Light ink probing flowers light ink marks,
Zun Tang Chuan Jin out of fresh. ①
Books like a faint new Yang Yue,
Smoke and rain Jiangnan Flower Apricot Village. ②
Wang Wenzhi (1730-1802), zi yuqing, trumpet menglou, jiangsu sultan disciple. Gong calligraphy, with the charm of the wind to win. Qing Dynasty calligrapher and poet. Qianlong entered the priesthood for twenty-five years, was taught editing, promoted to read, and was officially sent to the prefect of Lin'an, Yunnan. Boycott, since then there is no intention of advancing. Less than fifty years old, he immersed himself in Buddhism; his sparse and beautiful calligraphy characteristics were undoubtedly deeply influenced by Buddhism. There are "Dream Building Poems", "Fast Rain Hall Inscription" and so on.
Wang Wenzhi was famous for his calligraphy throughout his life, and his early study began with his predecessor Zheng Chongguang, who was deeply influenced by it. His calligraphy was written by Chu Suiliang, and his cursive writing came from the "Orchid Pavilion Preface" and the "Holy Order". But some people think that he studied Zhao Mengfu and Dong Qichang's pen.
(Wang Wenzhi calligraphy ink "Gai Shi Heirloom" lian)
Judging from Wang Wenzhi's calligraphy, his flowing and gentle dot paintings and feminine and clean knots do reveal the inheritance relationship with the calligraphy of Zi Chongguang and Dong Qichang, and the flattening of the lines is the result of immersion in the calligraphy of the Zi family. In addition to the influence of Zhen and Dong, there is another factor that cannot be ignored, Wang Wenzhi immersed himself in Zen after middle age, and paid special attention to the calligraphy of Buddhist scriptures. He had received Zhang Jizhi's writing ink and copied and studied, so his writing style was as useful as Zhang Jizhi and Zheng Zhongguang. He liked to use Changfeng Yanghao and blue-black light ink, which was in line with his natural and elegant style of writing, so Liang Shaoren of the Qing Dynasty said in the "Essays on the Two Autumn Rain Temples": "Liu Shi'an Xiangguo (referring to Liu Yong) of the State Dynasty specializes in boldness, and ZhengmengLou Taishou (referring to Wang Wenzhi) specializes in taking the wind god, so there is a saying that "thick ink is prime minister, light ink is exploring flowers".
In the Qing Dynasty, some people also compared him with Liu Yong and Liang Tongshu, believing that Wang Wenzhi's middle-aged Zhang Jizhi's handwriting was copied, and he entered the frivolous road, just like Qiu Niang Fu Powder, with clear bones, self-improvement posture, and lack of solemnity. Although this theory takes a pejorative meaning, it still has its own unique metaphor for Wang Wenzhi's style of writing. From the analysis of the authentic handwriting, Wang Shuyun's pen is soft, the ink rhyme is light, the cloth between the lines is white, the ethereal is sparse, and the temperament and wind god are extremely graceful. It is no wonder that at that time, there was a saying that "the three liangs under the heavens (referring to Liang Tongshu, Liang Yan, and Liang Guozhi) were inferior to the one king of Jiangnan". His calligraphy is sprinkled with pen rules, the structure is tight and restrained, and the ink color is mainly light, which is another manifestation of Dong Qichang's calligraphy style.
Wang Wenzhi's calligraphy faithfully adheres to the meaning of the thesis, but does not have the charm and smoothness of the traditional thesis. His books are turned less and more with pens, mainly folded, appearing decisive and clean. His thin strokes are slightly rounded, both feminine and moving, but also handsome and luxurious, the wind god is scattered, and the tip of the pen reveals talent and beauty everywhere. The book work "Works of waiting for the moon" is beautiful and handsome, which shows its deep foundation in Jin and Tang Dynasties and the personal characteristics of being beautiful and elegant.
No wonder some people say: "Jiangnan calligraphy is flowing, and Wang Shu is enough to lead the way."