Song people are very creative. When they established People's Republic of China (PRC), the vast Tang Dynasty was a peak in front of them. How to surpass the Tang Dynasty, they took a refined and restrained road. Unlike the broadness and boldness of the Tang people, they are self-contained, exquisite and carefree. They developed the folk form of ci beyond the Tang poetry, improved the character of ci, and became another literary form of expressing characters, which is as famous as the Tang poetry. Compared with Yu's Tri-colored Tang Dynasty, the porcelain in Song Dynasty is quiet and elegant. The five famous kilns of Jun porcelain in Geding Kiln are still so perfect, showing tranquility and serenity. The calligraphy and painting books of the Song Dynasty are all fine works now. Up to now, the fonts of our printed matter are all created by Song people, creating a cultural peak.
Calligraphy in Song Dynasty is different from that in Tang Dynasty, but it is still elegant. We look at the calligraphy of Tang people, such as Ou Yangxun, Yu Shinan, Yan Zhenqing and Liu Gongquan. Their writing is rigorous and their statutes are rigorous. They look like generals sitting on their backs, showing generosity, composure and calmness, just like their times. Throughout the Song Dynasty's calligraphy, Song Sijia's calligraphy is naive and full of pen feelings and ink interests everywhere. You can imagine, under the sunny window, drinking a cup of tea and reading two books, suddenly remembering, feeling happy, spreading paper and researching ink, comfortable and casual. Not only four, but also Ouyang Xiu, Wang Anshi, Lu You, Fan Chengda and Zhu. Look at their words, as if they are smiling at you. Song people's art is human art, showing kindness.
Sue, Huang, Mi Zhu and Cai Yong lived in the same era, but Cai Xiang was a little older. They all live in the same era. Su Shi died in11kloc-0/,Mi Fei died in 1 107, and Huang Tingjian died in 1 105. They lived in the same period as each other. This kind of appreciation is the envy of future generations. Su Shi said: Reciting my Bird ... transcends the word of God. When can I see it wash away the poison? Now I really see it! ..... Hate for twenty years, and follow Bird endlessly. Su Shi's evaluation of Cai Xiang's Ci: Cai's calligraphy is unique, with high talent, deep accumulation, endless transformation, so it is the first in the dynasty. Huang Tingjian attached great importance to Su Shi's calligraphy, saying more than once: Taoist Dongpo ... The understanding of good calligraphy in this dynasty should be the first. Su Zizhan's calligraphy is very beautiful. Although he uses too much ink and rhymes, he is the best in the world today. He also said wryly: I didn't learn enough books ... now I have learned more than my children's foresight, so I didn't choose a skill. From these words, we can't see the trace that scholars despise each other, but we can see that they are blind dates. Scholars in Song Dynasty seem to appreciate each other: Ouyang Xiu's exoneration of Su Shi, Wang Anshi's generosity, Su Shi's appreciation of later generations, Lu You's appreciation of Xin Qiji, and Zhu Yu's academic debate are all a kind of gentleman's feelings. This seems to be a characteristic of Song Wenhua: tolerance.
1. Su Shi's calligraphy
Su Shi's calligraphy focuses on "meaning" and goes his own way. Huang Tingjian, one of the "Four Bachelor of Sumen", said: "His calligraphy is very attractive ... until he drinks too much wine, he forgets himself and is clumsy, and his words are extremely thin ... As for the round rhyme of his pen, his articles are wonderful all over the world, and his loyalty runs through the sun and the moon, which is the first." Charm can be said to be the biggest feature of his calligraphy. Ming Dong Qichang even praised him for "making full use of the front, which is the Lanting of Po Gong". Therefore, the beauty of Su's calligraphy is called "the beauty lies in the hidden front", "the ancient road is strong", "the body is strong and peaceful, the weather is graceful and abundant" and "the hidden skill is better than the clumsy", which is a great style, and its calligraphy theory implication is even more incisive, not only for the present world, but also for future generations.
