To invest in Wang Xizhi's calligraphy, we should learn the history of calligraphy. Comparing his calligraphy with that of Han Dynasty and Western Jin Dynasty, we can find that the most obvious characteristics of Wang Xizhi's calligraphy style are exquisite brushwork and changeable structure.

Wang Xizhi's greatest achievement is to increase and destroy the ancient law and turn the simple calligraphy style of Han and Wei dynasties into exquisite and beautiful calligraphy style. The cursive script is vigorous and eclectic, the official script is smart and dense, and the running script is vigorous and natural. In short, the writing of Chinese characters is introduced from practicality to a realm of skill and taste.

His cursive script is honored as "the sage of grass" by the world. There are no original traces left in the world, but there are many engravings of French books. Some leopard slave posts, 17-day posts, cold cut posts, lower case Huang Tingjing, and Lun He's paintings are praised. Wang Xizhi handed down the ink from ancient times, which can give you a deep understanding of the word "Miao".

2. Wang Xianzhi (344-386)

Wang Xianzhi's calligraphy collection and appraisal can be compared with Wang Xizhi's. Father and son have their own merits in calligraphy. Xi showed his real behavior, while he devoted himself to cursive writing. The most innovative and valuable thing about Two Kings is its elegant cursive script. Wang Xianzhi was not embarrassed by his father, so he was innovative, handsome and brave, and set up his own family, which made people sit up and take notice. Unfortunately, God was jealous of his talent and he died prematurely at the age of 42.

Wang Xianzhi has Cao Zhang's "Post on July 2nd", and its lower case is represented by "Thirteen Lines of Luo Shen Fu", which is extended with a pen, with a well-proportioned and neat structure, like a good family, and a charming and graceful posture. His running script is duck head pill post.

Zhang Xu (675-750? )

Zhang Xu's calligraphy is the highest among cursive scripts. He himself is proud of inheriting the tradition of "two kings" and writes very well. On the other hand, he imitated Zhang Zhi's cursive art and created a unique and unpredictable weed, which shocked the world.

Liaoning Provincial Museum has an ink book of four ancient poems written in cursive script, which is said to be Zhang Xu's wild cursive works. The whole stroke is full, without delicate and slippery strokes. The handwriting is ups and downs, moving and static, full of paper like a cloud, which is really the peak of cursive writing.

Yan Zhenqing (709-785)

Yan Zhenqing's regular script, contrary to the calligraphy style of the early Tang Dynasty, changed from thin and hard to vigorous and vigorous, with broad structure, magnificent momentum, vigorous bones and awe-inspiring spirit. This style also embodies the prosperous style of the Tang Dynasty empire, which is in line with his noble personality and is a typical example of the perfect combination of calligraphy beauty and personality beauty.

His calligraphy style is called "Yan Ti", which is also called "Yan Liu" with Liu Gongquan, and has the reputation of "Yan Liu Jin Gu". His regular script is cast in ancient and modern times, and the ink handed down from generation to generation includes "Sacrifice to My Nephew", "Liu Zhongshi's Post" and "Self-written Confession Post". Heroic and heroic, a picture of the prosperous Tang Dynasty. In particular, the original traces of the manuscripts for offering sacrifices to nephews are hidden in the Palace Museum in Taiwan. His writing style is dignified and stern, but his spirit is flying, his brushwork is round and magnificent, his posture is full of vitality, and his writing is pure, natural and wonderful.

There are many books handed down from ancient times in Yan Zhenqing, which deserve the attention of collectors and investors. Perhaps there will be new discoveries among the people, but we should carefully identify the authenticity.

5, Huai Su (AD 737-? )

When investing in Huai Su's calligraphy works, we should know that his styles are not all the same, which can be roughly divided into three types: First, those who have not completely got rid of their predecessors' styles, such as Notre Dame, Fish Eating, Kuyin, Zangzhen, Zhu Tie, etc., have retained a lot of blond hair, and most of Notre Dame's poems are in Yan Zhenqing style. Second, his own works, such as Pure Classics, Forty-two Chapters Classics and Autobiographical Notes (a standard Huai Su book). Thirdly, following the peaceful writing style, such as the thousand-character writing of Xiaocao, is quite different from his arrogant style and completely changed, which can also be said to be his outstanding point.

