In fact, the style of Shangyi calligraphy was established in the middle of the Northern Song Dynasty. There were no calligraphers in the early Northern Song Dynasty, and the appearance of the style of advocating righteousness also marked the end of the era of advocating law.
Many book lovers are not sure about the spiritual connotation of "Shangyi" style. Shangyi is a literary and artistic innovation movement with Su Shi as the leader and Huang Tingjian, Mi Fei and others responding. Su Shi played the role of "the leader of the book circle" here.
Shangyi's calligraphy style is not scribbling, it has high requirements for calligraphers.
1, Shangyi's book style advocates individuality.
2. Shangyi calligraphy style attaches importance to the learning and cultivation of calligraphers.
3. Advocating unique aesthetic consciousness and innovative consciousness is mentioned in the works of Su, Huang and Mi and their thoughts on learning books, so I won't repeat them.
In fact, when the "Shang Yi Shu Feng" was first put forward, the situation at that time was similar to that of today's "popular Shu Feng".
For example, there was a deep prejudice against Su Shi at that time, such as thinking that Su Shi's calligraphy had no ancient method, that Su Shi's posture of writing with three fingers was problematic, and that Su Shi's skill of writing with his wrist was insufficient.
It is ridiculous for us to look at this prejudice now. We can even say that people who criticize Su Shi in this way don't understand calligraphy, and we can also see that the development of calligraphy in the Northern Song Dynasty has reached a deadlock before advocating calligraphy style.
Su Shi is really saddened by this situation.
Since the era of Yan and Liu, the brushwork has declined, which led to chaos in the late Tang Dynasty, the characters withered and the literary talent swept the floor.
In view of this, Su Shi, as the leader of his own literary world, led the "book-oriented wind". In this book innovation movement, he has two right-hand men, Huang Tingjian and Mi Fei.
It is undoubtedly a great challenge to the calligraphy style that still exists, so there is a cry of "belittling the Tang Dynasty" in calligraphy consciousness.
Why not be inferior to the Tang Dynasty? Because the style essence of Shangyi calligraphy emphasizes spirituality, verve and innocence, it needs pen and ink, emotion, form and spirit to sing. Therefore, it is not as good as the Tang Dynasty, because the calligraphy of the Tang Dynasty is rigorous and the breakthrough of personality is limited, even though their calligraphy is learning from the Tang Dynasty.
For example, Su Shi learned from Li Jianzhong, Yan Zhenqing and Mi Fei all calligraphers in the early Tang Dynasty, while Huang Tingjian mainly adopted Huai Su's method.
The voice of Bei Tang, the wind of worshipping calligraphy, breaks through barriers and opens a new way of calligraphy learning. Even though we know that it is overkill, even though we know that it has only been brilliant for decades, it still shines brilliantly today.
After Su Shi, the wind of respecting meaning quickly subsided, and calligraphy in the Southern Song Dynasty was in a slump. Several great figures were born at the same time, which also created the glory of an era. We can only look up.