As for the reasons for the formation of "regular script with pen", Qiu Zhenzhong discussed in his article: "Official script developed into modern grass through Cao Zhang, and developed into regular script along another clue. ..... Frequent rotation is the characteristic of the official script pen, which is also conducive to the continuous writing of cursive script, but it can't meet the requirements of simple regular script, so the curve track of the rotating pen is gradually leveled. " "While stippling tends to be straight, complex and frequent twisting tends to be simplified, so stippling outlines become simpler and more regular. ..... It is the inevitable result of the formation of regular script that the center of gravity of the pen moves to the end of the pen and the folding point. It can adapt well to the well-defined structure of regular script. Exaggerated ends and folding points can not only make stippling more eye-catching, but also make up for the aesthetic loss caused by reducing distortion and straight strokes. " Although there are two lines in Feng Ju Tie, the word potential is also rich: in the first line, the vertical axis is curved due to the left shift of the words "three" and "mei".
Secondly, the last stroke of the word "three" moves horizontally to the right, and the word "hundred" bends horizontally to the left, which connects the word potential with qi and forms the first curve. After that, although the "chess piece" turned to the left as a whole, the last word was forced to the right and down to balance the gesture. The word "first frost has not fallen" makes the spool form an arc again through the tape of the main pen. The use of curve axis gives the work a sense of rhythm and music.
In Wang Xianzhi, there is a cursive script called "Send Pear Sticks", which is similar to "Offer Orange Sticks". "Send Pear Post" said: "Send 300 pears today. It's not good if it snows late. " Its first line is similar to Feng Jutie's. There are no writing formats such as "White of Xi", "Nod of Xi" and "No Lift" in Wang Xizhi's letters, so it should be a memorandum. The "three hundred oranges" mentioned in the letter are for relatives and friends. Compared with Ping An Tie and He Ru Tie in Ping An San Tie, Feng Ju Tie has different characteristics. Calligraphy has a mature style and entered the realm of creation; On the basis of the existing style, the work with face is a higher realm. From the different styles of Ping An San Tie, we can perceive Wang Xizhi's creativity.
First of all, the structure of "Seal Orange Sticker" is loose. Wang Xizhi's writing, how close is the palace (Wang Xizhi's early work "menstruation Post" has a wider palace. Because "menstruation Tie" is more formal and straight, the structure of "Feng Ju Tie" is not straight, and the left is low and the right is high (the left is low and the right is high, which is more in line with people's visual and writing habits). "Feng Ju Tie" is followed by vivid brushwork. And "vivid" is not only related to the width and slight inclination of the middle palace, but also stems from the richness of the pen and the clever use of words. The change brought by the pen comes from the weight and style of the pen.
From the modeling angle of "block" and "face", the compactness of the word "Fengju" is in sharp contrast with the sparseness of the word "300 pieces"; In addition, the words "you can get more" flow lightly with a pen, which is also in contrast to the weight of the words "Feng Orange" on the right. Contrast enhances the rich connotation of the work. From the analysis of single words, although the stippling of the word "three" is short and horizontal, the strokes are slightly square and round. One side is round and the three horizontal angles are different, so the posture is different. Another example is the word "de", which is white and natural, and strokes are everywhere. The stroke of the radical "inch" is exquisite, especially the last point, and the backhand is successful by surprise. Many of the subtleties of Feng Ju Tie are not all business arrangements, but "the articles are naturally ingenious" (Lu You in the Southern Song Dynasty). Therefore, all the wonderful traces of calligraphy can be learned everywhere, but not everywhere. Calligraphy and painting are in the law, and its beauty lies in people.