We can also refer to the records of Huai Su in the literature of the Tang Dynasty, such as: "The pen is fast, like a whirlwind of showers, going around and changing at will, and the statutes can be obtained."

Huai Su's "Wild Grass" is ever-changing, with endless writing style, which never leaves the statutes of Wei and Jin Dynasties. Such as "self-narration post", "eating fish post" and "bitter bamboo shoot post". He is neck and neck with Zhang Xu, collectively known as the "boss". His Notre Dame and Thousand-character Grass are harmonious and elegant, and they have a little meaning of chapter grass, which can reveal the source of the change of grass law.

6. Su Shi (1037-110/)

To identify the characteristics of Su Shi's calligraphy, we should grasp two points: one is to use more strokes to gain more lateral momentum, and the other is to have a flat and slightly fat structure. This is also closely related to the way he holds the pen. Su Shi's brush is "lying on his side", that is, the brush is lying on his side between the jaws of a tiger, which is similar to the current pen holding posture, so his handwriting is oblique to the right, flat and fat. His representative works include Huangzhou Cold Food Poetry Post and New Year Pictures Exhibition Post.

Most of Su Shi's poems are quite plain and simple. Although the characteristics of left low and right high come from Li Beihai, Wang Yang's majestic spirit is his personal characteristic, just like his profound knowledge. The changes of Shenlong are unpredictable, and it is earth-shattering to occasionally show his handwritten Huangzhou cold food poems and posts. The color of brush and ink in calligraphy also changes with the change of poetic realm, ups and downs, extraordinary momentum and one go, reaching the almost perfect state of "both hands are smooth".

Huang Tingjian divided Su Shi's calligraphy into early, middle and late periods: charming in early years, vigorous in middle age and depressed in old age.

His representative works include Dark Clouds in the Sky, Poems on Spring Scenery in Dongting, Poems on Song Lao in Zhongshan, Poems on Spring Posting, Poems on Wine Love, Poems on Cold Food, Poems in Shu, Drunk Pavilion, etc.

7. Huang Tingjian (1045- 1 105)

The word Lu Zhi, Lu Feiyue Nuo. Gu, Fu Weng, is called "Yellow Valley". The greatest feature of Huang Tingjian's calligraphy is that he emphasizes "rhyme" and grace, and his writing is elegant and elegant, such as the breeze and the high rhyme of the book. Su Shu is still interesting, and Huang Shu is still charming; The yellow book has a vertical trend. Together with Su Shi, he pushed the humanistic spirit of calligraphy in Song Dynasty to the peak.

His running script, such as Ge and Su Shi's cold food poems and postscript, all use a pen, just as Feng Ban said in "Miscellanies of Blunt Songs" in the Ming Dynasty: "The pen starts from painting, returns to the left wrist, and actually draws to the right, but it jumps again, like a cloud returning to the wind."

He wants to start from right to left, from the Tibetan front in the painting to the left pen, and then draw out, "no peace and no evil", deliberately changing pens; Go back to the pen and hide your cleverness. Good at covering people's eyes and ears, paying attention to setbacks, and taking "painting bamboo as a book" gives people the feeling of "calm and happy"

Its structure is inspired by Liu Gongquan's regular script, the middle palace is tightened, radiating outward from the center, and extending horizontally, such as paddling and propping up boats, with great boldness and momentum. His personality is very obvious. When learning his calligraphy, we should pay attention to the "leisurely joy" and the extensiveness of the structure.

Huang Tingjian's calligraphy is full of talents, and the middle palace is compact and wide, with a pen swinging left and right, like a pair of paddles.

