When it comes to calligraphy, I can't help but say Wang Xizhi; Speaking of Wang Xizhi, he is almost a household name, and maybe he can tell a few stories about him. This is a unique phenomenon in China calligraphy culture.

Wang Xizhi (303-36 1), a calligrapher in the Eastern Jin Dynasty, has few words. Originally from Langya (now Linyi, Shandong), I now live in Yinshan Huiji (Shaoxing, Zhejiang). The officers of the right army generals will review the internal history and be called "Wang Youjun". He came from a noble family in the Jin Dynasty. When Wang Xizhi was twelve years old, his father taught him the theory of brushwork. "If you use an outline, you will realize something." When I was a child, I studied calligraphy with the famous female calligrapher Mrs. Wei. Later, he visited the famous mountains in You Jiang, where he learned from foreigners, learned from foreigners, and learned from Zhong You. Observing and learning "how to combine multiple methods to prepare a family" has reached the height of "more expensive than others, the best in ancient and modern times".

Compared with Han Dynasty and Western Jin Dynasty, Wang Xizhi's calligraphy style is characterized by exquisite brushwork and changeable structure. Wang Xizhi's greatest achievement is to increase and destroy the ancient law and turn the simple calligraphy style of Han and Wei dynasties into exquisite and beautiful calligraphy style. In a word, the introduction of Chinese character writing from practicality to the realm of paying attention to techniques and tastes is the awakening of calligraphy art, which indicates that calligraphers not only discover the beauty of calligraphy, but also can show it. Few later calligraphers have not copied Wang Xizhi's calligraphy posts, so they have the reputation of "book saints". His regular script, such as Le Yi Lun, Huang Ting Jing and Dong Fangshuo Hua Zan, was quite famous in the Southern Dynasties, leaving various legends, and some even became painting themes. His cursive script is honored as "the sage of grass" by the world. There is no original trace in the world, and there are many calligraphy books, such as Seventeen Sticks, Le Li Yi in Small Letters, Huang Tingjing and so on. Copy the outline of ink, there is a hole in the middle post, Lanting [Feng Chengsu Copy] sequence, clear post in the snow, diligent funeral post, funeral post, far official post, aunt post, peace post, line post.

Wang Xizhi's calligraphy influenced his descendants. His son is mysterious and good at cursive writing; Coagulation, as a grass official; Emblem, good cursive script; Fuck it, be good at writing; Huanzhi, good cursive script; Sacrifice is called "little sage". Huang's "On the East View and Xu Lun" says: "Wang Sizi's books, Ning, Cao, Hui and Huan, have been handed down from generation to generation, each with its own style but different body. Condense its rhyme, practice its body, emblem its potential, rejuvenate its appearance and offer its source. " Later, descendants continued, and one of Wang's calligraphy was handed down. Wu Zetian tried Wang Xizhi's book, and Wang Fangqing, the ninth great-grandson of Wang Xizhi, presented ten volumes of The Travels of Twenty-eight People to his great-grandfather and compiled Long Live the Tian Tong Post. After Wang Sengqian, Wang Ci and Zhiwang were kings in the Southern Dynasties, regular script was created. Shi Zhiyong, the seventh grandson of Xihe, was a famous calligrapher in Sui and Tang Dynasties.

Wang Xizhi's calligraphy has influenced bookstores from generation to generation. The establishment of Wang Xizhi's calligrapher status has its evolution process. Calligraphers in Taishigong period of Southern Song Dynasty said in the book list: "Han, Wei, Zhong (Yi) and Zhang (Zhi) were good at beauty, and the two kings were called English at the end of Jin Dynasty." The title of the Right Army was unparalleled at that time, and Wang Xianzhi was the highest-ranking person in calligraphy during the Song and Qi Dynasties. Concentrated on learning books from his father, he was very talented and sensitive to innovation. He transferred to Zhang Zhi and created a cursive script that runs from top to bottom. He even surpassed his father and became a saint, and he was called "two kings" with his father. Tao Hongjing in the Southern Dynasties said in On Books that "everyone in the world respects books" and that "the sea is nothing more than Mongolian Yuan and Yu Ye". What changed this situation was Liang Wudi Xiao Yan's admiration for Wang Xizhi. He changed the book degree from "Wang Xianzhi-Wang Xizhi-Zhong You" to "Zhong You-Wang Xizhi-Wang Xianzhi". In Twelve Essays on Zhong You's Calligraphy, Yanyun Jr. said, "I don't respect my son, but I don't care much about my leisure." "unsuccessful" or "not caught" is not as good as meaning. Xiao Yan's position makes his comments particularly attractive, so the public opinion is firm.