Su Shi was implicated in the Yuan Party case. Not only was he not recorded in Xuanhe Pu Shu, but his calligraphy works were also destroyed. There are nearly 30 original calligraphy works handed down from ancient times, among which Zhi Ping Tie is the most important work in the early and middle period. Wen Zhiming wrote an postscript after calligraphy in the Ming Dynasty, which was proved by textual research to be written by Su Shi in his thirties. By the middle period, many famous works appeared, such as "Qianchibi Fu" in regular script and "Several Poems in Sacrifice to Yellow Emperor". Du Fu's Alnus Poetry, Huangzhou's Cold Food Poetry, and the New Year's celebration and two letters from the people are all representative works in the middle period. Su Shi's regular script is rare. From several of his two works, Fu on a Thousand Red Cliffs and Sacrifice to the Yellow River, we can see that the script is quite different from the rigorous Tang Kai, not only the font is on the left, but also the brushwork is naturally informal. Some people say that his calligraphy is so beautiful on the left side and so withered on the right side with his wrist on and his pen lying down. Huang Tingjian defended it, saying that Su Shu was read according to "Hanlin's ink ruler". In other words, Su Shi does not emphasize the rigorous statutes of calligraphy, even regular script. Judging from the pen and ink, Su Shu is not "lying on the pen", but using the pen slightly lower and still taking the pen as the center, so he has the posture of winning the pen. His running script is bigger and smaller, with flesh and blood, bones and flesh, and there are both Yan Zhenqing and Yang Ningshi's parents.
Su Shi's works in his later years are relatively few, the most famous of which are Visiting a Folk Teacher, Crossing the Sea and Jiang Shang. Among them, "thank you teacher" is a handwritten note to Xie Julian, and the front part has been damaged. This article is included in Dongpo Collection, which is an important article for Su Shi to express his personal literary creation views. His calligraphy is old and vigorous, unlike Huangzhou's cold food poems, which are changeable. The postscript of Gu Wenbin in Qing Dynasty quoted the previous book review "Dongpo's words are elegant, graceful, bold, strict and arrogant" to praise the beauty of this calligraphy. Su Shi did not care about the gains and losses of ugly calligraphy, and gained the greatest freedom in academic creation, thus becoming a calligrapher in the Northern Song Dynasty.
When talking about his calligraphy, Su Shi said: "I can't write books with my heart, and I'm tired of asking for it myself." It is this pursuit of interest in calligraphy style orientation, this emphasis on calligraphy expression forms, and the efforts to enrich various contrast relationships that have influenced every generation behind him.
2. Huang Tingjian's calligraphy
Huang Tingjian's calligraphy was first learned by Zhou Yue in Song Dynasty. Later, influenced by Yan Zhenqing, Huai Su, Yang Ningshi and others, and inspired by the style of Yi He Ming by Jiao Shan, Huang Tingjian developed his own cursive style. Huang Tingjian's big-character running script is concise and powerful, and its structure is peculiar. Almost every word has some exaggerated long paintings, and he tried his best to send them out, forming a brand-new method of combining Chinese palaces and diverging on all sides, which had a great influence on later generations. The structure is obviously influenced by Huai Su, but the rhythm is completely different from that of Huai Su. Before him, roundness and fluency were the keynote of cursive script, while Huang Tingjian's cursive script was extremely dangerous in word structure and creative in composition. He often breaks the boundaries between words by shifting, making lines form new combinations and the rhythm changes strongly. Therefore, it has a special charm and has become an outstanding representative of calligraphy in the Northern Song Dynasty. Together with Su Shi, it has become the pioneer of a generation of calligraphy style. The so-called more artistic calligraphy in Song Dynasty by later generations is to change the style and structure of calligraphy and pursue the artistic conception and interest of calligraphy. Huang Tingjian, Su Shi, Mi Fei and Cai Xiang are called Song Sijia.
