[Fu Shan Cursive Calligraphy Calligraphy Axis]
Cursive Calligraphy Calligraphy Axis, Qing Dynasty, Fu Shan Calligraphy, damask, 162.2 cm long and 44 cm horizontal
This axis is Fu Shanlin and Wang Xizhi’s “Kuan Zhuan Jiu Tie”, which is slightly abridged
Explanatory note: It’s hard to give up after a long time. It is often the same with contentment. He is not close. How is it. Xizhi. The real mountain is near
The signature of the fund is “true mountain”, and the seal is “Fu Shanyin”. The lower left corner is stamped with “Ren Boxian Appreciation Seal”
This calligraphy is elegant and unrestrained. Although it is a copy of ancient calligraphy, it is not rigidly bound to the shape of the original calligraphy. The strokes are also free and unrestrained, and the final words are written with their own intention. In ancient times, we learned its meaning, followed its state, and got its outline. We can see it through a wide range, and the method is contained in it, showing a grand and leisurely manner.
![图片[1]-Fu Shan cursive calligraphy calligraphy axis-China Archive](https://chinaarchive.net/Qing dynasty/model calligraphy/2885[1024].jpg)
![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
