This paper takes the cursive works of Zhang Xu and Huai Su in the Tang Dynasty as the object to explore the isomorphism of musical rhythm and cursive art. The core view is that the use of pens

knots

and chapters in cursive script form a strict correspondence with the strength/speed of the musical rhythm

the sparse length/beat rhythm

and the structure of the music/sound space. Through the comparative analysis method

the strength of the corresponding force of the lifting and pressing

the speed of movement corresponding to the speed of the speed of the suddenness

the rhythm density of the glyph and dense retraction

the rhythm rhythm corresponding to the balance of tilt and staggering

the acoustic space and music structure corresponding to the white and virtual reality of the chapter and the beginning and end of the transition are specifically demonstrated. The conclusion points out that this cross-sensory isomorphism is rooted in the common rhythm of life and the need for emotional expression

reveals the inherent musical nature of cursive art

and confirms the universal law of "artistic communication".