Zhao Gou's cursive "Luo Shen Fu" is now in the Liaoning Provincial Museum. It is a silk book with a height of 27.3 cm and a length of 277.8 cm. Finally, it was written in Deshou Hall. It is indeed a work of his later years. When writing, the modal particles and words in the original text are omitted, which is rare in calligraphy works. This work is skillful in brushwork, mellow in brushwork, vigorous and leisurely, which shows that the writer at that time was energetic and cheerful, and was a pen in his later years rather than in his later years. The work belongs to grass, although the pulse is coherent, but the words are independent and the pen is clear. Zhao Gou once said that predecessors can correct calligraphy before cursive writing, and it is essential to cover two methods ... Grass can make a phoenix, stimulate pen power, stand out from the crowd and never distort it. Those who learn orthography first should prepare eight methods, which are not attractive. As for the words, they can also be read correctly, and they will never change their essence, which will cover up the aftermath of the official. If the model method arrives, it will naturally be realized in the second method, and there will be no surprises. On the contrary, it is a mere formality, and people who don't understand it refer to it. It emphasizes the basic function of regular script, and advocates that cursive script makes strokes undistorted, so its books have no habit of continuous simplification and are easy to identify. In fact, as early as Su Shi's period, he often emphasized the importance of regular script and advocated that cursive script should have statutes. The so-called true line, line and grass, true as standing, line and grass as standing, not without standing (Su Shi's Six Books of the Tang Dynasty), Huang Tingjian also said that cursive script should be left and right, and this ancient beauty (On Books) is temporary. If you specialize in cursive script, Song people also advocate the law. Worship of law even restricted the further development of cursive script in Song Dynasty. Luo Shen didn't inscribe, but at the end of the volume, he inscribed the Book of Deshou Temple and Zhu's Royal Book of Deshou Temple, which shows that it was written after he became the emperor's father and is a mature work.
This cursive rolling method follows the rules, and the pen is calm and vigorous, flying smoothly. Although it is cursive, the characters are independent, and there are many changes between words. The calligraphy technique is skillful and vivid, and the turning point is not satisfactory. Although there is no connection between words, it still presents a one-stop fluency, which shows its profound calligraphy attainments. Zhao Gou's Ode to the Goddess of Luo is deeply respected by emperors and full of charm.
Luo Shen Fu is a famous work of Cao Zhi, and many excellent works have been produced by drawing lessons from calligraphy and painting in past dynasties. As far as calligraphy is concerned, Wang Xianzhi's regular script, Zhao Gou's cursive script, Zhao Mengfu's running script and Zhu Yunming's cursive script are all masterpieces in the history of calligraphy.