The climax of studying Wang Xizhi for the first time in history was in Nanliang, and the second time was in Tang Dynasty. Emperor Taizong highly praised Wang Xizhi, not only widely collecting Wang Shu, but also personally writing praises for the biography of Wang Xizhi in the Book of Jin. When commenting on Zhong You, he said that he was "either full of goodness or suspicious", while at the time of offering, he belittled his "calligraphy disease". As for other calligraphers, such as Ziyun, Wang Meng and Yan Xu, he said that he was "over praised". Comparatively speaking, Emperor Taizong thought that the right army was "perfect" and "eager to pursue, this man is just the rest. What can I say?" Since then, Wang Xizhi's supreme position in the history of calligraphy has been established and consolidated. Literati in Song, Yuan, Ming and Qing dynasties all stayed away from the "two kings" of Jin Zong. Ou Yangxun, Yu Shinan, Chu Suiliang, Xue Qi, Yan Zhenqing and Liu Gongquan in the Tang Dynasty, Yang Ningshi in the Five Dynasties, Su Shi, Huang Tingjian, Midi and Cai Xiang in the Song Dynasty, Zhao Mengfu in the Yuan Dynasty and Dong Qichang in the Ming Dynasty all converted to Wang Xizhi. Although the study of steles broke the scope of calligraphy research in Qing Dynasty, Wang Xizhi's position as a calligrapher remained unshakable. Although the "Book Sage" and "Ink Emperor" are suspected of being "sanctified", the famous scholars and masters from generation to generation are convinced and admired through comparison and speculation.

In the history of China's calligraphy, although Wang Xizhi is known as the "sage of calligraphy", he is not regarded as a solidified icon, but only a perfect symbol of the creation of calligraphy in China culture. Things are always developing and progressing. Wang Xizhi reached the pinnacle of perfection in his time, and this "icon" will surely summon the later generations to climb the new height of calligraphy in their respective times.

Mi Fu

Characters, Xiangyang Manchu, the history of the sea and the moon. Originally from Shanxi, he moved to Xiangyang and was called "Mi Xiangyang". Historically speaking, he is eccentric, likes to wear Tang suit, and is neat. He is called "elder brother" when he meets stones, so he worships him, so he is called "Mi Dian". At the age of six, I learned hundreds of poems, studied books at the age of seven, wrote tablets at the age of ten, and entered the officialdom at the age of twenty-one. He is really a precocious eccentric. In calligraphy, he is one of the "four calligraphers of Song Dynasty" (Su, Mi, Huang and Cai), which is second to none. His writing style is bold and unconstrained, and his statutes are rigorous. Su Dongpo praised him as "true, diffuse, official and seal, as calm and happy as a horse"; On the other hand, he also created the method of "Mijia Yunshan" in landscape painting, made good use of "fuzzy" pen and ink to create the misty scenery in the south of the Yangtze River, and reproduced layers of mountains with scattered thick ink, Jiao Mo, horizontal dots and dots, which is called "Midian" in the world. It is admired by many painters in later generations and imitated by others. His son Mi Youren left many works in the world, which enabled this painting style to continue and led to a new level of "literati painting", which was praised by the history of painting. Historians have different emphases on whether Mi Fei values books or paintings.

Mi Fei, a painter, appraiser and collector, has a rich collection and a wide range of knowledge. In addition, he has a broad vision and excellent comments, and his works have become necessary books for future generations to study the history of painting. There are Zhang Bao, History of Books, History of Painting, History of Inks and Inscriptions of Haiyue to be interviewed. Zhang Bao to be Recorded was written in August of the first year of Yuanyou (1086), which is divided into two parts: witness and hearing. Eighty-four songs recorded in Tang Pin were the earliest recorded in later generations, which had great influence. There are even works that specifically imitate the style of this book, such as Zhang Si Biao in the Ming Dynasty. The detailed history of books is one of the bases for later experts. The book Sea Moon mainly describes my own experience, which is very pertinent. This book is generally believed to have been written by later generations.

Mi Fei studied calligraphy the most in his life, and his greatest achievement was running script. Although paintings have not spread to the world, many calligraphy works still exist. Most of the famous replies since the Southern Song Dynasty are engraved with their calligraphy books, which spread widely and have far-reaching influence. They are second to none among the "Four Great Calligraphers of Northern Song Dynasty". Kang Youwei once said: "Tang Yan structure, Song Shang is interesting." Calligraphers in the Song Dynasty emphasized interest and individuality, especially Mi Fei, who was an outstanding representative of the four masters in the Northern Song Dynasty. Mi Fei studied books and claimed to "collect ancient Chinese characters". Although some people think this is a laughing stock, others praise that "Tian character block needs no praise, and the ancient Chinese character set can finally stand on its own feet" (Wang Wenzhi). This explains the success of Mi calligraphy to some extent. According to Mi Fei's self-report, before learning the Book of Jin from Su Dongpo, we can see that he was most influenced by five Tang people: Yan Zhenqing, Chu Suiliang, Duan. Mi Fei has many special brushstrokes, such as the turning of the right corner of the word "door", the steep rise of the vertical hook, the crab claw hook, etc., all of which are taken from Yan's running script; The shape of the body is cut, when it comes from the imitation of European characters, and it has been kept for a long time; Shen Chuanshi's running script is similar to that of Chu Suiliang; The "unique four sides" and "writing brush characters" of the Mifei big man section season exhibition may come from this; Chu Suiliang's brushwork is the most varied and vivid, which is in line with Mi Fei's taste. He once praised himself for saying, "If you are familiar with horses, you will follow others, but there will be no arrogance."

