There are many calligraphers in the history of China. Why do modern people only recognize two kings?

The core of China's calligraphy is to sort out the context, which is the expression of literary spirit. Erwang's calligraphy inherits this essence, which can best reflect the true meaning of calligraphy-that is, it blends with the charm of China's context and is integrated with heaven and man.

Wang Xizhi is a sage of calligraphy, and his calligraphy works are masterpieces. His embodiment is his superb pen and ink control skills, and he has really reached the realm of free will. Liang Wudi's Review of Ancient and Modern Scholars praised Wang Xizhi's book "Wang Xizhi's calligraphy is powerful, like a dragon gate, and a tiger lies in a phoenix que". In the early Tang Dynasty, He Yan Zhi praised Wang Xizhi's Preface to the Lanting Pavilion as "oily and forceful, unparalleled".

Today, Mr. Wang thinks that flattery is not a healthy thing. Mr. Zhou once wrote an article to analyze this feature of Wang Xizhi's calligraphy. His analytical language is plain, but his arguments are accurate and alarming. However, it seems that this article has not attracted the full attention of academic circles, which is very regrettable.

Yuan Ang's Book Review of Ancient and Modern Times commented that Wang Xianzhi's book is "Wang Zijing's book is like a river and a teenager. Although full of joy, it is extremely uncomfortable to lift the body and drag it. " Wang Xianzhi's calligraphy is characterized by flexibility and obedience. As we said before, the difference between God and Yi lies not only in strength (Yi can also have its strength), but also in attitude and charm.

There is a game attitude in Wang Xianzhi's calligraphy, and the whole process gives people a relaxed feeling, even a little slack and lazy, so what he shows in form is only procrastination. Fine brushwork is the essence of Wang Xizhi's calligraphy. The nib cuts into the paper in the air, the nib kills the paper, and the paper resists tenaciously. It is Wang Xizhi's unique skill to lengthen the scales alternately. Wang Xianzhi changed his father's scaly brushwork to be peaceful and smooth, which naturally gave Fengshen a lot of discounts.

Wang Xizhi and Wang Xianzhi are saints and immortals. Their calligraphy styles represent the two systems of China's calligraphy. Just like paintings in the Northern and Southern Dynasties, they are not comparable to each other to a great extent. Their choice is personal and contemporary.

After the Tang Dynasty, people chose Wang Xianzhi more and more, which is also closely related to people's growing alienation from Wang Xizhi. The loss of the classical aesthetic significance of China's calligraphy since the Tang and Song Dynasties also illustrates this point. Zhao Mengfu said: "It is not easy to use a pen through the ages", which is the definition of Wang Xizhi and Wang Xianzhi.