Cai Xiang's "Entering the Spring Thesis", cursive, paper, 30cm in length and 41.1cm in width, is now in the collection of the National Palace Museum in Taipei, China.
Cai Xiang's "Into the Spring"
From 1045 to 1067, Cai Xiang was in his prime, and returned to the political center after 5 years of service in Fuzhou, and his career reached its peak, which was suitable for the emperor of Emperor Renzong of Song, and calligraphy also became a "dynasty style". At this stage, Cai Xiang gathered the strengths of a hundred families to form his own style, and at this time, the method was taken by Tang into Jin, and he wanted to pursue the indifferent nature of Wei and Jin spiritually.
He believes: "Calligraphy is difficult to reach, and Yu shu is rough. Jin Ren Shu, although not a famous artist also has a self-righteous, there is a kind of wind and current, because of the characters at that time, through the Qing and Jane, the emptiness of the heart, the cultivation of the speech, the rhyme of the victory, the fall of the Chinese scattered algae, natural and considerable, can be spiritually unraveled, can not be verbally seeking. At this time, Cai Xiang was quite creative, using Zhang Cao and Fei Bai to write his own rather proud "Flying Cursive Book". This period was also the peak of his creation, and there were many exquisite works, including "Into the Spring" as one of them.
This post is easy to circle with a pen, free in structure, and not very legal. Cai Xiang was quite proud of his style, calling it "Flying Cursive", also known as "Scattered Grass" and "Flying White Book". From his works, it can be seen that every time he drops his pen as flying grass, the pen runs at will, rushing up and down, and his emotional fluctuations jump on the paper. Su Shi also endorsed his "flying cursive book" in the inscription.