I asked myself calligraphy, compared with a hill, the mountain is not high and the ground is not aura; Compared to a pool of water, the pool is not deep and the water is not clear enough; Calligraphy is not very refined, and it is not well known. Later, my understanding of calligraphy deepened, and I was particularly wary of the "hiding" and "truth" of calligraphy, but I gave up because of gout. This state has been maintained for nearly four years, and now the exaggerated romantic brushwork is further than in previous years.
Recently, the confusion about calligraphy has decreased slightly. Now, this bizarre writing style is likely to come from outer space, and I am often confused myself. Yesterday I saw Wang Xizhi's "Two Thanks" and found the answer in it. Only then did I understand that the way of writing is indeed the case.
The full text is as follows:
Because the mountain is not high, the ground is lifeless; Because the spring is not deep and the water is not clear; Because his book is not good, there is no title. Later, it was enough to be deeply warned, and the truth was concealed. Recently, he is four years old, and he is almost ignored. Today, he escaped and won all the previous years. I don't know where it came from I often don't know my ears. Yesterday, I presented the book "Two Thanks" and asked about things in the mountains.
Extended data
Huai Su became a monk at an early age. After Zen Buddhism, he engaged in art and writing, especially cursive script. He is called a "crazy monk" because of his cursive samadhi. Calligraphy is famous for its wild grass, which is as famous as Zhang Xu, and is called "crazy element". Handed down from ancient times, there are self-narrative posts, thousands of words on grass, bitter bamboo shoots and books.
Lun Shu Tie is an early work, which is not as arrogant as mature Wang Yang, but rather clever, mellow and tactful, quite a bit green. Its structure is based on fairness and constancy, dense and elegant, showing the style of "dignified and elegant, vigorous and graceful", which shows Huai Su's profound traditional foundation.
This post is thin, vigorous and powerful, but elegant. Although the path of twists and turns is short, it is rich and skillful in lifting and pressing, clever in stippling, and the handwriting is in sharp contrast with the light and heavy, with the beauty of sparse and scattered. The pen is solid, the brushwork is modest, the brushwork is vigorous but not dignified, the modality is vivid but not frivolous, and the brushwork is occasionally stretched but not ostentatious.
The text of this post is strict and self-disciplined, and the dots between the lines are condensed with each other. The writing style is vivid, but the writing style is obviously beautiful, and the words are bound to each other and are interesting to each other. From the composition point of view, the characters are closely related, gathering gas, wide row spacing and smooth. Compared with other wild grasses such as autobiographical notes and bitter bamboo shoots, Lun Shu Tie represents the other side of Huai Su's cursive script.