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If you choose one of the most representative figures from the Song Dynasty book circle, it must be Mi Fei. Mi Fei is called "the first in the Song Dynasty" in terms of his calligraphy attainments, his influence on later generations, and his inheritance from predecessors!
Mi Fei's calligraphy can be said to be the most perfect person to inherit the calligraphy of Jin and Tang Dynasties. In his early years, he was famous for "collecting ancient Chinese characters". Of course, he doesn't like this title himself, and even said, "Sweep away the bad letters of the two kings and make them last forever."
Many people misunderstand this sentence, and the meaning behind it is to attack those who are not good at learning the "two kings".
At the age of 34, Mi Fei once wrote a big-character running script, which is the only running script signed by "Minister Mi Fei" among all the calligraphy handed down from ancient times in Mi Fei. It can be seen that this work is written for the emperor.
The 34-year-old calligrapher is the time when calligraphy flies. This work is full of brushwork and domineering. Song Huizong is convinced of this sentence!
This work is the famous Mi Fei running script "Liang Jian Wen Di Mei Hua Fu". Liang Jian Deng Wendi's literary attainments are extremely high. His poems and songs were versatile and brilliant all his life. This ode to plum blossoms is a masterpiece of his life.
There are not many large-character works handed down from generation to generation in Mi Fei, such as Poems of Hongxian County, Poems of Duojinglou, Poems of Yanshan Mountain and Poems of Wujiang Boat. This painting "The Plum Blossom Fu of Emperor Liang Jianwen" can be described as the most domineering calligraphy in Mi Fei's life. It is domineering and can carry the tripod, and it deserves to be called "the first in the Song Dynasty".
The study and creation of big-box calligraphy is the most lacking part of the calligraphy study of the "two kings", because the "two kings" system is the representative of small-box calligraphy, and Jin people can't write big-box calligraphy. For today, writing big characters is also one of the compulsory courses for every calligrapher.
Mi Fei became a model for later generations with his unique understanding of the Jin and Tang Dynasties' calligraphy and his exploration of Chinese characters, and this plum blossom poem by Emperor Liang Jianwen is one of the most successful cases. Some people say that this is the top calligraphy in Mi Fei's life, and the resurrection of Wang Xizhi is far away!
Small calligraphy can be elegant and subtle, but when writing big characters, there must be a strong spirit. Mi Fei is very natural and has profound skills in Fiona Fang changes and knots.
It is a process from learning calligraphy to writing and then to nature. Only the profound accumulation of calligraphy can achieve this natural state.
The reason why Mi Fei's calligraphy can stand out in the times is naturally because of his unique talent and excellent artistic learning environment. He has been immersed in calligraphy all his life, and his talent and skills have created such a great artist.