Calligraphy in Song Dynasty attached importance to artistic conception, which was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of artistic conception includes four points: one is philosophical, the other is bookish, the third is stylization, and the fourth is artistic expression. At the same time, it mediates the individuality and originality in calligraphy creation.
Calligraphy art in Song Dynasty occupies an important position in the history of calligraphy in China, and its main practitioners are Su Shi, Huang Tingjian, Mi Fei and Cai Xiang in Northern Song Dynasty. Shengshi Tai's "Cangrunxuan Monument and Postscript" said: "Song Shi said that those who can write books have four wins and are the only ones. But among the four families, Su, Huang, Mi and Cai Gong live alone. "
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Calligraphy criticism in Song Dynasty often used the word "Yi", emphasizing that "Yi" is a rebellion against "Fa", but it is not superficial, but "Fa is indispensable", which is a conscious choice on the basis of high-tech inheritance. In the Yuan Dynasty, Liu Youding's Notes on Yan Ji said, "Although today and ancient times are different, what is the reason?"
Yu, Xie, Xiao and Ruan obeyed the law; Europe, danger, Chu and Xue are divided by stealing the law; Down to the debauchery of the yellow rice lords, holding the meaning of extralegal. "Feng Ban in Qing Dynasty said in" A Brief Introduction to Blunt Poems ":"When writing books, people in Song Dynasty take more new ideas, but the meaning must be based on skill. He thinks that Su, Huang and Mi, especially Mi Fei, have brought the beauty of long strokes into full play.
Li Dongyang in Ming Dynasty said in the Collection of Huailu Hall: "Mi Fei is neck and neck with Su and Huang, but not inferior. Generally speaking, Su and Huang are better than Tibet, while rice is better than freedom. " Modern Lu's "Introduction to Calligraphy" said: "Calligraphers' brushwork is very poor in Mi Fei." It should be said that Song Sijia's calligraphy is full of momentum.
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