Yuan Feng (1082) started looking for Jin people's law posts five years later, and got the Mid-Autumn Post only one year later. This big order post for ancestors had a great influence on him, and he always felt that the right army was not as good as his son. However, Mifei, who is unruly by nature, is not satisfied with Xiao Wang. As early as Shao Sheng's reign, he shouted "I hate slave books and don't change geese" and "I wash two kings' bad faith". Mi Fei is said to have studied Yang Xin, and Li Zhiyi said, "The immortal sea and moon don't wait for me ... Yang Xin's works are even more surprising". So Mi Fei met Yang Xin in Buju Haiyue Temple about six years later in Yuan You. Nevertheless, the secret book has not been finalized. The Tiaoxi Post, the Monument and Postscript of the Ming Toutuo Temple in Yinling, and the Shu Su Post, which have been written in Yuan You for nearly three years, were written in a month and a half, but their styles are quite different, and they have not completely stepped out of the threshold of collecting ancient Chinese characters. It was not until "I became my home when I was old, and everyone saw it, and I don't know why it was the main thing" that I finally completed the establishment of my own style, probably after 50 years old. This kind of stereotyped calligraphy, because Mi Fei is too unruly, blindly "potential", even in the small print such as "holding words to the queen mother", is also eager to try. This "potential" is an advantage, but at the same time it has become his defect. For a clear-headed person like Huang Tingjian, praise and criticism should be more objective and fair. Huang Changrui commented on his calligraphy. "But he can write calligraphy, but grass can't. "At that time, the so-called' positive' did not have a definite meaning, and it was not necessarily the current' block letters'. If it means the official seal, it is also appropriate. The existing seal cutting officials in Mi Fei are really not very diligent, and the cursive script is also plain. Later, he held a negative attitude towards the cursive script of the Tang Dynasty and was limited by his understanding of Cao Jin, so his achievements were generally inevitable.

Miffy's book is very serious, not as some people think. Mi Fei himself said, "I have written Haidai's poems three or four times, but I can't believe his books" (Mingming Fan Taiwan Mi Fei Yang Zhu). A poem has been written three or four times, and only one or two sentences satisfy him. Among them, the bitterness is beyond the reach of an expert, which also shows his rigorous creative attitude.

Mi Fei has his unique experience in the distribution, structure and use of calligraphy. The requirements are "stable, not strange, not old, not fat", which is probably what Jiang Kui wrote "no sag, no shrinkage, no going." That is, it is required 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, meat and fat, and charm are all there, just like a good scholar." In composition, attention is paid to the overall charm, the perfection of details, ingenious conception, changing with the situation in the writing process, and ingenuity. Mi Fei's pen-using features are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in positive, backward, turning and frustration. The beginning of the word is often quite heavy, and the middle is slightly light. When the side of the pen encounters a turning point, it will go straight down. There are also many changes in holding the pen. The focus of the next stroke is sometimes on the pen, sometimes on the pen, and sometimes in the middle of a stroke, a long horizontal painting has twists and turns. Hooks are also very distinctive.

There is always an inclination in Mi Fei's calligraphy. He wants to be left first and then right, and he wants to praise first and then suppress, all in order to increase the charm of ups and downs and the gas field of flying fast. After decades of rich collection of ancient Chinese characters, he is naive and natural, and never pretends. Learn from Miffy, even if it's an advantage.

It is inevitable that people will lose their "difficult madness." Since the Song and Yuan Dynasties, there have been two attitudes towards Mi Fei's calligraphy: one is to praise but not to belittle, and to admire it to the utmost; One is that there are praises and denials, and most of them are praises. Those who hold the first attitude can be represented by Su Shi.

Mi Fei is famous for his calligraphy and is one of the northern Song Sijia. If he is handsome, he is the first. His achievement comes entirely from the efforts made the day after tomorrow. At the age of 30, he became an official in Changsha. He once saw the stone tablet of Yuelu Temple, and the next year he went to Lushan to visit the stone tablet of Tolin Temple, and they all signed their names. In two years, I also bought Li Yong's How Hot I Want to Post with six paintings by Zhang Xuan and two posts by Xu Haoshu and Shi. With his calligraphy, it is proved that 24-year-old Lingui Long Yin inscribed a cliff on a rock, with a slight momentum and no shadow of his family; At the age of 30, the inscription and postscript of Bujitu also made people feel deeply.

