Dongpo's achievements in the history of books are very high: 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 are all acceptable, 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 characteristics are mainly good at forming elegant and extraordinary momentum and calm and happy style in the face, retrogression, 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.
Cai Xiang is honest and knowledgeable. His words are "noble and noble, with both morality and tolerance". His calligraphy was highly respected by his contemporaries and had a high reputation. Su Dongpo and Ouyang Xiu were the first people to appreciate his calligraphy. Su Dongpo pointed out in Dongpo's inscription: "Cai is the first in this dynasty because of his high intelligence, profound knowledge, corresponding heart and hand, and endless transformation." However, the running script is the best, the short script is the second, and the cursive script is the second ... I have also tasted the meaning of flying white, saying that there is a trend of flying dragons and dancing phoenix, and not many people know it. Ouyang Xiu's evaluation of Cai Xiang's calligraphy is really hard to find: Ouyang Xiu said, "Since Su Zimei's death, I think the brushwork is absolutely unique. In recent years, Mo Jun has been a loner in the world, but he refused to advocate an alliance. Huang Tingjian also said: He Cai is a hero of calligraphy. "(The Collection of Collected Works in the Valley) Shen Kuo, a scientist in the Northern Song Dynasty, commented on Cai Xiang in Meng Qian's Bi Tan.
Colored fragrant ink mark
The cursive script says: "Those who use prose as cursive script are called scattered grass or flying grass, and their methods are all born in Bofei and form their own family. The ancient rhyme of Huai Su in Zhang Xu is changeable, leisurely and full of ancient meaning. " "The True Story of Cai Xiang in Song Dynasty" said: "Characters are the best in the world, and Renzong loves them especially." Xu Jiang's Biography of Cai Xiang said, "I feel sorry for myself by painting and calligraphy. Its broken chapters and manuscripts are well known, and it has been treasured so far, and Renzong especially likes to call it. " He was once asked to write an inscription by his uncle Wang Longxi, as well as an inscription by Yu. Therefore, Cai Xiang's calligraphy is cherished from the emperor to ordinary people. Because of self-pity, he didn't do anything to write a book, so there are few works handed down from generation to generation. Cai Xiang's calligraphy is mostly written in letters and poems. Xie Ci's imperial poems have been handed down from generation to generation, and the inscriptions on them include Wan 'an Bridge, Zhou Jintang, Gu Shan Guyuan Cave regular script, Forgetting the Stone, Crossing the Rock and so on.
Cai Xiang studied calligraphy with Wang Xizhi, Yan Zhenqing and Liu Gongquan. When the predecessors commented on Cai Xiang's calligraphy, they all thought it was "similar to Jin and Tang Dynasties". For example, in the Yuan Dynasty, Ni Yunlin once said: "Cai Gong's calligraphy has tang style in the Six Dynasties, and the national essence is like jade." His running script Cheng Xin Tang Zhi Chi Du Can is regarded as the most typical and representative work in Cai Xiang's ink handed down from ancient times. This play is beautiful and quiet, and it has quite the charm of Jin and Tang dynasties. The full text is written in block letters, the structure is flat and slightly flat, the spacing between lines is close and appropriate, and each stroke has a rich posture, elegant and smart. Cai Xiang, 52 years old, is a masterpiece of advocating "attaching importance to books" in his later years.
After regular script entered the Song Dynasty, Cai Xiang should be the first person to write regular script in the Song Dynasty. Zhou Jin Tangi
Colored fragrant ink mark
It is the representative work of Cai Xiang in block letters. It draws lessons from Yan Shu's brushwork, is rigorous and vigorous, and has the verve of Fiona Fang and Yan Jie. This work was written by Cai Xiang for Han Qi, an important official of the dynasty. In order to show his respect for Han Qi, Cai Xiang was ingenious in his creative process. He wrote every word dozens of times and chose the best one to put together. Therefore, Zhou Jin Tangji was also named "Baique Monument". When a complete work is written separately, both the echo between words and the consistency of composition will be destroyed. Therefore, the story of Jindian is mixed-the single word is perfect, but the overall arrangement has the shortcoming of being distracted.
Cai Xiang is not a master of this school. On the whole, his calligraphy still abides by the laws of Jin and Tang dynasties, and his sense of innovation is slightly inferior. In the Ming Dynasty, Xu Qingteng commented on Cai Xiang's book cloud: "Cai Xiang's book is close to two kings, but it is short and vulgar. Cleanliness and uniformity are its strengths. " Point out the advantages and disadvantages of Cai Xiang's calligraphy. Cai Xiang is certainly not a master with a brand-new style, but he is an indispensable figure in the development of calligraphy in Song Dynasty. With his complete calligraphy achievements, he built a technical bridge between the laws of Jin and Tang Dynasties and the tastes of Song people, which played a role in connecting the past with the future and attracted the attention of future generations.