The original Chinese characters were Da Zhuan (Oracle Bone Inscriptions, Jinwen, Jinwen) and Xiao Zhuan. Later, it gradually simplified the abstraction and became an official script. The appearance of official script marks the formal transformation of Chinese characters from concrete "pictures" to abstract symbols. In the Qin and Han Dynasties, Lishu reached the peak of development and became an official style. Since then, the stylization of official script writing has become increasingly serious, with excessive twists and turns, which is not only the same, but also a waste of time. By the Wei and Jin Dynasties, wars were frequent, military orders were flying all over the sky, and official scripts were out of date. So the regular script, which was popular among the people and further simplified on the basis of official script, was gradually recognized by the ruling class and began to appear in formal occasions. Running script, as an auxiliary text of regular script, has also begun to sprout.
Another way of writing-cursive script, originated very early. From the beginning of the big seal script, there was the so-called "seal script grass". After the appearance of official script, the corresponding cursive script-"Cao Zhang" appeared. Zhang Zhi, the first "sage of grass" in the history of calligraphy, is famous for his Cao Zhang. By the Wei and Jin Dynasties, it was quite mature, and a number of famous painters appeared, such as Wei, Kai Xiang, Heng, and Lu Ji.
Although all kinds of books were ready in Wei and Jin Dynasties, they were still in the process of development and change. After the reform in Zhong You, regular script has begun to take shape. However, from the regular script works such as the Declaration Form, it can be seen that the structure of Zhong Shu is flat, the feet feel stiff, and a strong sense of official script is still retained. Although Cao Zhang has matured, when official script is about to give way to regular script, it is also required to develop into a "modern grass" corresponding to regular script writing. However, the running script has just sprouted, its writing method is far from mature, and its status is not enough to be compared with that of Cao Kai, a seal official.
An emperor's position as a civil and military official, and Zhong You's declaration form.
Wang Xizhi began to learn calligraphy at the age of six or seven, and studied Zhong You's regular script under the guidance of his cousin Mrs. Wei. Later, he joined a group of scholars, studied and defended Cao Zhang extensively outside regular script, and caught up with Zhang Zhi, reaching a high level. From the imitation of his aunt's post in Tang Dynasty, we can see that his early calligraphy was dignified and flat, and inherited the simple aesthetic feeling before Wei and Jin Dynasties.
Influenced by the metaphysical style of Laozi and Zhuangzi, coupled with the rich living conditions of the official families in the Jin Dynasty, the aesthetic taste of the society at that time had gradually changed from primitive simplicity to charm. Wang Xizhi became more and more dissatisfied with the clumsy calligraphy pen at that time. In middle-aged and old age, he began to try to change his calligraphy style.
Wang Xizhi first started with the reform of real (model) books. Since the Wei and Jin Dynasties, in order to get rid of the "ancient style" of real books, changes have been made in the structure, punctuation and the state of the book, which makes the structure of regular script tend to be symmetrical and beautiful, and the nuances of punctuation contain changes, tall and colorful. The purpose of creating this grass is to delete the waves with the meaning of official script in Cao Zhang, strengthen the use of pens, and make the brushwork at the turning point continuous and smooth, full of charm. The fluency of brushwork has made his running script a qualitative leap compared with his predecessors. Because running script is more casual than regular script, it does not require fair and rigorous strokes, but emphasizes change and requires varied lines. This feature determines that it is impossible for predecessors to write a high-level running script with meticulous brushwork. Wang Xizhi, on the other hand, wrote a graceful, beautiful and vigorous running script with his tactful and clever brushwork, which has since established the status of running script and seal script.
An important feature of Wang Xizhi's calligraphy is that his works reveal a spontaneous, calm and peaceful artistic conception. This is inseparable from the prevalence of Hyunri in Wei and Jin Dynasties. Metaphysics stresses conforming to nature, letting go of one's feelings, and "not staying in things". Therefore, most celebrities in Wei and Jin dynasties were fond of mountains and rivers, which was "depraved" and complacent. Wang Xizhi is no exception. And he put this lofty demeanor into his calligraphy intentionally or unintentionally. His brushwork is varied, but not polished; The brushwork is eclectic, neither intense nor vigorous, leisurely, and has a unique charm of Jin people. Because the pen is free and unrestrained, the inner feelings can naturally be revealed at the end of the pen. Preface to Lanting was written in March in Wan Li, a clear sky in the south of the Yangtze River. What people feel in paintings is "thinking about comfort and transcendence". Yue Lun Yi tells the story of a famous soldier being slandered and banned, which indirectly reflects his political frustration. Sun said his stippling was "melancholy". "Out of tune post" is a "symbol of admiration", and I can hardly put pen to paper. At this point, China's calligraphy has finally become an art of "expressing his temperament and expressing his joys and sorrows".
Wang Xizhi's calligraphy style has a great influence on later generations. Especially after the vigorous advocacy of Emperor Taizong, the beautiful and elegant calligraphy style he created has been hanging over the China book circle. Scholars in Tang, Song, Yuan and Ming Dynasties rarely heard that they had not studied Wang Xizhi. It was not until the rise of epigraphy in Qing Dynasty that the vigorous and rough style of the Northern School was re-valued, and this situation changed.