Huang Tingjian has made some important comments on the art of calligraphy, most of which are scattered in The Valley Collection. He opposed to living on one's laurels, emphasized the spiritual inheritance of excellent traditions and the creation of individuality; Pay attention to the influence of mind and temperament on calligraphy creation; In style, he opposes originality and emphasizes clumsiness. These ideas can be confirmed by his creation.
Huang Tingjian's calligraphy is popular, and Xiao Zhuan's calligraphy is represented by Fang's epitaph, Wang's epitaph and Shi Yizheng's epitaph in Lunan. Calligraphy is fluent and elegant. The big-character running script includes Huangzhou Cold Food Poem Volume and Postscript, Fu Bo Shenci Volume, Songfengge Poem, etc. , are vigorous and calm, showing the characteristics of yellow books. Cursive scripts include Li Bai's Memories of Time Past, Zhu Shangtie and so on. With gorgeous words and elegant brushwork. While inheriting Huai Su's cursive script, it also shows the uniqueness of Huangshu. In addition, Huang Tingjian's calligraphy works include Tombstone of Boyi Shu Qi, Gongbei of the Ground Beam, Poems of Qingyuan Mountain, Longwang Temple, Ode to the Queen in the Title, etc.
3. Mifei's calligraphy
Mi Fei studied hard all his life and made the greatest achievement in calligraphy. Mi Fei claimed that his works were "collections of ancient Chinese characters", and he had a deep understanding of the brushwork, composition and charm of ancient masters, which also showed to some extent that Mi Fei had made great efforts in the tradition of learning books. Miffy was not involved in the political whirlpool and her life was relatively stable. Later, he became a doctor of painting and calligraphy, enjoyed the collection of books in the palace and familiarized himself with the Millennium stories. The gains and losses of the ancients are countless. When he was young, he studied hard Yan, Liu, Ou and Chu, and laid a solid foundation. When Su Shi was demoted to Huangzhou, he visited for advice, and Dongpo advised him to study gold. From the fifth year of Yuanfeng (1082), Mi Fei devoted himself to the study of Wei and Jin Dynasties, searched many calligraphy posts of Jin people, and even named his study "Baojinzhai". Today, Wang Xianzhi's ink painting "Mid-Autumn Festival Sticker" is said to have been copied by him, which is both beautiful in form and spirit. Mi Fei turned to many teachers all his life, and in his later years, he also said in the book "readme": "I am a beginner, so I should learn to write the wall first. I was seven or eight years old. The words are as big as a picture, so it is impossible to write simply. I saw Liu and admired his tight knot, so I learned Liu's Diamond Sutra. For a long time, knowing that it comes from Europe means learning from Europe. For a long time, such as printing plate arrangement, it is the longest time to learn from Chu, and the season of Mo Duan turns fat into beauty, and all sides are perfect. Over time, Jue Duan Quanze exhibited Lanting, so he joined the Jin and Wei Dynasties and abandoned Zhong Fang to study in Yigong. " The same is true of Liu Kuanbei. The seal characters love Chuchu and Shi Guwen. I also realized that bamboo slips are painted with bamboo, which is wonderful and ancient. "
Mifei is famous for his calligraphy, and his achievements come entirely from hard training the day after tomorrow. Miffy comes to the pool every day. Historical records record: "If you don't write for a day, you will feel sleepy, thinking that the ancients never wasted books for half a time." "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. (According to Sun Zubai's Friends of Mi Fermi). Mi Fei wrote a book seriously, and said to herself, "She wrote Hai Dai's Poems three or four times, but it is hard to believe what she said in the book" ("Mingming Fan Taiwan Notes Mi Fei Yang"). A poem has been written three or four times, and only one or two sentences satisfy him. Among them, the bitterness is beyond the reach of an expert, which also shows his rigorous creative attitude.
