Su Shi (A.D.1036-101year), born in Meishan, Meizhou (now Sichuan Province), was a scholar in Hanlin, the official to Duanming Hall, and an official in the Ministry of Rites, and a scholar in Wenzhong.
Dongpo's achievements in the history of books are very high: he ranks first among Song Sijia (Su, Huang, Mi and Cai) (this ranking is not based on before and after birth); His "Huangzhou Cold Food Post" is known as the third running script in the world. Coupled with the handsome impression left by folk stories, if I have never seen his handwriting, I will think that his handwriting will at least not be dull.
But in fact, most of his words are quite plain and simple; Although the features of low profile on the left and high profile on the right come from Li Beihai, a vast breath of Wang Yang is his personal characteristic, just like his profound knowledge. The change of Shenlong is unpredictable, and it is earth-shattering for him to occasionally show his handwritten "Huangzhou Cold Food Post".
Mi Fei (1051—1108) was a famous painter and collector in the northern song dynasty. Character chapter,No. Lumen layman, Xiangyang manshi, Haiyue Waishi. Originally from Taiyuan, he moved to Xiangyang and was called "Mi Xiangyang". During the reign of Xuanhe, Zhao Jizhao, Huizong, was a doctor of calligraphy and painting. Mi Fei is good at poetry and writing, especially at painting and calligraphy. Seal, Li, Xing, Cao and Kai are all capable, especially in cursive writing. He calls himself "brush character", which means that he is quick and vigorous with his pen, doing his best to pursue the charm, boldness and strength of "brush" and nature. His calligraphy works, ranging from poems to slips and inscriptions, are full of excitement, dynamic and fresh features, and the momentum of a sharp sword. Su Shi said that Mi Fei's calligraphy is "calm and happy, and it is not only worthy to be parallel with Zhong Wang." His ink handed down from ancient times mainly includes Tiaoxi Poetry Volume, Shu Su Tie, Fiona Fang An Ji, Coral Tie and so on.
Mi Fei's calligraphy, with running script as the highest achievement, is bold and unrestrained, and strict with statutes. Yuan Yuji said, "The book of Minangong is full of pride and strength, but the statutes of Jin and Wei are natural."
Mi Fei's calligraphy achievements are the highest in running script and small block letters, and he is the first in terms of body posture. His achievements come entirely from the efforts of the day after tomorrow, and there is no element of trickery. Mi Fei keeps coming to the pool every day, citing two historical materials as evidence: "If you don't write for a day, you will feel sleepy, thinking that the ancients never waste books for half an hour." "Zhiyong's inkstone becomes a mortar, but he can reach the right army (Wang Xizhi). If the penetration starts from Zhong (Yao) and Suo (Jing), he can encourage it forever." His son, Mi Youren, said that he didn't even forget to write on New Year's Day. Mi Fei's book is very serious, unlike some people's imagination. Mi Fei himself said, "She wrote Poems of Hai Dai three or four times, but it was difficult to believe in the book" (Notes on Mi Xiangyang by Ming Fan Mingtai). A poem has been written three or four times, but only one or two words are satisfactory to him, and the bitterness among them is beyond the reach of an expert, which shows that his creative attitude is rigorous. He has his unique experience in the distribution, structure and use of calligraphy. It is required to be "steady, not strange, not old and not fat", which is probably what Jiang Kui wrote, that is, to achieve unity in change, and to integrate the opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simplicity and complexity, that is, "bones and muscles, flesh and fat, fat and fat" In terms of composition, we attach importance to the overall charm, give attention to the perfection of details, have a good idea, change with the situation in the writing process, and be ingenious. Mi Fei's pen-using characteristics are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in the positive side, backward, turning and setbacks. The beginning of the word is often quite heavy, slightly lighter in the middle, and the side of the pen turns straight down when it meets a turning point. There are also many changes in the pen-holding. Sometimes the focus of the next pen is on the pen, sometimes it is on the pen, sometimes it is in the middle of a pen, and there are twists and turns for a long horizontal painting. Hooks are also distinctive. In Mi Fei's calligraphy, there is always a tendency of tilting. He wants to be left first and right first, and wants to praise first and restrain first, all in order to increase the charm of ups and downs and the air of flying fast. On the premise of the rich foundation of collecting ancient characters for decades, he is naive and natural, so he never pretends. Mi Fei makes good use of "brush pen", which is dry and moist, full of brushwork, with a sharp momentum, and it is almost unconstrained, and because all his cursive scripts are genuine, he pointillism is accurate. For example, the representative works in his later years include Hongxian Poetry and Duojinglou Poetry Album. Yuan Yuan-Jue said in the Collection of Qing Palace Jushi that Mi Fei had learned from the exhibition in Tang Dynasty, and he won "a swift brush, pretending to know his ancestors in big characters".
