First, "internal fear" and "external expansion". The technical characteristics of the "two kings" are often marked by calligraphers as "internal fear" and "external expansion". For example, He Liang Jun's "Four Friends Zhai Shu Lun" in the Ming Dynasty said: "The big order is expanded with a pen, so it is scattered and colorful"; "The right army converges with a pen' squatting inside', and it is amazing." Shen, a modern man, also said: it is very reasonable for future generations to distinguish the writing of "two kings" pouting inward and sticking their heads out. It is big: it is "pouting inward" and Xiao Wang is "extending outward". Try reading the book of the king, vigorous and straight, beautiful and quiet; Xiao Wang's book is only soft, but it has actually increased. Explain the meaning of "pushing inward and expanding outward" in an intuitive way. "Pushing inward" is a book of strength, and "expanding outward" is a book of strength. You Jun's book "Extending Directly Down" is a vivid expression of "painting sand like a cone" and "extending outward", which can be described as "leaking marks", with more indulgence and less convergence (see a glimpse of the two kings' dharma books). Although "pouting inside" and "Xi Butuo" can explain many differences in the calligraphy of "Two Kings", they can't cover everything, and careful investigation may not be very scientific. The king can either "push inward" or "push outward", with "push inward" as the main and "push outward" as the auxiliary, while Wang Neng Jr. can also "push inward" and "push inward" as the auxiliary, and the differences in orientation are based on their own aesthetic ideals. Pan Boying said: "Some people say that Xi's' pouting internally' means providing it with' external expansion'. This is only half said at most. " (On China's Calligraphy) This statement is quite insightful.
Second, the identification of technology sources. In the Qing Dynasty, Bao once stated his point of view in "Art Boat and Twin Towers" and criticized Mi Fei's point of view: "On the true grass calligraphy of the right army, Chinese is different and profound (referring to Cai Yong); Daling's calligraphy of true grass is the source of Qin Zhuan, and it is wonderful to meet the Prime Minister (referring to Reese). ..... What Mi Lao said was' the right army contained and the big order extended', which was counterproductive. " Hou Jingchang, a modern man, thinks that Bao thinks that Wang's pen originated from official script, while Xiao Zhuan originated from seal script, which is debatable. Hou Shi summed up the characteristics and origins of Zhong You, Wang Xizhi and three original works in one sentence: Zhong Shan turned over, Wang Shan sang and Xiao Wang Shan zhi; Excavated in the sub-book, the Song Dynasty came from seal script, and it came directly from official script (Zhen Zhong Wang Zhen Jing and its authenticity). Wang's and his son's calligraphy seems to have two main sources, the distant source is Qin and Han seal script, and the near source is Zhong and Zhang, and then they are cultivated and developed into their own style.
Third, the difference between cursive script and cotton. Wang Xizhi learned Zhang Zhi's cursive script, which broke through the division, isolation and connection of Cao Zhang from the situation, but generally he did not make multi-word couplets, and only printed two or three words at a time. He took advantage of Cao Zhang's turn and developed into an introverted and accumulated modern grass. Wang Xianzhi not only learned from his father, but also learned from Zhang Zhi, which broke through the pattern of Wang Xizhi's connection and became a "book" with more words; From introversion to extravagance, from accumulation to escape. The so-called "one book" refers to "the style of writing, which is formed in one stroke, occasionally intermittent and continuous, occasionally connected, and the climate is staggered. Only the son respects his profound thoughts, so the words at the beginning of the line often follow the end of the line "(see broken books). The word "One Book" originated from Zhang Zhi, and Wang Xianzhi used Zhang Zhi as a lever and Xi cursive script as a fulcrum to complete a kind of "broken body" creation.
Fourth, the differentiation of bone potential. Yang Xin said, "A good servant is not as good as a father." Zhang Huaiguan's Broken Book said: "I regret that it is still rich in youth and autumn. It is unrestrained, its bones are not complete, and sometimes it is trivial." Wang Xianzhi's main idea is to expand and escape outward, so sometimes he can't be calm and happy in the rapid cycle, which is suspected of being slippery; Wang Xizhi's main idea is to pout from the inside and emphasize backbone, so his words are forceful. Of course, this is a high-level comparison. Didn't Wang Xianzhi dive heavily? For example, in the Thirteen Lines of Luo Shen Fu, Zhang Tingji in Qing Dynasty said in the inscription of Qingyi Pavilion: "The wind is thick, wonderful and moving"; "However, the wind is shaking, the spirit is strong, and there is no beauty." Of course, Wang Xianzhi died in middle age. If he can exercise for many years, his bone potential will be better.
