Su Shi: The calligraphy ink is quite rich and tense, and he also criticized Du Fu's calligraphy.
Su Shi's ideas are most evident in his works, as a leading figure in the Northern Song Dynasty calligraphy. He once mentioned his artistic proposition in "Discussing Books with Ziyou": Although I am not good at books, I am not as good as me. Gou can understand its meaning, and it is often said that it is not possible to learn. Looks good, why not be beautiful?
He opposed the aesthetic concept of a single dogma, criticized Du Fu's books for being expensive, thin and hard, and believed that the forms of art are diverse, and each has its own posture.
From the point of view of calligraphy style, Su Shi uses rich ink, lines are very tense, relying on his profound learning and unique aesthetic sense, to give calligraphy a literati temperament, his literary accomplishment and life experience on the paper, full of bookish rather than tacky.
Just as Wu Dexuan's evaluation in the Qing Dynasty: Dongpo's pen is strong, easy and elegant, so fat but not vulgar.
Su Shi's style can be seen to be influenced by Yan Zhenqing, horizontal and vertical, the middle and side are combined, and the dot painting is strong, just like Su Shi's own evaluation is like cotton wrapped in iron.
In Su Shi's works, it is rare to see dry brushes, usually rich words, like to use thick ink soft pens, writing speed is slow, Zhao Mengfu's evaluation is the most appropriate: black bears are in charge, and the forest is terrifying. It can be seen that the momentum of his calligraphy is impressive.
The knots of Su Shi's calligraphy have a lot to do with the pen on its side, and the knots are mostly flat, round and thick, like a tiger standing on a snake plate.
Su Shi writes, mostly for the sake of the heart, the pursuit of no intention of good and good writing state.
What underpins his calligraphy practice is its profound cultural heritage, the arbitrariness and naturalness of the lawless, and the literati and doctor's literati popularity and bookish spirit leap on the page.
From the calligraphy works reveal his philosophical philosophy, set Confucianism, Buddhism, Taoism three long into one, showing a variety of appearances, glyphs, knots and chapters change with the mood, strokes stretch, slightly flattened, horizontal to the upper right corner slightly oblique, the vertical trend is dense, the glyph is flat, no wonder Huang Tingjian jokingly called it like a stone pressed toad.
Su Shi's deep bookish temperament in the chapter is related to his profound literati cultivation, which is also one of his views.
The unintentional arrangement of the chapter is not a disregard for the chapter, but a natural expression of the profound literary foundation.
Su Shi with his profound literary accomplishment, knowledge, vision for the hardware conditions for pen control, poetry does not seek work, words do not seek curiosity, and do it smoothly.
For Su Shi, calligraphy is just a way to express one's heart. This is an important manifestation of the literati thought advocated by Su Shi, poems, books, and paintings, which jointly express the emotions and thoughts of the literati and express their feelings with books. It laid an important foundation for the development of literati thought in later generations.
Huang Tingjian as one of the four scholars of Sumen, his calligraphy can be best compared with Su Shi, in his middle age, to Xi learn Su Shi's calligraphy, and can be vivid, Su Shi once mentioned: Huang Lu straight to learn my book, often to the title of the book in the time, good things to strive for fine paper and ink to seek.
It can be seen from works such as "Zhili's Commitment to the Foot", "To Gongyun Zhixian Ruler", "To Yunfu's Seventh Brother" and other works.
In addition, Huang Tingjian also attaches great importance to "Shigu", Huang Tingjian talked about his learning experience in "Zhongli Bawei", and said that he read Zhongli Shouzhou's small character "Thousand Words", and felt that the handwriting on it was not only spiritual, but also a little charming.
He believes that learning Xi calligraphy should not only learn from the ancients, but also learn from the strengths for my own use, emphasizing that learning from the ancient is a necessary prerequisite for learning Xi calligraphy, learning Xi the ideas of the ancients, the rules and charm of the works, and understanding the character and ambition of the calligrapher.
In terms of calligraphy style, Huang Tingjian has changed his calligraphy style since he saw Huaisu's "Self-Narrative Post", his personal style has been strengthened, and he has gradually formed his own unique charm.
The knots have also changed from broad to slender, the dots have become more wanton and horizontal, and the lines have gradually matured and improved. Huang Tingjian is more stretched and unrestrained in terms of knotting.
Huang Tingjian pays more attention to the relationship between words and characters in the knot, and the connection between dot painting and dot painting, while absorbing the nutrients of his predecessors, can turn the past into me, reflecting the true nature of himself, which is the concrete manifestation of the concept of Shangyi.
The mentor-apprentice friendship between Su Shi and Huang Tingjian had a wide impact on the cultural class of the Song Dynasty.
Su Shi consciously promoted Huang Tingjian, who was in line with his thoughts, and the group consciousness embodied in it eventually formed a strong cultural consensus group, and jointly promoted a new cultural style and aesthetic model.
In terms of cultural exchanges and ideological exchanges, the two burst out of unconventional opinions, and became typical representatives of the calligraphy style of the Song Dynasty, they liberated the art of calligraphy from dogma, and opened a precedent for the Shangyi calligraphy style of the Song Dynasty.
This new standard is in line with the aesthetic taste of the literati, emphasizing the subjective spiritual values of the creator's education, personality, and mind, and does not pay attention to the formal criteria, and guides the aesthetics of calligraphy into the work, which requires an appreciator with a certain knowledge reserve and cultivation to understand, which increases the meaning and connotation of the spirit of calligraphy.