Representative works include Li Bai's Poems in Memory of Ancient Poems, Poems of Full Banquet, Poems of Songfengge, Poems of Flower Banana People, etc. "Flower-filled Banana Man's Poem Post" is vigorous and powerful, clumsy and clever, with a fat pen and bones and a thin pen and flesh, "unusually vertical and horizontal, strong as flying." Its charm is no less than regular script.

Huang Tingjian's cursive script has won the charm of Zhang Xu and Huai Su's cursive script and has its own style. The pen is tight and steep, thin and strong, vigorous and changeable.

Mifei (1051-1107)

Mi Fei's calligraphy inherits the tradition of "two kings" calligraphy, and can learn from others. Original works, cursive script, official script, seal script and calligraphy can all be written, especially cursive script. He calls himself a "writing brush figure", which means that he uses a pen quickly and vigorously, and tries his best to pursue the charm, boldness and strength of "pen" and nature. His calligraphy works, from poems to bamboo slips and inscriptions, are full of passion, vitality and freshness, and the momentum of a sword.

Mifei has the deepest skill. From the Tang Dynasty to the Wei and Jin Dynasties until the Warring States Period, he developed his unique and vivid brushwork of Miaomiao, which fully demonstrated his temperament and feelings when writing. Mi Fei's pen is like a picture of bamboo, and he likes to "stand out from all sides", with a hidden front, long and thin, and a myriad of gestures. The knot is also inclined to change greatly, and mainly on the side, showing a dynamic aesthetic feeling.

Mi Fei's representative works include Cursive Theory, Tiaoxi Poetry Collection, Shu Su Tie, Coral Tie, Zhong Qi Yue Shou Shi, Hong Xian Shi Tie and so on.

9. Cai Xiang (10 12- 1067)

The world rated Cai Xiang's running script as the first, lower case script as the second and cursive script as the third. Together with Su Shi, Huang Tingjian and Mi Fei, they are called "Song Sijia".

Cai Xiang is honest and knowledgeable. His words are "noble and noble, tolerant and virtuous". Yan Zhenqing's "Confessions and Postscripts" was written and revised, which can be used as a model.

Cai Xiang's calligraphy was greatly influenced by Yan and Liu, and he wrote Wan 'an Bridge, Assistant Lang Tie, Poem Thinking, Spring Tie and so on.

Evonne10 (1082-1135)

Evonne, the emperor of Song Huizong in the late Northern Song Dynasty, was politically fatuous and puzzled by Taoism, but his calligraphy was superb.

His book, with clear handwriting, thin stippling, sage-like style and high spirits, is really out of touch. The formation of this calligraphy style is not only because of his calligraphy skills, but also because of his spiritual yearning for Taoism.

In his early years, he studied under Xue Ji and Huang Tingjian, and joined various schools of Chu Suiliang. His calligraphy was quite thin, beautiful and comprehensive, and he became his own (Xue Ji and Xue Yao). It is characterized by being thin and straight, with a horizontal pen with a hook, a vertical pen with a point, a dagger, a knife and a slender vertical hook; Some faces are like hairspring, close to calligraphy.

Song Huizong worships art and is the most famous painter and calligrapher of the emperor in history. His calligraphy style "thin gold book" is ups and downs, elegant and unique. Representative works include Thin Gold Thousand Characters, Cursive Thousand Characters, and Cursive Style.

1 1, Zhao Mengfu (1254- 1322)

Zhao Mengfu respected Wang Xizhi and never changed his attitude. His works are delicate, vigorous and consistent, showing no signs of shrinking. His calligraphy and painting are very good, but his calligraphy is very good, especially regular script and Cao Zhang. His representative works include Danba Monument, Seven Poems and Thirteen Postscripts of Lanting.

Wen Zhiming12 (1470—1559)

Wen Zhiming's calligraphy is excellent in all aspects, especially his running script and regular script, which was well-known at home and abroad at that time, and because of his age (nearly 90 years old) and many students, it had a great influence on future generations.

