When you appreciate Cold Food Post, you can't just read one word, but read the whole chapter together. Only in this way can you feel the magnificent calligraphy momentum like a symphony movement and feel the amazing charm of the author wandering between literature and calligraphy. Su Shi once laughed at his calligraphy as "one stone can crush a toad". In fact, by appreciating the words in Cold Food Post, we will find that it is gentle without losing details in the unconstrained framework. Every font is like the most tenacious life. They are like bare branches in winter, seemingly decadent, but they contain the vitality of branches and leaves hidden inside.
Cold Food Post presents a dynamic trend with ups and downs. His poems are desolate and melancholy, and calligraphy is produced in this mood and situation. Throughout the ups and downs, rapid and steady, incisively and vividly, in one go. Su Shi put the changes of artistic conception and emotion in his poems in the changes of stippling lines, or before or after, constantly changing and breaking with the trend, which can be described as natural.
The world once called cold food stickers, Preface to Lanting by Wang Xizhi in the Eastern Jin Dynasty, and Sacrifice to My Nephew by Yan Zhenqing in the Tang Dynasty "the three major running scripts in the world". Others compared the "three major running scripts in the world" and said: If the Preface to Lanting Collection is the wind of Confucianism, and the Draft for Sacrificing a Nephew is the wind of the wise, then the Cold Food Post is the wind of the bachelor. They are equal, each leading the way, which can be called three milestones in the history of China's calligraphy.
Cold food station