Huang Tingjian (1045-1105), whose name is Lu Zhi, is a Taoist in the Valley. A native of Xiushui, Jiangxi Province, was born in a family of poetry and books. He only had a good knowledge of the six arts and was a scholar during the reign of Zhiping. One of the "Four Bachelor of Sumen". Politically, he and Su * * * entered * * and retired, and was repeatedly relegated. Known for literature, he pursued strange poetic style and created Jiangxi poetry school, which had great influence. Calligraphy is especially important to the world. As one of Song Sijia, he was an important figure in Song Dynasty. Su Shu is still interesting, and Huang Shu is still charming; The yellow book is tied up and takes the vertical trend. Together with Su Shi, he pushed the humanistic spirit of calligraphy in Song Dynasty to the peak. The greatest feature of Huang Tingjian's calligraphy is his emphasis on "rhyme" and demeanor, and his writing is elegant and elegant, such as the breeze of Langyue and the high rhyme of the book.
Cai Xiang (1012-1067), born in Xianyou, Fujian Province, holds a bachelor's degree from Guan Zhi to Duan Ming Dian. Calligraphers of the Northern Song Dynasty, one of the "Four Great Masters of Song Dynasty", are known as "Su, Huang, Mi and Cai" in the history of calligraphy, and they are considered as typical representatives of the calligraphy style of the Song Dynasty. Among the "Song Sijia", the first three are Su Shi (Dongpo), Huang Tingjian (Fu Weng) and Mipu (Xiangyang Manshi). In Song Sijia, Cai Xiang should be older than Su, Huang and Mi. From the perspective of calligraphy style, Su Wu is full of ups and downs; Huang Tingjian rises vertically and horizontally; Mi Fei is handsome and bold, and their style of writing is sui generis. Su, Huang and Mi are all good at cursive and running script, but Cai Xiang likes to write regular script. Cai Xiang's calligraphy is vigorous and dignified, simple and graceful, and self-contained. When Cai Xiang's calligraphy was exhibited, I suddenly felt that there was a wisp of spring breeze on my face, full of gorgeous Wen Ya breath. The combination of word formation is handy and extremely natural, and the writing is like flowing water, showing a beautiful and vigorous state.