Fifth, the distinction between charm and interest. Wang Sengqian once said: "Dedication is far less than father's, but there are too many charms." Yang Xin said the same thing. Wang Xianzhi's book style is like a phoenix dancing and flying, with the beauty of returning hooks, the joy of flying, and the flying ink as an escape soul. In Zhang Huaiguan's Commentary Book, it is said that his brushwork is one of the most romantic "if the rain is scattered, the things are moistened silently". It also refers to Wang Xianzhi's "failure and fatigue from time to time, regardless of defects". In fact, Wang Xizhi's book is meaningless, so it was criticized. There is a saying in Han Yu's "Song of the Stone Drum" that "Wang Xizhi's ripe body is beautiful". Zhang Huaiguan also said that he was "a talented girl, but not a husband". The charm of Jin people's calligraphy is related to the fashion of the times. This charm is a male charm, not a gentle charm. The charm of dedication is more attractive than his father in terms of flow and sudden release.
Sixth, the distinction between artistic philosophy and thinking. Wang Xizhi's calligraphy philosophy is mainly manifested in the neutralization, harmony and unity among various opposing factors. His calligraphy is perfect in form and quality (such as fat, thin, Fiona Fang, short, long, flesh and blood, etc.). ), and he is innocent in the expression of calligraphy (such as strangeness, capacity, rhyme, interest, etc.). Xiang Mu's elegant words in calligraphy say: "If you escape a little, you can be polite, strictly abide by the law, you can be talented, and you can be as strange as you." Just like breaking through his father's cursive pattern, Wang Xianzhi also consciously changed his father's creative thinking. He turned "neutralization" into "imbalance" and went to a new realm of winning by "strangeness" and "danger". Xiang Mu also believes that "books are a respect for children, and the door to novelty is open."
Seven, the style of the book. Let's talk about Cao Zhang first. Wang Xianzhi inherited his father's legalist thoughts, and his Cao Zhang style can be seen from the article on July 2nd. The brushwork of this post is simple, but the pitch and jump, the size is patchy, and it also shows a free and informal personality. In addition to regular script, Yu and Lun Shu Biao in the Southern Song Dynasty said: "The first sacrifice of learning from the father's book is not similar." Zhang Huaiguan's "Book End" said that Wang Xizhi wrote "Le Yi Lun", which was enshrined as "learning to be excellent and being an official, being able to write a very small book, can be described as poor and similar in physique, without reducing his father. If it is big, it is particularly straightforward. How can it be the same year? " Moreover, Wang Xizhi's running script is deeply harmonious, and he must learn from the past and create new achievements. Preface to Lanting is known as "the best running script in the world". Wang Xizhi consciously explored legislation and set an example for future generations. Although Wang Xianzhi also made great contributions to running script, his running script failed to get out of his father's norms, and it was not as concise, elegant and brilliant as his father. In cursive script, father and son have their own characteristics, and the unique meaning of Xi is unique. In this way, they saved complexity and created a new cursive system, but as far as "one book" is concerned, the son wins the father. Wu Dexuan commented: "The big order is crazy, and the right army's law is changed to create its own portal. It is extravagant and cannot be dominated." I said Daling cursive script, although vigorous and unrestrained, but still do not lose Qingyuan charm. "(See" On the Book of Loulun at the Beginning of the Month ") Huang Tingjian made a comparison in" The Monument to the Valley ":"Da Ling Cao Fa forced Bo Ying, and the spring valley hated less, which made him feel successful. So in the middle of the book, the right army grass enters the energy product, and the big order grass enters the spiritual product. I tried to compare the cursive scripts of the right army father and son. The right army is like the left, and the big order is like Zhuang Zhou. "Of course, there are unfair comments. For example, Emperor Taizong worshipped Wang Xizhi and belittled Wang Xianzhi. His biography of Wang Xizhi said, "Although it is paternal, it is not a new coincidence. Look at its character, thin, like a dead tree in the middle of winter; Look at the trace of his pen. Is Yan's family hungry? So are its dead trees, although they are bent and stretched; If he is hungry, he will be restrained from indulgence. Both of them, Gu Hanmo's illness! "Emperor Taizong's criticism is completely inclined to Wang Xizhi's side, and he even ends up with the original preface to Lanting.