Feeling gifted is not academic. It is reasonable for Mi Lao to be scheming and occasionally boasting, just as his predecessors said, "Set a high standard." Mifei's self-narration and learning from the scriptures are often somewhat mysterious. For example, he said to the emperor, "I have been studying Yan Xing since childhood.". However, Mifei's success comes entirely from the hard training the day after tomorrow, and there is no element of Machiavellian tactics. 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." "Zhi Yong inkstone into mortar, can reach the right army (Wang Xizhi). If you start with Zhong (Yao) and Suo (Jing), he can always encourage you. " His son Mi Youren said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Friends of Mi Fermi). Mifei has a rich collection. He often goes with him when he is on business. On the boat here, he hung the banner of "Mijia Painting and Calligraphy Boat".

Mi Fei loves stones, and this biography of the history of the Song Dynasty is related to this. Yuan Nizhen has a poem entitled "The Worship of the Stone in Minangong": "Bird loves inkstone and stone, and it is a hobby to explore roses for a long time. The younger brother is full of worship and writes his own pictures, but he knows the name. " According to this poem, Mi Fei was complacent about this hobby, and wrote "Stone Worship" by himself. Later painters were also good at writing this picture, so Mi Fei made a scene by worshipping the stone and became a much-told story. Before Mi's fast, there was also a different stone for Qing Ba to play with, which was recorded in The Story of the Stone. According to legend, Mi Fei has the method of "being thin, beautiful, wrinkled and transparent".

Miffy still loves inkstone. Inkstone is one of the "Four Treasures of the Study", which is necessary for painters and calligraphers. Mi Fei is famous for his research on inkstone. He is the author of History of Ink. It is said that all kinds of ancient crystal samples, as well as the similarities and differences between Duanzhou and Zhangzhou inkstones, are discussed in detail, and he advocates that "the use of utensils is the work, and the stone tube is based on ink." "Jin Bao Zhai Fa Shu Zan" quoted a post in "Mountain Forest Collection": "Insulting teaching requires precious inkstone ... inkstone is my first one, ..." Mi Fei regarded inkstone as his own head, which can be described as deep affection. Mi Fei, who is addicted to both stone and inkstone, naturally attaches great importance to inkstone. The inkstone is a kind of inkstone formed by natural peaks. At the foot of the mountain at the bottom, it can be polished with water and ink, which can be used as a study or a tool for dyeing ink in the pool. In Zhi Lin, Mi Fei got an inkstone and slept for three days. One of the most famous buildings is the property of Li Yu, the queen of the Southern Tang Dynasty, which was transferred to others in exchange for a homestead. Mi Fei thought about it, because the map of Yan (inkstone) Mountain was passed down from generation to generation.

In his later years, Mi Fei lived in Dantu, Runzhou (now Jiangsu) and had a mountain forest hall. Therefore, its poetry collection is called "Mountain Forest Collection", with 100 volumes, and most of them are lost now. At present, there is a "Jin Bao Ying Guang Ji" handed down from generation to generation. Mi Fei can write and write poems, and the title of the poem is meaning, which is lofty and unique. I tried to write a poem for Xu Chongyuan and said, "I don't attack people. I haven't recorded a poem in my life." I have a unique style for my own advantages and deliberately seek differences for my own shortcomings.

Miffy's paintings don't exist in the world. The History of Painting written by Mi Fei records his collection and appreciation of ancient paintings, as well as his love for painting, aesthetic taste and creative experience. This should be the best basis for studying his paintings. Mi Fei's success lies in that he achieved his recognized literati interest through his attitude and motif choice in an ink painting play. Miffy realized to change the traditional painting procedures and technical standards in order to realize new benefits. The reasons are as follows: First of all, Mi Fei is a collector and appraiser who collects great wealth. He is well aware of the advantages and disadvantages of paintings in past dynasties and thinks more about the contents of the paintings themselves; However, Su Shi was a literary giant first, and then he expressed his painting view as an amateur. He used the standard of poetry (literature) to measure and demand painting. Although there is no lack of insight, he is divorced from painting after all. Therefore, Mi Fei is regarded as a painter and Su Shi as an art theorist. Su Shi's painting theory is in his mind, and Mijia Yunshan is in his hand. Although Su Shi's paintings have been passed down from generation to generation, Mifei has nothing. As a historical researcher, we can't help but point out that Mi Fei's artistic thought far surpassed Su Shi of their time.

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