Su Shi (A.D.1036-101) was born in Meishan, Meizhou (present-day Sichuan Province), with a bachelor's degree, history of rites, loyalty to literature, and poetry, literature and books.
Dongpo's achievements are very high in the history of books: he ranks first in (Su, Huang, Mi and Cai) (this ranking is not based on before and after birth); His Huangzhou Cold Food Post is known as the third running book in the world. Coupled with the handsome impression left by folk stories, if I have never seen his handwriting, I will think that his handwriting will at least not be dull.
But in fact, most of his words are quite plain and simple; Although the characteristics of left low and right high come from Li Beihai, Wang Yang's atmosphere is his personal characteristic, just like his profound knowledge. The changes of Shenlong are unpredictable, and occasionally showing his handwritten "Huangzhou Cold Food Post" is also earth-shattering.
Mi Fei (1051-108) was a famous painter and collector in the Northern Song Dynasty. Zi Zhang,No. Lumen layman, Xiangyang Manchu, Haiyue Waishi. Originally from Taiyuan, he moved to Xiangyang and was called "Mi Xiangyang". During the reign of Xuanhe, Zhao was a doctor of painting and calligraphy. Mifei is good at poetry and writing, especially at painting and calligraphy. Seal, Li, Xing, Cao and Kai all have skills, especially cursive script. He calls himself a "writing brush figure", which means that he uses a pen quickly and vigorously, and tries his best to pursue the charm, boldness and strength of "pen" and nature. His calligraphy works, from poems to bamboo slips and inscriptions, are full of passion, vitality and freshness, and the momentum of a sword. Su Shi said that Mi Fei's calligraphy is "calm and happy, not only worthy of being compared with Zhong Wang." His ink handed down from ancient times mainly includes Tiaoxi Poetry Album, Shu Su Tie, Fiona Fang Anji, Coral Tie and so on.
Mi Fei's calligraphy, with running script as the highest achievement, is unrestrained and rigorous in statutes. Yuan Yuji said: "The book of Min Nan Gong is full of lofty sentiments, while the laws of Jin and Wei are natural."
Mi Fei's calligraphy achievements are the highest in running script and small letters, and his posture is the first. His achievements come entirely from the hard work of the day after tomorrow, and there is no element of Machiavellian tactics. Mi Fei keeps coming to the pool every day, citing two historical materials as evidence: "If you don't write for a day, you will feel sleepy, thinking that the ancients never waste books for half an hour." "Zhi Yong inkstone into mortar, can reach the right army (Wang Xizhi). If you start with Zhong (Yao) and Suo (Jing), he can always encourage you. " His son Mi Youren said that he didn't even forget to write on New Year's Day. Miffy's book is very serious, not as some people think. Mi Fei himself said, "She wrote three or four poems by Haidai, but it's hard to believe her books" (Mingming Fan Taiwan Mi Fei Yang Zhu). A poem has been written three or four times, and only one or two words satisfy him. The bitterness among them is beyond the reach of an expert, which shows that his creative attitude is rigorous. He has his own unique experience in the distribution, structure and use of calligraphy. The requirement of "stability, no oddity, no age and no fat" is probably what Jiang Kui wrote, that is, to achieve unity in change, to integrate opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simplicity and complexity, that is, "bones and muscles, meat and fat, fat and fat", and to pay attention to the overall charm, the perfection of details, and have a good idea in composition. Mi Fei's pen-using features are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in positive, backward, turning and frustration. The beginning of the word is often quite heavy, and the middle is slightly light. When the side of the pen encounters a turning point, it will go straight down. There are also many changes in holding the pen. The focus of the next stroke is sometimes on the pen, sometimes on the pen, and sometimes in the middle of a stroke, a long horizontal painting has twists and turns. Hooks are also very distinctive. There is always an inclination in Mi Fei's calligraphy. He wants to be left first and then right, and he wants to praise first and then suppress, all in order to increase the charm of ups and downs and the gas field of flying fast. After decades of rich collection of ancient Chinese characters, he is naive and natural, and never pretends. Mi Fei makes good use of the "writing brush", which is dry and moist, full of brushwork, with a sharp momentum, almost unconstrained style, and because all his cursive scripts are original, he points out the color accurately. For example, the representative works in his later years include Poems of Hong Xian and Poems of Duojinglou. Yuan Yuanjue said in "Collection of Qing Palace Jushi" that when Mi Fei studied painting in Tang Dynasty, he had to "pretend to know his ancestors with big characters".
Huang Tingjian (1045- 1 105), Lu Zhi, is a Taoist in the valley. Xiushui, Jiangxi, was born in a family of poets and calligraphers. He only knows six arts, and he is a scholar in Zhiping years. One of the "Four Bachelor of Sumen". Politically, he and Su * * * entered * * and retired, and were repeatedly relegated. He was good at literature, pursued a strange poetic style, and founded Jiangxi Poetry School, which had great influence. Calligraphy is especially important to the world. As a member of Song Sijia, he was an important figure in the Song Dynasty. Su Shu is still interesting, and Huang Shu is still charming; Yellow book binding, vertical trend. Together with Su Shi, he pushed the humanistic spirit of calligraphy in Song Dynasty to the peak. The greatest feature of Huang Tingjian's calligraphy is his emphasis on "rhyme", grace and elegant style, such as the breeze and the high rhyme of the book.
Cai Xiang (10 12- 1067), whose real name is Mo Jun, is a native of Xianyou, Fujian Province, and has been an official until he got his bachelor's degree in Duanming Hall. Calligraphers in the Northern Song Dynasty are one of the "Four Great Masters in the Song Dynasty", and they are called "Su, Huang, Mi and Cai" in the history of calligraphy, which is a typical representative of the calligraphy style in the Song Dynasty. Among the "Song Sijia", the top three are Su Shi (Dongpo), Huang Tingjian (Fu Weng) and Mi Fei (Xiangyang Manshi). In China, Cai Xiang should be older than Su, Huang and Mi. Judging from the style of calligraphy, Su Wu has ups and downs; Huang tingjian rose vertically and horizontally; Miffy is handsome and bold, and their writing style is unique. Su, Huang and Mi are all good at cursive and running script, but Cai Xiang likes to write regular script. Cai Xiang's calligraphy is vigorous and dignified, simple and graceful, and is unique. When I exhibited Cai Xiang's calligraphy, I suddenly felt a spring breeze on my face, full of gorgeous Wen Ya breath. The word-formation combination is handy and extremely natural, and the writing style is like flowing water, showing a beautiful and vigorous state.