Author: Beauty and Tears 2006-6- 1 08: 65438+4 Reply to this speech
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
& lt repost > Author: Yao is selected from "China Famous Painting and Calligraphy Festival"
The Independent Value of Wang Xianzhi's Calligraphy
Historically, it is often called "two kings", and Xiao Wang is often summarized by Wang, but Wang Xianzhi's calligraphy has its own independent value. After Wang Xizhi arrived in Huiji, the artistic achievement of calligraphy reached its peak. However, the criticism is that most of the essays were written by ghostwriters after the oath tomb was not official. After Wang Xizhi's death, it took about a century and a half to reach the early years of the Southern Liang Dynasty. During this period, Wang Xianzhi's books were very popular because of their charm and elegance. During this period, famous teachers grew up as heavenly kings, such as Huan Xuan, Song Wendi Liu Yilong and Yang Xin. Yang Xin, in particular, is known as "the man in the room is only male", so people say that "buying a king's sheep won't give up". There are also Bao Shaozhi, Xie Lingyun, Kong Lin, Qiu Daohu,,, Xiao, etc. , have their own interests. This is one of the reasons for Wang Xianzhi's growing reputation. After Wang Xianzhi, Yang Xin taught his disciples calligraphy skills, which made his contribution more influential.
So, why did Emperor Taizong belittle Wang Xianzhi? Some scholars believe that Li Shimin had to learn books from Wang Xianzhi in the early Tang Dynasty, because Wang Xianzhi's calligraphy was easier to obtain than his father's. Later, Li Shimin saw Wang Xizhi's ink. Li Shimin may not be satisfied with living under the rule of Wang Xianzhi, so he carried his father out. Because Li Shimin praised Wang and demoted Xiao Wang, people were frightened by the emperor's will, so they erased the name of the relic with Wang Xianzhi's signature, or changed it to the names of Yang Xin, Bo Shaozhi and others. However, there were still many Xiao Wang in the Tang Dynasty, especially "everyone in the Tang Dynasty learned cursive script" (Wu Dexuan). Ou Yangxun's truth and behavior should be like kings and kings, but not like bodies. Shen Yi, a close friend, said, "Those who have a high rate (refer to it) will change according to the actual order." Yu Shinan and other calligraphers also learned from Wang Xianzhi. Zhang Huaiguan said, "Yu Shu got the big rules of the big order, which contained the positive colors of the five parties and showed his brilliance and wisdom. Wang Shaozong is far-sighted, a lesson from the past, and respected by his ancestors. Sun Guoting, there is an article, and the cursive charter is two kings. " People in the Tang Dynasty attached great importance to Wang Xianzhi's cursive script, especially Weeds. Zhang Xu's cursive script was transformed from Wang Xianzhi. Tang Cai summed up "On Jurisprudence" and said: Cao Zhang "prospered the weather for the sky", "the commentator thought that Zhang Gong and Xiao Wang would come out again". Huai Su also converted to Xiao Wang, and his Notre Dame is "easy to turn around, but the son penetrated the Wang stronghold, but pulled out its red flag" (see Graphite Essence by Zhao Xiu). Therefore, although Li Shimin belittled Xiao Wang, many people still learn from Wang Xianzhi in the Tang Dynasty.