Cai Xiang is upright and knowledgeable. His words are "noble and noble, with both morality and tolerance". His calligraphy was highly respected by contemporary people before his death, with a high reputation. Su Dongpo and Ouyang Xiu were the first people to admire his calligraphy skills. Su Dongpo pointed out in Dongpo's Inscription and Postscript: "Cai Junmo is the first in this dynasty because of his high talent, profound knowledge, corresponding heart and hand, and endless metamorphosis." However, the running script is the best, followed by the small script, and the cursive script is the second ... I also tasted the meaning of flying white, saying that there is a trend of flying dragons and dancing phoenixes, and those who know it are not too much. " Ouyang Xiu's evaluation of Cai Xiang's calligraphy is really hard to see: Ouyang Xiu said: "Since Su Zimei's death, I feel that the brushwork is absolutely unique. In recent years, Junmo has been alone in the world, but he has refused to advocate the alliance. " Huang Tingjian also said: "Su Zimei and Cai Junmo are heroes of calligraphy." ("Collected Works of the Valley") Shen Kuo, a scientist in the Northern Song Dynasty, commented on Cai Xiang's in "Mengxi Bi Tan"
Cai Xiang ink mark
The cursive script says, "Taking the prose as a cursive script is called scattering grass, or flying grass, and its methods are all born in Feibai and form their own family. The ancient rhyme of Zhang Xu and Huai Su is changeable, and it is leisurely and rich in ancient meaning. " The official Biography of Cai Xiang in the History of Song Dynasty said: "Handwriting is the first thing in the world, and Renzong especially loves it." Xu Jiang's Biography of Cai Xiang said: "Being public to calligraphy and painting is quite self-pity, and it is not unreasonable. Its broken chapters and broken manuscripts are well known and treasured, and Renzong especially likes to call them." Song Renzong once ordered him to write the inscription of Wang Longxi, the imperial uncle, and the inscription of Yu Yingge. From this, we can know that Cai Xiang's calligraphy is cherished from the emperor to the ordinary people. Because of his self-pity, he did not do anything to write books, so there were few works handed down from generation to generation. Cai Xiang's calligraphy ink is mostly written in letters and poems. Handed down from ancient times, there are Xie Ci's Imperial Poems, and inscriptions on them include Wan 'an Bridge, Zhoujintang, and the regular script of Guyuan Cave in Gushan, such as Forgetting to Return to Stone and Guoshiyan.
Cai Xiang studied calligraphy with Wang Xizhi, Yan Zhenqing and Liu Gongquan. When the predecessors commented on Cai Xiang's calligraphy, they all thought that it was "similar to Jin and Tang Dynasties". For example, Ni Yunlin in Yuan Dynasty once said: "Cai Gong's calligraphy has the style of six dynasties and Tang Dynasty, and it is as quintessential as jade." His running script Cheng Xin Tang Zhi Chi Du can be regarded as the most typical and representative work in Cai Xiang's ink handed down from ancient times. This show is beautiful and quiet, which has the charm of Jin and Tang people. The full text is written in block letters, with a straight and slightly flat structure, tight and appropriate spacing between lines, and a rich posture in every stroke, which is elegant and elegant. Cai Xiang was fifty-two years old, which was the representative work of advocating the end-oriented book style in his later years.
After regular script entered the Song Dynasty, Cai Xiang should be the first person to write regular script in the Song Dynasty. Zhou Jin Tang Ji is a representative work of Cai Xiang's regular script. It draws on the brushwork of Yan Shu, is rigorous and vigorous, has both Fiona Fang and Yan Jie's breadth and breadth. This work was written by Cai Xiang for Han Qi, an important official of the dynasty. In order to show his respect for Han Qi, Cai Xiang was ingenious in his creative process, writing each word for dozens of times, and choosing the best one to put it together, so Zhou Jin Tang Ji was also named "Baique Monument". When a complete work is written apart, no matter the echo between words or the coherence of composition, it will be destroyed. Therefore, The Story of the Golden Temple is mixed-the single word is perfect, but the overall arrangement has the disadvantage of being absent-minded.
Cai Xiang is not a master of the school. On the whole, his calligraphy still abides by the laws of Jin and Tang Dynasties, and his sense of innovation is slightly inferior. In the Ming Dynasty, Xu Qingteng commented on Cai Xiang's book cloud: "Cai Xiang's book is close to two kings, but his short one is a little vulgar. It is its strength to be clean and even. " Points out the advantages and disadvantages of Cai Xiang's calligraphy. Cai Xiang is certainly not a master with a brand-new style, but he is an indispensable figure in the development of calligraphy in Song Dynasty. With his own complete calligraphy achievements, he built a technical bridge between the statutes of Jin and Tang Dynasties and the interest of Song people, which served as a link between the past and the future and attracted the attention of later generations.