Wen Zhiming's small letters are particularly fine and neat, mainly from Zhong You, Wang Xizhi, Wang Xianzhi, Yu Shinan, Chu Suiliang and Ou Yangxun. They are strict in statutes, elegant in writing and elegant in style, especially in small letters after the age of 80. His running script mainly studies Wang Xizhi's Preface to the Holy Teaching, which is vigorous and fluent. In his later years, he learned Huang Tingjian's big characters, and his style became vigorous and elegant. There are a lot of ink handed down from ancient times, including Before and After Red Cliff Fu, Gu Chun's Tibetan Painting Axis and Nine Classic Poems of Li Sao. The running script includes the early South Window, the middle five poems and the later Xiyuan poems.

All Wen Zhiming's works are neatly written, which is extremely rare among China calligraphers even when he is nearly 90 years old. This is an important feature in evaluating his works.

13, Dong Qichang (1555- 1636)

Calligraphy in Dong Qichang can be said to be a masterpiece of ancient methods, and the "six styles" and "eight styles" were all refined by him. At that time, it was "famous abroad, lacking in size, spreading among the people, and competing for beauty." (Biography of Wen Yuan in Ming Dynasty). At that time, all the literati learned from Dong Qichang's beauty and softness, and Dong Qichang was shrouded in the early Qing Dynasty.

Dong Qichang's calligraphy has the highest attainments in cursive script, and his brushwork is accurate, and he can always keep a positive face. There are few stagnant and sluggish pens in his works; Ink is also very particular, dry and wet, wonderful; Simple and natural style, simple and peaceful, or related to his temperament, easy to understand Zen. Many of his works have grass between the lines, some have Yan Zhenqing's frankness and Mifei's posture, while Yang Ningshi's leisure and Shu Lang's layout have a Zhao Mengfu-like charm, agility and self-sufficiency.

Dong Qichang moved from the Tang Dynasty to the Jin Dynasty, and vividly used his pen. His representative works include Shu Su Tie, Icy Dust Album, Answering Questions, Gu Lin Volume, etc.

14, Zhu Yunming (1460- 1526)

The main points of his calligraphy appraisal are: alternating structure and size, slender fit, tape guidance and good density. Throughout the whole volume, the spirit is like flowing water, naturally flying, walking, sitting and lying down, and the posture is simple. My favorite works are Poems on Taihu Lake, Elegance and Red Cliff Fu, which are fluent, free and unrestrained. "Ming Shan Cang" said: "It was the first in China to allow Shu Ming to enter and leave the Jin and Wei Dynasties." His cursive script of "White Horse Pieces" is rich in variety, written calmly and happily, faithfully and casually. As Wang Shizhen said in Memories of Yan Yuan, Zhu Yunming's cursive script is "changeable, unpredictable, romantic and naive".

15, Wei Xu

It is worth noting to collect and invest Xu Wei's calligraphy. His calligraphy is dominated by Fiona Fang, which is light and heavy, and his pen and ink are vertical and horizontal. Seemingly wild and uninhibited, it actually implies order, which is followed by later calligraphers. Representative works include cursive seven-character poems and cursive poetry collections.

When it comes to Xu Wei, people can easily associate his artistic style with his dignified and rough clothes. But his prose advocates "ancient and charming, dense and scattered". Arbitrariness and charm can be said to be a unique combination of Xu Wei's style.

16, Wang Duo (1592— 1652)

Wang Duo is called Juesi, Qiao Song and Chian. He is an innovative figure in the history of calligraphy, but he also has the ability to inherit the tradition. Some experts said: "People who are used to the wise and quiet adult skills from Wen Zhiming and even Dong Qichang seem to enjoy sweet light music when they see Wang Duo's works."