In the late Five Dynasties, Yang Ningshi also studied the two kings, and made outstanding achievements by studying and worshipping them. Shen said: "With the change of grass potential, the nature of grass is contraction, vertical spread, big order incarnation, arrogance, contraction and atrophy, in order to collect and release economically. Zhang, Su, and Yang are all out. " Mi Fei, one of the four great calligraphers in Song Dynasty, said: Naive and aloof, his father is comparable! ""The big bill was posted in December, and the pen was like fire, even for no reason. If you don't care, the so-called' one book' is the first post in the world. Miffy obeyed Wang Xianzhi, and his right hand pursued this "naive and transcendental" interest. Secret books are closely related to Xiao Wang's books. Another calligrapher, Cai Xiang, also said, "In the early Tang Dynasty, the handwriting of the two kings was still abundant. Scholars at that time had to imitate them, but today there are no children. However, Yiou (), Yu (Heather), Chu (Sui Liang) and Liu (Gong Quan) are all famous books with words written by the Wangs and their sons. Learning big singles is more indulgent, and Xi's strokes are wonderful. "Cai Xiang pursues Jinyun, and his charm and research are similar to those of Wang. Huang Tingjian also praised "a great product", and Huang Shu "the pen is round and old, and the knot is tight, and it is offered by the princes" (in). In other words, Su Shi's books and decrees are not the same as those of the "two kings", but they are also similar. Jiang Kui also spoke highly of Xiao Wang. He once said: "Luo Shenfu is cursive except in small letters. The nanny's brick ambition is correct, and her brushwork is vigorous and correct. Combining with Lanting and Yue Yi's theory, I hope the two kings can learn from it. Don't believe this. "Zhao Mengfu in the Yuan Dynasty, Zhu Yunming in the Ming Dynasty, Wen Zhiming, Dong Qichang and Wang Duo in the Qing Dynasty have made outstanding achievements in learning Wang's calligraphy since the Yuan, Ming and Qing Dynasties. There are many examples, so I won't list them one by one.
In a word, Wang Xianzhi's calligraphy has a far-reaching influence on later generations and has its own independent value. Known as the "two kings", it has also become a proper noun in the history of factory books. "The sum of father and son is unique in ancient and modern times." No wonder people call Wang Xizhi a "book saint" and Wang Xianzhi a "little saint".
Author: Yue Feng 2006-6- 1 08: 65438+6 replied to this speech.
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
Calligraphy expresses the writer's temperament with lines. It is true that India and officials are introverted and grass is free and easy, especially weeds. Therefore, I admire the mad grass writer the most. Throughout the ages, there are only a few masters: Huai Su, Zhang Xu, Wang Duo, Lu Zhi, Mi Fei and Xi Xian. In modern times, only Lin Sanzhi's cursive script was enough. Although other craftsmen can learn from it, I find it hard to admire it.
Author: yxg0999 2006-6-115: 08 reply to this speech.
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
Although Mi Fei is famous for his running script, he is also quite interesting, so he is listed among them. Although Yan Pingyuan has the beauty of being restrained and rounded, it is a pity that she has been streamlined for a long time, so I won't list them one by one.
Author: yxg0999 2006-6-115:12 reply to this statement.
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
Oh ... I see.
I ask selfishly, I don't know what my friends think of Xie An and Dongpo's calligraphy (hehe, I care ...)
Author: Beauty and Tears 2006-6-3 09:48 Reply to this speech
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
Xie An's character is Yan Mei, and his statutes are naturally inferior to those of two kings. When it comes to flattery, it is not as good as Chi Chao.
Dongpo's cursive script has become a fascinating thing, and cold food stickers are recognized as the third cursive script in the world. This person is not as free and easy as Huang Luzhi. He has never seen his cursive script.
Author: ysg 0999 2006-6-3 12:56 Reply to this speech
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
What do you mean by "Yan Mei"?
It is said that calligraphers can take people by words, and maybe they can feel something from it. I do not see any at all.
Post a picture to see:
Post related pictures:
Author: Beauty and Tears 2006-6-3 17: 13 Reply to this speech
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What's the difference between Wang Xizhi's and Wang Xianzhi's calligraphy?
Haha, Xie An posted it on August 5th. Xie Wan's calligraphy is more visually beautiful than his.
At first glance, if enlarged, it looks like Tang Yin, but the font is slightly wider and the lines are slightly thinner.
The upper part of the word is relatively wide, which shows that its thought is quite deep; But because the pen at the beginning is too dignified, the pen at the end wants to be romantic, but it can't get up quickly. It is very self-restrained and thoughtful, so it won't throw all its heart to people. Pay attention to form and put on airs (the fourth column is vivid but incoherent, which is a depressed attitude).