Mi Fei's calligraphy is in Song Sijia, after Su Dongpo and Huang Tingjian, and before Cai Xiang. However, regardless of Su Dongpo's position as a literate Sect or Huang Tingjian's influence as a leader of Jiangxi Poetry School, Mi Fei's traditional skill is the deepest in terms of calligraphy, especially the running script, which shows that the two are positive. Dong Qichang's Essay on Painting Zen Rooms in Ming Dynasty said: "I tasted the word rice and thought that the Song Dynasty was the first. After all, it was based on Dongpo. In other words, Mi Dian's books are more self-sufficient. When he changed in his later years, it was strange that ice was colder than water. " When the emperor asked about calligraphy, Mi Fei claimed to be a "brush character". He was modest and down-to-earth, and "brush character" showed that he was quick and energetic with his pen and tried his best. His calligraphy works, from poems to bamboo slips and inscriptions, are full of vitality and freshness. Judging from the existing nearly 60 Mi Fei's handwriting, the word "brush" vividly shows the spirit of the word "rice". No wonder Su Dongpo said, "Mi Fei gets carried away." He also said: "Haiyue has been a seal character, an official, a true character, a line and a cursive script all his life. When you are parallel to Zhong Wang, dive and be happy. Not only worth it. " Mi Fei's calligraphy had a far-reaching influence, especially in the late Ming Dynasty. Many scholars, such as Wen Zhiming, Zhu Yunming, Chen Chun, Xu Wei, Wang Juesi, Fu Shan, etc., have taken a Heart Sutra from Mi Zi, and this influence has continued to this day.
Mi Fei's calligraphy has reached a high level, and his calligraphy theory is quite a lot. He is the author of History of Books, Famous sayings of Hai Yue, Visiting Bao Lu, Copyright Review and so on. It shows his outstanding courage and refined taste, and often scoffs at his predecessors. However, he never followed the old saying and was valued by calligraphers of all ages. However, he also talked too much, belittled Ada and Xu Su, and was harsh and critical. Mi Fei's ink handed down from generation to generation mainly includes Tiaoxi Poetry Collection, Shu Sutie, Fiona Fang Anji and Ma Tiancai, among which there are many Korean essays.
4. Cai Xiang Calligraphy
Cai Xiang's calligraphy was highly respected by his contemporaries and enjoyed 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. Shen Kuo, a scientist in the Northern Song Dynasty, commented on Cai Xiang's cursive script in Meng Qian Bitan: "Taking prose as cursive script, it is called scattered grass or flying grass, and its methods are all from Bai Fei, forming its own family. The ancient rhyme of Huai Su in Zhang Xu is changeable, melodious and full of ancient meaning. "
"The Biography of Cai Xiang in Song Dynasty" said: "The word is the best in the world, and Renzong loves it." Xu Jiang's Biography of Cai Xiang said, "I feel sorry for myself and have to use calligraphy and painting. Its broken chapters and manuscripts are well known, and it has been treasured so far, and Renzong especially likes to call it. " Zhu Xushu: Cai Xiang's books are very self-respecting, and he doesn't pay much attention to them. With others, everyone hides them as treasures. Injong loves his works deeply ... and he wrote the article "Wencheng Queen" written by the bachelor. Mo Jun refused to write the book, saying, "This work has yet to be completed." . Confucian works, so it's just a solo tour. Is serving a skill?
From the above three paragraphs, we can know that Cai Xiang's calligraphy was cherished by emperors and 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. In addition, it can be seen that the atmosphere of the book circle at that time had completely turned to poetry, while the book tablet was regarded as a matter of technical service, which was disdained by literati and even the emperor's life could not be controlled. This is fundamentally different from the situation before the Tang Dynasty.
Cai Xiang is a master of school. Generally speaking, 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. There are many kinds of ink handed down from ancient times in Cai Xiang, such as Shu, Xie Ci, Shen Tao, Jiao Burning and Meng Hui. Inscriptions include regular script of Wan 'anqiao, Jinjitang and Gushan Guyuan Cave, such as Forgetting Stone and Passing Rock.