Zhao Mengfu highly admired Wang Xizhi, and took the study of Wang as the call to "respect the ancients and seek the source" to reverse the indulgent and wild style of writing at the end of the Song Dynasty. According to historical records, Zhao Mengfu copied as many as tens of thousands of copies of the "Orchid Pavilion Preface" (doubtful), especially the "Dingwu Ben Lanting" that he came to in his later years, and his annotations were very satisfactory, and it was also a world-praised and exemplary copying masterpiece.
Collection of the Palace Museum
Zhao Mengfu came to "Dingwu Ben Lanting"
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In the development process of the entire history of calligraphy, Thessalology occupies an extremely important position. Zhao Mengfu (fu) is an outstanding representative of the Thesis style of calligraphy in the Yuan Dynasty, and is another peak of the WangShu experts in the Yuan Dynasty after Zhiyong, Ouyang Qian, Yu Shinan, Chu Suiliang, Mi Fu and other generations of Wang Shu.
Zhao Mengfu copied and appreciated the "Orchid Pavilion Preface" all his life, and to this day, there are still many Copies of Zhao Mengfu's "Orchid Pavilion Preface", and in the formation of zhao's calligraphy, Dingwu Lanting has played a very important role. Most of the "Orchid Pavilion Preface" he visited in his life was the "Dingwu Lanting Pavilion". Because the "Preface to the Whole Pavilion" was passed down from the Wei and Jin Dynasties to the Yuan, the true copy has long disappeared, and the Tang Lin facsimile has become increasingly rare. The Song Dynasty was the era when carvings were prevalent, and they were closer to the Yuan, so many Song carvings could still be seen. The version of the Orchid Pavilion Preface copied and appreciated by Zhao Mengfu is mainly the Dingwu ben, so it can be said that the "Dingwu Pavilion" has a great influence on the formation of his style.
Zhao Mengfu is erudite and versatile, able to write poetry, through economic science, gong calligraphy, fine painting art, good at gold stones, tonglulu, xie appreciation. In painting, he created a new style of painting in the Yuan Dynasty, known as the "Crown of the Yuan People". His paintings are widely used in a wide range of materials, comprehensive in techniques, and are good at landscapes, figures, flowers and birds. His books are taken from Fa ZhongXuan, "Er Wang", Li Yong, Zhao Shuo, etc., and are good at the bodies of seal, li, zhen, xing, and grass, especially the calligraphy and the book; his style of writing is charming, beautiful, and his body is strict and neat, and his penmanship is mature, creating a "Zhao body" book, and together with Ouyang Zhenqing, Yan Zhenqing, and Liu Gongquan, he is called "the four masters of the book". In addition, Zhao Mengfu advocated the teaching of the ancients, emphasizing that "calligraphy and painting are of the same origin". His ideas of painting, calligraphy and painting have had a profound impact on future generations.
Zhao Mengfu has an important role and far-reaching influence in the history of Chinese calligraphy art. His contribution to calligraphy is not only in his calligraphic works, but also in his treatises. He has a lot of insights into calligraphy. He believes: "There are two kinds of books, one is the brushwork, and the other is the glyph. The brushwork is exquisite, although good and evil; the glyphs are exquisite, although they are familiar and alive. Learning books can solve this, and then you can also use language books. "Studying books is playing with the ancient Fa Ti, and knowing the meaning of its pen is beneficial." In writing the ancient Fa-ti, he pointed out a rather meaningful fact: "When the predecessors got a few lines of ancient inscriptions and concentrated on studying, they could become famous in the world. Moreover, the "Orchid Pavilion Collection" is a calligraphy that Wang Youjun (Wang Xizhi) is satisfied with. If you keep learning, how can you worry that calligraphy is better than others. "These can give us important lessons.
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