王獻之《新婦地黃湯帖》by Wang Xianzhi 

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Tang Dynasty copy of 新婦地黃湯帖 by Wang Xianzhi, currently in the Taito Ward Calligraphy Museum (台東区立書道博物館).

Source http://www.wenhuacn.com/shufa/mingtie/02weijinnanbei/wangxianzhi_xinfu1.jpg

Wang Xianzhi (simplified Chinese: 王献之), courtesy name Zijing (子敬), was a famous Chinese calligrapher of the Eastern Jin dynasty.

He was the seventh and youngest son of the famed Wang Xizhi. Wang inherited his father’s talent for the art, although his siblings were all notable calligraphers. His style is more fluid than his father’s, demonstrating a reaction against Wang Xizhi’s calligraphy. Amongst his innovations is the one-stroke cursive script, which blends all characters in the writing in a single stroke. Until the Tang Dynasty his influence and reputation rivaled and even surpassed that of his father.

When he was young, his father, Wang Xizhi found his talent and started calligraphy since he was seven to eight years old. He used stacks of paper just to practice one pen holding movement. After five years, he finally started to write words. Wang Xianzhi, at that time, is still far away from his father’s skill. However, he did not stop. He continued and practiced. He finally became as skilled as his father. His patience was highly remarked by modern people. Along with his father, he was eventually crowned as one of the Four Talented Calligraphers (四賢) in Chinese calligraphy.

释文:“新妇服地黄汤来,似减。眠食尚未佳。忧悬不去心。君等前所论事,想必及。谢生未还,可尔。进退不可解,吾当书问也。”

贴文首行“新妇服地黄汤”六字为行楷,用的是内擫笔法,体势较工整丰腴。自第二行起笔法转入外展,纵放自如,直到任情而书,不拘一则。王羲之的内擫法重骨气,比较含蓄谨严;王献之的外拓法重筋骨,多放纵。两法的运用都源于较强的腕力。由倾向内擫法转为外拓法,是基于内擫法的必然发展。“二王”笔法的联系与区别,由此可以看出。王献之在行笔委曲取势处和回锋转折处,比起王羲之来更加简便。因此,其字形与体态圆美、流丽、开放,便于抒发性情。由于王献之书法符合“写心、写意、写志、写情”的艺术要求,因而直到今天仍受到人们的喜爱、赞赏。

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