1. In terms of dots and drawings:

The dots and drawings of "Mid-Autumn Post" are soft and graceful, and rich in variations. Wang Xianzhi is a model of cursive writing in regular script, applying the method of "undulation and staccato" and the method of "changing strokes in sections" of regular script at the rounding of the strokes, which are appropriately utilized and naturally fluent. Qing Bao Shichen in the "An Wu on the book-answer to Xizai nine questions" said: "The world knows that the true book of the wonderful in the turn, but do not know the beauty of the cursive in the point of the painting, the cursive method is not passed on also.

Da Ling Cursive often has a stroke that turns around, like fire chopsticks painting ashes, without seeing the beginning and end. However, if you explore it carefully, you will find that it has a lot of ups and downs, and all of them have become the trend of dots and paintings." This is reflected in the Mid-Autumn Festival Post. Take the word "and so on" as an example, "and so on" the last two paintings of the word vertical hooks and dots, Wang Xianzhi will be written in succession, but also in the roundabout to be frustrated. Upon examination, it is found that the rounded part of the character is not actually round, but consists of several very short straight strokes.

The Zhongguang of the Mid-Autumn Post is tighter, and the elasticity of its dots and drawings and the tension between them are significantly smaller. Let go, back, smooth, is an important measure of technical considerations, this post strokes all connected, "re" "not" between the link, not too smooth; "shall not" two words, a little too constricted. The two words "shall not" are a little too constrained. Can afford to "charm unique super, heavenly special show" praise

2, in the pen:

"Mid-Autumn Post" with heavy ink, turn the pen round outside the top, start or hidden front or side front, lift the natural, the whole word of the strokes in favor of the rich and fat, but then there are individual skinny and strong strokes and the word to do to supplement, appear to be sparse and dense, thick and thin The character of the whole is on the rich and fat side, but there are some thin and strong strokes and words to supplement them, which makes it look appropriate, thick and thin.

The strokes are graceful and flowing, all in one go, with "a book" of the wonderful. And "mid-autumn post" in cursive interspersed with regular script, such as the first line of the "phase", the second line of the "victory" and other words. It is written in both fast and slow strokes, with both fast and slow strokes, and with a sense of rhythm.

The lines of his ink are flexible, showing cleanliness in the thick and thin turns. The characters are well-matched with each other. The strokes seem to be swift, but robust and rounded, beautiful and colorful, pointing and sparing, looking forward and backward, the junction of the sinews and bones of the body is open, clear and strong, and the use of ink and with a kind of Canghun Huazhi natural changes, its ring and turn of the rise and fall is clear, the whole text seems to be strong and healthy, and the momentum of the pounds, to give appreciators a sense of soundness and fluidity.

The first six words of the post a through and down, and then even more break less, the situation is magnificent. Word by word, "mid-autumn majestic" two words connected, then a pause, and a gas will be "no longer allowed to" four words swept out, the line back and forth, long but not chaotic, flip hooks, sparse and dense. After the words "no more shall not", the character "相" is written in regular script, which is dignified, full and serious.

Compared with the other 21 words in this post, the word "phase" gives people a sense of abruptness and strangeness, which leads people to think. After the word "phase", the pen once again sharply catch up, vibration and back, until the end.

3, in the momentum:

"Mid-Autumn Festival Post" the whole work of majestic, XiongMai fly, and the heirloom of wang xizhi calligraphy works of that kind of implicit, elegant, flow of beauty of the cursive style, compared to, appearing to reveal; and wang xianzhi "duck head pill post", carve the post "december post", compared to, but also a slight difference.

Particularly in the last word "army", the vertical strokes extend downward and stretch, appearing to be unrestrained, but not all the way to the end. It is "the roc tumbles into the wind, the long whale sprays the waves, the cliff falls into the stone, the shocking electricity remains light". But this kind of indulgence, but also contains the elegant and clean breath, to reproduce the Jin calligraphy that natural to carve, beautiful and unrestrained style of the times.

Expanded Information:

Tang Dynasty's Zhang Huaiguan's "The Breakdown of the Calligraphy" recorded that Wang Xianzhi "learned from his father at an early age, and then from Zhang (Zhi). Afterwards, he changed the system and created his own method. From the record, it can be seen that Wang Xianzhi studied calligraphy with his father Wang Xizhi in his early years and got his penmanship, and then studied with Zhang Zhi, and on this basis, he boldly changed the calligraphy of his predecessors and created a kind of "broken style" which was not bound by the norms of the six books, and which saved and dotted and painted the twists and turns and made every effort to make things simple and easy.

Wang Xianzhi studied Zhang Zhi's cursive script, which was mainly modeled on the momentum of Zhang Zhi's characters, and changed and developed Zhang Zhi's cursive script, i.e., saving the dots and strokes and striving for simplicity, so as to make it easier to write and to connect the lines of the bloodstream. At the same time, he also changed his father's cursive script, mainly by using the "extreme cursive and vertical strokes" to maximize the power of the "one brush stroke". Wang Xianzhi's cursive script is different from that of Zhang Zhi and Wang Xizhi, and it has become a distinctive style of its own.

The Mid-Autumn Post, with its brushwork inherited from Zhang Zhi and Yujun, and inspired by Zhang Xu and Huaisu, has been regarded as Wang Xianzhi's authentic handwriting for quite a long time.

But nowadays some people think, "mid-autumn post" style and heirloom of wang hsienzhi "twenty-nine days post", "duck head pill post" is very far away, the calligraphy is more than pain and composure is not enough, the lack of jin calligraphy should be the kind of dashing implication;

The post of the fullness of ink and pen form only the song dynasty that is softer without the heart of the pen can show, rather than jin dynasty of the heart of the hard pen can be; post with bamboo paper writing, the paper, this paper, the paper, the paper and the paper, the paper, the paper and the paper, the paper is the same. The post was written on bamboo paper, which was not manufactured in the Eastern Jin Dynasty and appeared only in the Northern Song Dynasty.

So it is believed that the Mid-Autumn Post is a section of Mi Fu's old collection of Wang Xianzhi's December Post. And the "Painting and Calligraphy Boat" cloud: "dedication of the 'Mid-Autumn Post' volume hiding 鈥檇 Xiang's Zijing, have their own trembles. It has its own treatement, but when you look at it, it is a copy of the Tang dynasty, not the real one." Qing Wu Sheng "Daguan Records" cloud: "This trace of calligraphy ancient thick, black color chi rhyme fresh and moist, but big like fat maidservant, although not hook fill, I am afraid that the Song people imitation."

Baidu Encyclopedia - Mid-Autumn Festival Post