The bipolar phenomenon of retro and game in the calligraphy of the early Southern Song Dynasty is actually the alienation of shangyi calligraphy thought in the early southern song dynasty of the late Northern Song Dynasty, and it is the extreme development of the two aspects of shangyi thought: first, the unselected food of ancient and unselected, the typical performance is Zhao Shuo's blind retro thought; the second is pure game Hanmo, abandoning the rules of the game of calligraphy, deviating from the ancient law tradition of blind innovation, the typical performance is the phenomenon of the famous Wu Shuo Gossamer Book. The retro of the early Southern Song Dynasty no longer has the innovative wisdom and artistic momentum of Shangyi calligraphy, so it has no self-confidence and penetration, and can only extricate itself in the deep pool of mud and old-fashionedness; similarly, the game idea of the early Southern Song Dynasty is the unconventional understanding and interpretation of Mi Fu's "ink play" thought, without the meaning of Mi Fu's black humor and pretentious ridicule on the basis of familiarity with ancient methods, it seems that only the blind interpretation and out-of-control recklessness that deviate from the rules of the calligraphy game are left, and the results can naturally be imagined. When someone is faced with the calligraphy classic "Orchid Pavilion Preface" but issues such ignorant words as "idle and clumsy, and use all his skills with all his hands" (Xue Xian's "Shaoxing Pengwu Qiu Ying Ding Wu Shi Ben Lan Ting Inscription"), the state of calligraphy in the early Southern Song Dynasty was only extremely lamentable.
"Dragon Tigger Lying King Right Army, Silkworm Head Falcon Tail Began to be realistic." I don't hate the two-person law, but I hate the two people who are not like the subjects. Li Shi's "Test Yan Zhixing Pen" this poem well reflects the impetuous mentality of calligraphy in the early Southern Song Dynasty, not only want to learn ancient methods, but also do not think about diving, without tempering, and want to surpass the predecessors, which can only lead to the emergence of blind innovation. The extreme development of the idea of mi fu ink play has the soil to grow: "The rest of the things travel between the gods and inks, and take advantage of the excitement to sweep away quickly." (Wang Shipeng verse) And the wu said that the gossamer book (figure 1) was greatly touted and welcomed in the early Southern Song Dynasty, which was a product of this phenomenon. From the title of Zhou Zizhi's poem "Wu Fu Peng (Wu Said, Zi Fu Peng) Lang Zhong's Novel Idea of Making Gossamer Books Wonderful For a Time, Scholars and Doctors All Give Poems as The End of the Scroll of Several Words" It can be seen that Wu Fu Peng's Gossle Book was very popular at that time, "All Scholars and Doctors Were Given Poetry", and literati rioters rushed to give poetry to praise it. According to the second volume of the Song Dynasty Hongmai's "Rong Zhai Three Strokes", at that time, there were hundreds of people who gave poems to praise: "Wu Fu peng gossamer book, the number of poets is hundreds." Wang Yanzhang has dozens of sentences in five words, mostly using Hanmo stories, which has been surpassed, and Liu Ziyi yan rushed the ancient style, covering the singing... Yu Shaoshi saw the work of the Second Gong, and he loved it with great respect, and it is still fifty years old and can still be remembered. Fearing that its benefits will not be passed on for a long time, it is therefore here. "At that time, there were hundreds of poems praising it, which can also be said to be famous and sonic." Laughed about the state of affairs, the game Han Mo Wei Shu Lin. Since the true deeds are easy to seal, the grass holy book is extremely sincere. You Yun shocked the dragon at the beginning of zhenqi, thirsty Ji angry and angry... There is no one in front of the hand chasing the heart, and there is a new meaning in sweeping away the dust traces. (Hong Shi's "Title Letter Zhou Wu Fu PengLang Middle Gossamer Book") Hong Shi and others are extremely praised. Of course, people of insight still put forward a kind criticism of his strange calligraphy, which shows that traditions and rules cannot be arbitrarily overstepped and played: "I judge Mr. Sage, and I do not call it a book. (Xiang Yi's "Title Wu Fu Peng Gossamer Book") "Poor is too thin and not engraved yaoqiong." (Wang Zhiwang's "Wu Fu peng gossamer book") Looking at Wu Fu Peng's gossamer book works, the evaluation of "too slender" is very in place, blindly involving the thread, and there is no sudden frustration in the brushwork, which has obviously left the fun of writing with a brush. As for his tracking of Sun Guoting and then going up to Wang Xizhi's line of grass, under the condition of the decline of the book world in the early Southern Song Dynasty, although "Qing Xian Jiaoli, especially suffering from no birth to the world" (Yue Ke's "Baozhen Zhai Fa Shu Zan"), it revealed the style of beauty and beauty, and it was not enough to innovate too much, but it was already precious. (See Figure 2)
"I'm self-sufficient, put pen to the pen and play empty." The ink play ideas of Mi Fu and others are based on the confidence and dashing of the ancient law, and the game thinking at this time is very blind, and it is surprising that the gossamer book without pen and ink interest is exaggerated. However, there are only more than ten extant gossamer hymns, and the gossamer book has also circulated very little, and the reason why Hong Mai wrote the above words is that he is "afraid of its benefits for a long time and does not pass it on", but the fact is that it is a proverb, like Wu said that the gossamer book, if it cannot conform to the development law of objective things, it cannot last long.
