Wang Xizhi, Sun, Zhang Yanyuan and Xu Jian in the Tang Dynasty, Zhu and Zhu in the Song Dynasty, Wang Ting and Xiang Mu in the Ming Dynasty, Feng Wu in the Qing Dynasty, and now Shen and Yu Shaosong all have different views on the above book theory. Generally speaking, the first three articles of Zhang Yanyuan's Comments are recorded in his Book of Laws. As for the third article "On Teachers' Respect for Writing", only the bibliography is recorded, and no text is published. Many paragraphs in the fourth and seventh chapters have been quoted by book critics since Yu Shinan and Ou Yangxun in the Tang Dynasty. The second, fourth, sixth, seventh and eighth articles were edited by East China Normal University. Collected works such as Mo Chi's Collection, Jinghua of Bookstore, Pei Wenzhai's Calligraphy and Painting Spectrum, and Elegant Calligraphy Ci are also recorded.
Many scholars believe that these papers were not written by Wang Xizhi himself, or were falsely entrusted by people in the Southern Dynasties, or were attached by later generations. However, most scholars believe that: first, although it is not certain that it was written by Wang Xizhi himself, it has been circulating for a long time and has far-reaching influence, and it cannot be said that it is groundless. Second, you can't abandon it just because it may be false. Third, even under the guise of people before the Tang Dynasty, it still has important historical value. Fourth, we should trust Yu Shinan, Ou Yangxun, Zhang Yanyuan and other masters of calligraphy and painting in the Tang Dynasty. Therefore, the self-discussion book, Mrs. Wei's brushwork and calligraphy theory should be believed to be Wang Xizhi's writings, or directly reflect the essence of Wang Xizhi's calligraphy. Other articles can't be completely denied.
Wang Xizhi's book theory has the following four values:
First, reveal the technology.
For example, The Theory of Gestures has twelve chapters: creating chapters, understanding chapters, seeing chapters, explaining chapters, handling chapters, strengthening chapters, teaching chapters, observing chapters, opening chapters, controlling chapters, observing chapters and describing chapters. Many aspects of techniques are discussed. Starting with the use of pen characters, this paper discusses the methods and gestures of hiding front, side pen, holding pen, collecting pen, resting pen, frowning, fighting pen, fainting pen, taking pen, turning pen, overlapping pen, starting pen and striking pen. Judging from the conclusion, it is neither too late to leave nor too late to delay. If it is combined with "two-character combination", then "it should not be wide, heavy, long, simple, complicated, dense or long"; If the size is large, then' big characters promote small, small characters are wide and expensive, and they are naturally wide and narrow without losing their appropriateness'. From the cloth white characters, the distribution is white, the distance should be uniform, and the upper and lower parts are natural and stable. When it is necessary to cover it up, and so on. Compared with calligraphy theory handed down from ancient times, the techniques involved by Wang Xizhi and calligraphy theory are obviously more extensive and systematic.
Second, the theory of calligraphy creation.
First of all, Wang Xizhi compared calligraphy creation to a fierce battle many times. After Mrs. Wei Ti's Sketch, it goes:' The person who writes paper is in the array, the author is in the knife, the ink is in the armor, the inkstone is in the city, the general is concerned, the assistant is fine, and the strategist is also. There are good and bad writers, who give orders in and out and beat them into confessions. There is a similar statement in the chapter "Creation". War is a multi-faceted contest, and calligraphy creation is similar. In addition to excellent pen and ink, we should also pay attention to' mind',' skill' and' strategy', and use' mind' to manipulate' Sun Tzu's Art of War' in order to win by surprise. This theory has had a wide and far-reaching impact on later generations. In On Calligraphy, Emperor Taizong realized the principle of calligraphy through his own struggle against the enemy. Kang Youwei even compared war to calligraphy in Guang Yi and Zhou Shuang. Secondly, Wang Xizhi emphasized "thinking before writing" and "thinking in books" in his creation. "Enlightenment" said:' If you want to learn calligraphy, you should first learn ink, concentrate on it, predict the font size, droop, straight and vibrate, and then write.' Third, for the promotion of calligraphy creation, Chuangzhang said:' The book is inexhaustible at the beginning, once it is stretched out, twice it is less than the situation, three times it is slightly like a book, four times it is sufficient, and five times it is sufficient. If it is raw, don't stop, second line and third line, but it should be smooth and healthy, and you can't count it several times. "Creation trudges over and over again, but it is not limited to the times, in order to win the ultimate goal of beauty, goodness, harmony and health. Fourth, calligraphy creation is unpredictable. " Cha Zhang Lun said, "The way to put a post in the book is great. Or there is the decoration of the magpie, which is a variant in the line; Or there is a generation valley, where dragons are put on paper. The pen is full of peaks and clouds, such as the supplement of Wan Jian; If you drop the paper, you will spread it and step on Jiang Langjin. " On Books says:' People who write books are mysterious geisha, not people with lofty ideals, so learn from them.'
