In a broad sense, "Han Li" is the general name of official script in Han Dynasty. However, people use it in a narrow sense, that is, it refers to mature official scripts with typical significance, represented by inscriptions in the Eastern Han Dynasty, to distinguish them from those in the Qin Dynasty and the Western Han Dynasty, as well as those in the Wei Dynasty, Jin Dynasty and Tang Dynasty, which tend to seal. Yuan Wu Qiu Yan once said in The Study of Ancient Compilation and the Debate on the Origin of Words: "The Book of Songs written by Cai Yong, a scholar in Han Li, is also engraved on the tablet of the Han people. This body came out last, and it has its own way. It has the same name as Qin Li, but it is actually different. " With vivid brushwork and different styles, tablet inscriptions in Han Dynasty have always been valued by scholars and regarded as a model for learning official script. Of course, what we now call "Han Li" also includes Han bamboo slips unearthed in modern times.
The Han Dynasty is a glorious period of China's calligraphy art, and Han Li, who occupies a leading position in the calligraphy field of the Han Dynasty and has made special achievements, is a magnificent treasure in the treasure house of China's calligraphy art. Zhai Runshu's calligraphy absorbs the characteristics of Zhang Qianbei, represents Han Li's artistic achievements and styles, such as simple and beautiful, square and changeable, smooth tablet body and strong brushwork, and combines the advantages of Ode to Shimen, such as thinness, coarseness, simplicity, interest and cursive script in official script, and absorbs the spirit of Longshan Fu.
Appreciating Zhai Runshu's calligraphy works is a kind of spiritual enjoyment, which is obtained from his artistic expression of calligraphy. It is not difficult to see that Zhai Runshu inherited Han Li's transformation from small seal circle to square folding, from hooking to turning, and from square winding to spreading. On the basis of circular brush lines, he formed Fang Bi lines with different thicknesses and different awning angles, which made them curl, pinch and dot, and had the flavor of official script. Looking closely at Zhai Runshu's brushwork, Zhang Qianbei is mostly written by Fang Bi, with neat structure, Gu Zhuo style and changeable brushwork. The bone strength is quite strong. Ode to Shimen has a special brushwork, or it evolved from a brush seal. Generally, there is no dovetail, so it has a strange wind and a different realm.
Kang Youwei Ceng Yun: "The beauty of calligraphy lies in the pen." The beauty of Han Li lies in the diversity of brush strokes. Guan Zhai Run Shu's calligraphy works give people the feeling of seeing all kinds of new things and tastes. One of the important reasons is that he can skillfully use the middle and local styles and handle the weight of Fiona Fang in his brushwork. Center and wings are two basic strokes that are interdependent and coexist. Zhai Runshu pays more attention to the use of bias when using the center, and organically combines the two strokes to make the strokes more changeable, because using bias is not only easy to gain momentum, but also more interesting under his control. Regarding Fiona Fang's weight in writing, Kang Youwei said: "Although Fiona Fang is different, it is wonderful to be in Fiona Fang." In the Song Dynasty, Jiang Kui's Continued Book also said, "Fiona Fang is a real grass. It is really expensive, the grass is expensive, the square is round, and the circle should be square, which is great. " Book critics of all previous dynasties emphasized the importance of Fiona Fang's brushwork, because the round pen turned vigorous and lively, but if used alone, it seemed frivolous and thin. Fang Bi is solemn and vigorous. If you use Fang Bi purely, it will look stiff and lacking in spirit. Zhai Runshu's calligraphy works are square but not stupid, round but not weak, and complement each other.
Zhai Runshu's calligraphy works can make people taste different flavors when chewing, which is manifested in the structural beauty and formal beauty of his words. Whether words have flavor or not, the key problem is not only to put some pictures well with pens and pens, so that each picture can be chewed, but also to pay attention to the structure of words. The higher the artistic taste, the greater the role of structure in the aesthetics of calligraphy works, and the heavier the weight. However, how the knot is handled, whether it has formal beauty, and whether it can play the role of expression and expression is determined by the character, mood and academic education of the book. Zhai Runshu is not only a respected teacher far away from the hubbub, but also a learned scholar. In the exploration and innovation of calligraphy art, Zhai Runshu has always maintained a calm state of mind and the pursuit of climbing the artistic peak. With his extraordinary artistic imagination, he created brand-new artistic achievements and sublimated his artistic attainments. Therefore, the thickness of Zhai Runshu's strokes in the structure of a word is determined by its relevance in different parts of the word, and he is not limited to the formula of horizontal fiber and vertical thickness; Cloth and white break the uniform pattern, often forming a strong contrast between sparsity and density, resulting in sparsity and impenetrability of the pattern. For repeated strokes, on the basis of paying attention to stability, there is no cover-up, some are prominent, and some are dotted, which makes the parts become a dangerous trend full of artistic impact. For a famous calligrapher like Zhai Runshu, the rules of calligraphy have long been known by heart and by hand, and they have reached the level of absolute freedom. His magical products, products, wonderful products and extraordinary works are often driven by uncontrollable passion and overwhelming catharsis.