Dai said in the Postscript of Wang Duo's Cursive Poem Volume: "(Mi Fei) wrote cursive script wildly, but he was full of momentum when he thought absolutely. Wei Jin's wind swept the floor, but the wind and horse were irrelevant, which made him extremely happy and courageous, which was beyond the reach of Zhao Dong's second generation. "

Zhu Da17 (1626-1705)

Formerly known as Tong, also known as Badashanren, Xuege, Geshan and so on. It is best to know something about his paintings to identify his calligraphy, because his calligraphy is very similar to his painting style and extremely concise. In his later years, he liked to use a bald pen, and his sharp brushwork became a round and simple style. At first, Badashan people were deeply influenced by Ou Yangxun. Later, they learned from Dong Qichang's cursive script, and then turned to Huang Tingjian's exaggerated opening. They explored in many ways, and then pursued the temperament of Wei Jin people's calligraphy. Finally, they joined the brushwork of seal script and formed their own unique style: round center, graceful and changeable, vigorous and vigorous, full of the temperament of Jin people. The achievement of his calligraphy is mainly the change of brushwork.

Jinnong18 (1687-1764)

Formerly known as sinong, the word shoumen,no. dongxin. It ranks first among the eight eccentrics in Yangzhou. Poetry, books and stones can be used. The main points of identifying his calligraphy are as follows: His official script was "Sticking to Chinese calligraphy" in his early years, and his style was simple and concise. However, after he became famous at the age of 50, he deliberately "shocked the world" and set up a painting style that no one else had ever set foot on. His horizontal painting was thick, his straight painting was fine, and his left hand was sharp. This stern-faced font seems to be a direct confession in his heart, with loneliness and severity in innocence.

Shu Qi Qi, his masterpiece, is a famous calligraphy work by Jin Nong, which combines Guo Shan Monument and Tianfa Monument. It created a work with simple quality, mixed meanings in regular script and strong personality, calling itself Shu Qi. He wrote "Lacquer Book" with heavy ink, which is thick and thin, with more straight strokes and less bent strokes, just like a painter's strokes with flat strokes.

19, Deng (1743- 1805)

Deng, a native of Xiuning, Anhui Province, whose real name is Yan, Zi, and his name is stubborn Bo, is a native of Wanbaishan, and he uses words to avoid the name of Renzong. At that time, people spoke highly of Deng's calligraphy, calling it "the four bodies are absolutely unique, ranking first in the country." His calligraphy is the most outstanding, and the achievement of seal script lies in Xiao Zhuan. Taking Si and Bing as his teachers, his seal script is a little longer, but he creatively combined the brushwork of official script and boldly raised the ups and downs with long front and soft hair, which greatly enriched the use of seal script, especially in his later years. The lines are round and vigorous, creating a typical seal script in Qing dynasty and making immortal contributions to the development of seal script art.

His official script benefited from long-term immersion in the Han tablet. It can write official script with the meaning of seal script, and with the strength of Wei Bei, its style is naturally unique. Regular script didn't start in Tang Kai, but traced back to the source, directly using Wei Bei and Fang Bi. The strokes make it convey Li's meaning, and the structure does not seek meaning by the method of horizontal light and vertical weight, low left and high right. It is simple and unsophisticated, which is out of tune with the customs of the times and shows the spirit of courage to explore.

His masterpiece, The Couplet of Tang Poems with Seal Characters, is now in the Palace Museum in Beijing. This kind of action pen is flexible, which is obviously different from "Li Er" seal script. It is no longer the kind of "iron line seal script" and "jade seal script" with uniform thickness and rigorous structure. This is a rare masterpiece of Deng.

20. Onsutong Copper (1830— 1904)

The word shuping,no. songchan, no. Lie down safely at night. Weng takes poetry, calligraphy and painting as his profession and is famous for his calligraphy. He is the author of Poems in a Bottle and so on. Weng Tonghe is good at writing regular script, running script and official script. He started with Yan Ti, traced back to Su Shi and Mi Fei, and borrowed the achievements of famous scholars such as Weng Fanggang and Qian Nanyuan in Qing Dynasty. His books are honest and extensive. At that time, Yang Shoujing commented on his calligraphy as "Yan Pingyuan, the oldest Zen scholar in Song Dynasty". Tongzhi and Guangxu were promoted to the first place in the world, and the inquiry was true. " High evaluation indicates. In his later years, he indulged in the Han and Wei Dynasties, occasionally getting eight points, and didn't care about his talents.