seventeen Posts "is such a letter. The whole article is true, the structure goes with the flow, and changes randomly in the situation of sick books. Skill and talent, reason and sensibility blend together naturally. Systematic style Wang Xizhi's calligraphy achievements are various, which can be said to be' a masterpiece of a hundred schools of thought and a wonderful work of many bodies'. Wang Sengqian, A Liang of the Southern Dynasties, said in his Book Theory: "The dead great grandfather led Zhuan Xu and the right army, both of which became ancient things. No, there are bells and bells. " (Note:' QIA' refers to Wang Qia). Where's Don? NF 146？ "Shuduan" said: "The right army is ingenious, digging through Tianjin, so it can increase the damage to the ancient law, cut it into a near pose, advance and retreat the charter, show off its quality, push the party to perfection, move moderately, be extremely heroic, and be wonderful. "Wang Xizhi got rid of the conservative style of using a pen since Wei and Jin Dynasties, changed the simple and honest style in Wei and Jin Dynasties, and created a vigorous, charming, elegant, neutral and elegant calligraphy style, which pushed China's calligraphy to an unprecedented height. What Wang Xizhi has achieved is not only a style and a realm, but also a system of calligraphy art, which is serious and elegant; There are opposites and harmony; Affectionate and reasonable; There are laws and freedom. Therefore, all kinds of calligraphers-classical, modern, aesthetic, ethical, realistic, romantic, masculine, feminine ... can regard it as a great model and draw nutrition from it. Wang Xizhi's system, like an aesthetic invisible ruler, measures the quality of China's calligraphy in past dynasties. Xiang Mu, a critic in the Ming Dynasty, said:' If you have little leisure, you will know the present and the past, and calligraphy will be integrated. The advantages and disadvantages of nature are different. ..... Zhi Yong, a gentleman, tolerant in quantity, but young and handsome. Ou Yangxun has beautiful bones, but lacks a warm appearance. Zhu Suiliang gained strength, but he was not at ease. Li Yong was both proud and embarrassed. Yan and Liu Jicheng learned the Book of Changes, but lost its rigor. Xu Su has his transcendental interest, but he is not surprised. Lu and Xu Qinqin kept the house, but they lost control. Going to court is fun, but it's frugal. Cai Xiang has a heavy appearance and a strong imperial court. Zhao Meng? NFDA2？ Get its gentle state. However, Cai is so heavy that people can't put it down and it's so charming. Although Lu Zhi knows how to write, he hangs his hand and sweeps the floor himself. Su Shi is the only one who advocates strictness and restores Zhang. Sue is like a fat and beautiful maid, being carried as a wife, with a bad and big style, so she keeps her mouth shut. Miruo, the romantic son, was infected with carbuncle and galloped to test his sword, but no one was watching. I don't have time to discuss in detail except counting princes. "Xiang Mu's judgment is not absolute, but it can explain the great influence of Wang Xizhi's calligraphy system on later generations.