The four major calligraphers of the Northern Song Dynasty refer to Su Shi, Huang Tingjian, Mi Fu and Cai Xiang.
In the history of calligraphy, when it comes to calligraphy in the Song Dynasty, there are four major calligraphers: Su, Huang, Mi and Cai. The four of them are considered to be typical representatives of the calligraphy style of the Song Dynasty. Among the "Four Song Schools", the first three refer to Su Shi (Dongpo), Huang Tingjian (Fu Weng) and Mi Fu (Xiangyang Manshi).
From the perspective of calligraphy style, Su Shi is plump and innocent; Huang Tingjian is vertical and horizontal, high-spirited and hidden; Mi Fu is handsome and bold, calm and happy. They were all good at learning from the ancients and full of innovative spirit. Their calligraphy style was unique and highly praised by people at that time. They were listed among the four schools without any objection.
It is generally believed that the so-called Cai refers to Cai Xiang (Jun Mo). His calligraphy is based on the Jin and Tang Dynasties, and pays attention to ancient meanings and laws. However, some people think it is Cai Jing. Who exactly he refers to has always been controversial.
Calligraphy comparison:
The calligraphy art of the Song Dynasty occupies an important position in the history of Chinese calligraphy. Its most important practitioners are Su Shi, Huang Tingjian, Mi Fu and Cai Xiang of the Northern Song Dynasty. . Sheng Shitai's "Cangrunxuan Stele Postscript" said: "In the Song Dynasty, four families were the best among those who were able to calligraphy. However, among the four families, Su Yunjie, Huang Liuli, Mi Qiaoba, and Cai Gong ranked first among them for his simplicity. ”
The origin of the “Four Schools of the Song Dynasty” and Tang Shu:
Although the “Shang Yi” of the Song Dynasty was a negation of the “Shang Fa” of the Tang Dynasty, the development of the times has always been the same. Connectedly, the "Four Schools of Song Dynasty" did not completely deny the calligraphy of the Tang Dynasty, so they could not see "law" and "meaning" as opposites. Among the calligraphers of the Tang Dynasty, Chu Suiliang and Yan Zhenqing had the greatest influence on the Song Dynasty. Yan Zhenqing had an influence on the "Four Families of Song Dynasty".
Cai Xiang was already in his twilight years when he entered the Song Dynasty, and most of his works were based on Tang style. Su Shi was very fond of Yan Zhenqing's "Praise to Dongfang Shuo's Paintings" and commented that it was "Qingxiong and profound". Pay attention to Su Shi's calligraphy. The thickest part of his calligraphy is Yan Zhenqing's calligraphy. Huang Tingjian said: "Taoist Dongpo has been studying "Lanting" for a long time, so the beauty of his calligraphy is like that of Xu Jihai... When he was middle-aged, he liked to study the calligraphy of Yan Lugong and Yang Fengzi, and they are as similar as Li Beihai."
Wang Shu said: "The calligraphy of the 'Four Schools of Song Dynasty' was all written by Lu Gong, and Dongpo was particularly impressed by his graceful posture and the plumpness of Lu Gong." Mi Fu believed that Yan Zhenqing's calligraphy had the spirit of seal script, and he praised Yan Zhenqing's "three drafts" of it. "Extremely complimentary. The big character Mi Fu has a plump turn, showing off her beauty.