Third, reveal the aesthetic principles of calligraphy.
First of all, Wang Xizhi thinks that calligraphy pays attention to the beauty of images. Debate painting said:' The husband touches a certain point, such as a big stone, or squatting, or fighting, or melon petals, or chestnuts, as sharp as rat excrement. And so on, each has its own instrument. "On Gofa, it is necessary to' hang down the pole, like a long pine leaning on the valley, like a falling, like a crossbow at the beginning of a hundred times'; Bend your feet, when' bending like a bow'; Establish people, such as' birds in the first place'; Feet, such as' strong man's bent arms'. He also said:' every word is like a seal, or like a head',' or like insects eating wood leaves, or fighting like water, or like a strong man wearing a sword, or like a beauty'. Moreover,' every word must use several meanings: or horizontal painting seems to be eight points, and hair is like printing; Or pull vertically like a tree in a deep forest and bend like a steel hook; Or the top is like a dead stem, or the bottom is like a needle; Or the sideways movement is like a lost bird, or the edge is shaped like running water. Secondly, calligraphy studies the beauty of' situation'. The situation of the word shall not be wide on the top and narrow on the bottom; It is inappropriate to hurt secrets, which are like a plague; Not suitable for being hurt and sparse, sparse is like a drowning bird; A long wound is not desirable, but it is like a dead snake hanging from a tree; You shouldn't hurt a short person. A short person is like stepping on a toad. "The Brave Man" said: "The outline falls into the middle line, like a warrior stretching a hook, and the party has just confronted the enemy. Kirin fights, tigers gather dragon teeth. The muscles and joints hold fists, and the body is brave and healthy. If you say so, you will make great achievements in the book. Traction is profound and wonderful. At present, it is wonderful to cheer up, save your strength, think critically and keep a secret. "
Fourth, the philosophical implication of calligraphy is revealed.
Calligraphy theory went deep into China's philosophical categories such as Tao, Qi, Yin and Yang. "Notes on Mr. Baiyun's Book" said:' The spirit of the book must reach the Tao, which is the same as the mixed theory. The seven treasures are precious and can be immortalized. If the yang is bright, it will stand tall, and if the yin is too strong, it will be full of wind. "It also reveals the relationship between inside and outside, profit and loss, size, density, length, urgency and strength in calligraphy creation. Ceng Yun:' Any book that wants to be ten late and five urgent, ten bends and five straight, ten hidden and five out, and fifteen volts can be regarded as a book.' When you use a pen, you must' have a back, an edge, an oblique, small or big, long or short'. The cursive script should be "slow before rushing", and its font is "continuous", but "it still fluctuates up and down on the edge" and "it is not allowed to make the same size with a pen". On paper and pen, the cloud says:' If the book is empty, use a strong pen; If the book is stronger than paper, use a weak pen. If the strength is not equal, you can't fall in. "(On Calligraphy) These speculations on the art of calligraphy show the richness and profundity of Wang Xizhi's calligraphy theory and provide rich calligraphy nutrition for later calligraphers.