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Since the Tang Dynasty, the popularity of the three scripts, regular script, running script, and cursive script, has surpassed seal script and official script. Calligraphers have also begun to use regular script as their first step, and no longer use official script as their first step. Su Shi of the Northern Song Dynasty said, "Regular script gave birth to running script, and running script gave birth to cursive script. Regular script is like standing, running script is like walking and running; there is no one who can walk without being able to stand."

The academic community believes that the cursive script after the Tang Dynasty is very different from the cursive script before the Tang Dynasty, and this difference is caused by the difference in the entry-level fonts. The two Wangs, Zhiyong and others used official script as the basis, and their cursive scripts were free and continuous, emphasizing the changes in stroke thickness, disconnection, and twisting. Su Shi, Huang Tingjian and others used regular script as the basis, and their cursive scripts emphasized the effects of lifting, pressing, turning and stopping.

The cursive calligraphers of the Tang Dynasty were able to integrate the brushwork of official script and regular script, and their techniques were rich and mature. This is why this font reached its peak in the Tang Dynasty, and the "Cursive Saints" Zhang Xu and Huaisu emerged. When we learn cursive script, we must "learn from the best", take famous masters as our teachers, and we should start with running cursive script, and then gradually learn large cursive script.

There are not many cursive scripts that meet these three criteria: delicate and careful use of brush, easy to learn and produce results. Huaisu's "On Calligraphy" is definitely the best choice. This work is from Huaisu's early years, not as wild as in his later years. At this time, he strictly followed the rules and inherited the rhythm of the Wei and Jin dynasties, changing the "crazy and unrestrained". Even laymen think this work is beautiful.

"On Calligraphy" is 38.5 cm in height and 40 cm in width, with 9 lines and 85 characters. The explanation is: "Because the mountain is not high, the land is not sacred; because the spring is not deep, the water is not clear; because the calligraphy is not refined, and it has no good reputation. It should be a warning to future generations. It has been four years since Zang Zhen gave up his career. Recently, he has been reduced in number, but now he is even better than in previous years. His eccentricity is strange, and I don't know where it comes from. I always don't know it. Yesterday, I received a letter from "Er Xie", asking if there is anything going on in the mountain."

This work was handed down in order. It was lost for a while after the fall of the Qing Dynasty. It was not until the last century that it was discovered in Shenyang. It is very well preserved, with not a single word missing. It is now kept in the Liaoning Provincial Museum. What is even more precious is that there are postscripts by Zhao Mengfu, Zhang Yan, Xiang Yuanbian and others at the end of this scroll. Zhao Mengfu believes that this work is a true expression of Huaisu's feelings, better than any other work: "This scroll is from the heart of Huaisu, and it is beyond what you can usually see."

This work is based on Wang Xizhi's "Two Letters of Thanks". The brushwork is delicate and exquisite. The tip of the brush is retracted at the beginning, and after it touches the paper, it is pressed and accumulated, and then adjusted to the center of the brush to move forward. The strokes are graceful and varied, with strength inside, graceful and orderly without being empty. The starting and ending points are straight down and twisted freely. The characters are compact, with vertical momentum, dangerous and strange, and shaped according to the characters. Each character echoes in an orderly manner, full of dynamic momentum.

The strokes, word formation, composition and ink method of Huaisu's "On Calligraphy" are impeccable. The charm is vivid and natural, and there is no aggressive or overly unrestrained brushwork. It is very suitable for beginners. If you can copy it thoroughly, you will master the authentic Jin and Tang cursive writing style.

Now, we have reproduced Huaisu's "On Calligraphy" in ultra-high definition and 12 colors. Seeing this work is like seeing the original, which is very convenient for you to copy and appreciate. If you are interested, please click the link below to take a look!