First, the origin of Song Sijia and Tang books
Although the "respect for meaning" in Song Dynasty denied the "respect for law" in Tang Dynasty, the development of the times was always linked, and "Song Sijia" did not completely deny the calligraphy in Tang Dynasty, so "law" and "meaning" could not be viewed in opposition. Among the calligraphers in the Tang Dynasty, Chu Suiliang and Yan Zhenqing had the greatest influence on the Song Dynasty. Yan Zhenqing has influence on Song Sijia. Cai Xiang entered the Song Dynasty in his later years, and his works were mostly Tang Fa. Su Shi attached great importance to Yan Zhenqing's "On Dong Fangshuo Painting" and evaluated it as "clear and far-reaching". Paying attention to Su Shi's calligraphy is rich in Yan Zhenqing's glyph. Huang Tingjian said: "Taoist Dongpo learned Lanting in a few days, so his calligraphy style is as charming as Xu Jihai ... Middle-aged people like to learn Yan and Yang Fengzi, and the similarities are no less." Wang Shu said: "All the books of' Song Sijia' were written by Lu Gong, and Dongpo was well-deserved and gorgeous, which won Lu Gong's praise." Mi Fei thought that Yan Zhenqing's running script had a seal brush, and spoke highly of his "Three Drafts". Mifei's big characters become fat and beautiful, showing Yan Zi. Huang Tingjian's calligraphy runs counter to Yan Zhenqing's, tightening the palace and spreading it in all directions. He exaggerated and stretched the short strokes in Yan Shu, and used vibrato to form lines full of real power. As for Chu Suiliang, his influence was only directed at Mi Fei. Mi Fei thinks that "Chu Suiliang's calligraphy is moving, but there is a kind of pride". A glimpse of Chu Suiliang's Lanting is a shortcut for Mi Fei to "be plain in Wei and Jin Dynasties" and "prepare for elegance".
Second, the comparison of calligraphy other than running script
His achievements are mainly reflected in the running script, and there are also two styles: Kai and Cao. Mi Fei has a small number of seal script and official script, but it is not commendable.
As far as regular script is concerned, I think Cai Xiang is the first person in Song Sijia. Its face is very similar to that of Yan Zhenqing, and it is permeated with a lot of popularity, so it has no advantage over Tang. Yan wrote a book, but there are many things he doesn't care about. Cai Xiang pays attention to writing with a pen, so Mi Fei said, "Cai Xiang is like a young woman, with a charming figure, slow pace and many ornaments." Su Shi's capital letter method, Yan Zhenqing, squashed the font and paid attention to ideological hypertrophy. Huang Tingjian's Yi Qi Si Bei is similar to Chu Fa, but slightly scattered. Mi Fei has not been handed down from generation to generation in block letters. Block letters "holding words to the Empress Dowager" are intended to be preserved between Europe and Chu, which is quite commendable.
As far as cursive writing is concerned, Huang Tingjian is the most accomplished in Song Sijia. Su Shi and Mi Fei despised Zhang Xu and Huai Su as "calligraphers" and thought that they regarded calligraphy as a career, which violated the purpose of entertaining themselves and lost the elegance of the forest, "just like a prostitute smearing green and red". Su Shi's cursive script is extremely rare, and Mi Fei's cursive script is also rare. The lines are thin and oily, and the confidence in writing running script is swept away. Cai Xiang cursive script is called "scattered grass", which contains the legacy of Cao Zhang. He boasted: "Every time I put pen to paper, I am flying cursive script, but I feel like a dragon snake, running at will and rushing up and down, which is extremely frightening." Watch quietly, watch bright and happy! "But Su Shi believes that Cai Xiang's" big characters are not as good as small characters, grass is not as good as truth, and deeds are not as good as things. "These three cursive scripts.