Huizong's calligraphy art has a kind of fairy spirit, in his "auspicious dragon stone", "crane picture", "five-color parrot picture" and other paintings hidden Taoist atmosphere, we can feel that Huizong wants to try his best to show Taoist consciousness through calligraphy and painting, Yu Hui in the "Song Huizong Flower and Bird Painting Taoist consciousness" article has a subtle discussion. Just as Huizong in the "Crane Picture" in the thin gold book inscription "auspicious clouds are gloomy", "fairy birds sue Rui" and other words, the crane is an auspicious thing of Taoism, 20 cranes hovering above the palace, just as the "Xuanhe Painting" in the cloud "whitewashed Dahua, civilized world, but also so the audience, concord and spirit". Huizong loves cranes very much, creating a fairyland-like picture surrounded by auspicious clouds and flying cranes, and uses cranes to express the yearning for the prosperity of the country. On the other hand, Huizong's sustenance on Ruihe and the formation of the style of thin gold calligraphy make it easy for people to imagine the two, and the thin gold book is characterized by tall and frustrated vertical brushes and sparse knots, which coincide with the image of Ruihe; Coincidentally, the "Records of Famous Paintings of the Past Dynasties" records that Xue Ji's achievements in painting cranes are very high and have a far-reaching impact on later generations, which further reminds us of the inheritance relationship between Huizong's calligraphy and painting art and Xue Ji.

Huizong's thin gold book is a unique style, not only independent works into circulation, but also can be used as a book into the painting, the thin gold book brushwork ingeniously integrated into the painting techniques, in the form of techniques and inscriptions to create a unique format of poetry, calligraphy, painting and printing, greatly promoted the development of literati painting.

(Song) Zhao Ji Cursive 1000-character text (detail) Ink pen on gold cloud dragon note

31.5 cm in length and 1172 cm in width Collection of Liaoning Provincial Museum

The country cannot be recognized

Huizong to Gaozong is a great era of turning, Huizong Dynasty in the book and painting of the Qiankun and the country after the impact of the Jin Dynasty, to the Gaozong Dynasty has shown the ups and downs, the country is broken, partial to half of the country. Gaozong will inevitably feel pathetic, and Su Shi's sigh in "Hou Chibi Fu" may be able to express Gaozong's heart for the country: "The river has a sound, and the bank is broken for a thousand feet; The mountains are high and the moon is small, and the water falls out. The geometry of the sun and the moon, and the rivers and mountains cannot be recognized. ”

Gaozong is the ninth son of Huizong, the first emperor of the Southern Song Dynasty, from birth to 15 years old by King Kang moved into the palace before he moved into the palace, "Song History Gaozong Benji" recorded: "Xuanhe three years of December Renzi, into the King of Kang." Knowledgeable, erudite and strong, reciting more than 1,000 words on a reading day, and holding a bow to one stone and five buckets. Xuanhe for four years, the first crown, out of the outside. It can be said that Huizong was the first teacher on the road of Gaozong's calligraphy art, and the calligraphy styles of Huizong and Gaozong began to be based on Huang Tingjian, and they were able to reach a high level. In the book "Research on Calligraphy Education in the Northern Song Dynasty", Yang Shenshen said: "The calligraphy achievements of the emperors of the Song Dynasty benefited not only from family tradition, but also from the edification of serving and reading and even doctors of calligraphy. But there is another point, that is, thanks to the calligraphy education received during the princely period, which is the premise and foundation for some of them to achieve certain achievements in calligraphy later. "Gaozong's early calligraphy art benefited from the imperial calligraphy and painting education that was pervasive in the artistic atmosphere.

(Song) Gaozong Zhao composed a book, Ma Hezhi painting, Lu Song three articles (detail)

Ink pen on silk, 26.2 cm long, 542.8 cm wide

Collection of Liaoning Provincial Museum

Regarding Gaozong's calligraphy art, Ming Tao Zongyi's "Calligraphy History Meeting" recorded: "Gaozong is good and true, lined, cursive, and the sky is full of its ability, all of which are wonderful." "The style of its book from the Northern Song Dynasty and the Tang Dynasty straight into the Wei and Jin dynasties, the object of the teacher can be briefly summarized as Huang Tingjian, Mi Fu, Sun Guoting, Erwang, Zhong Xiang and others, copying the present and chasing the ancients. Song Lou Key's "Attack Collection" recorded: "Emperor Gaozong was a fine Hanmo, starting with Huang Tingjian's body, and now the "Ring Stone Inscription" and the like are also. The pseudo-Qi still exists, so the minister Zheng Yinian secretly played Yu Fang to make people Xi Tingjian strong, and he was afraid of urgency

The royal pen is chaotic, and then changed the word Mi Fu, all of which are true. Gaozong's early calligraphy work "Buddha Peak Bright Pagoda Tablet" is the most direct style confirmation of Huang Tingjian's teacher, Chen Zhenlian said in the book "Chen Zhenlian on the History of Chinese Calligraphy: Tang Dynasty - Yuan" that "it records the traces of the transformation of Gaozong's calligraphy road". The first time to promote the change of Gaozong's calligraphy style is because the Jin Dynasty supported the puppet Qi regime Liu Yu is also vigorously advocating Huang Tingjian's calligraphy, Zou Yinian is worried about confusing Gaozong's handwriting, so prompted Gaozong to transfer to Mi Fu calligraphy. However, why did Gaozong change the rice body, Fang Ailong said in the book "History of Calligraphy in the Southern Song Dynasty" that "Zhao Gou turned from the yellow body to the rice body, the external political environment is to prevent the chaos brought about by the Liu Yu regime in the north, and the internal art environment is a large number of Mi Fu calligraphy collected in the inner house, and Mi Fu's son Mi Youren served Qingyan in the palace." Mi Fu in the Huizong Dynasty for the doctor of painting and calligraphy, in the court painting and calligraphy appreciation collection process plays a leading role; His son Mi Youren should be selected to study calligraphy in the Huizong Dynasty, and after crossing to the south, he was in the Gaozong Dynasty and was in charge of the appreciation and collection of calligraphy and paintings. Liu Dongqin said in the article "On Song Gaozong's Three Calligraphic Turns" that "Shaoxing eleven years (1141), "Shaoxing Mi Ti" ten volumes engraved, which is a systematic arrangement of Mi Fu's works under the auspices of Song Gaozong, is an important symbol of Song Gaozong's method Mi Fu. And to assist Gaozong to complete the collection of works in the "Shaoxing Mi Ti", authenticity identification and even provide the best person in the collection of ancestral works, none other than Mi Youren", Mi Youren in the palace collection has made significant contributions, but also has a direct impact on Gaozong's calligraphy transfer Mi Fu. Mi Fu said in the "Haiyue Famous Words": "People say that my book is a collection of ancient words, cover all the strengths, and make it up." "The formation of Mi Fu calligraphy style is found in the study of Tang calligraphy and chased Jin rhyme, set ancient characters is a general term for Mi Fu calligraphy, confirming the collection of its calligraphy. Gaozong began to follow the Tang law Jin rhyme while learning the rice body, we can clearly see the influence of Gaozong learning Mi Fu calligraphy style in the "Ci Yue Fei Volume" and "Bai Juyi Poetry Volume", and you can also see the traces of learning Zhiyong and Sun Guoting's penmanship.

(Song) Zhao Gou, Cursive Luo Shen Fu (detail) Ink pen on silk

27.8 cm long, 277.8 cm wide, collection of Liaoning Provincial Museum

Yang Wanli's "Chengzhai Collection" of the Song Dynasty recorded: "I Gaozong first made yellow characters, and the world learned yellow. After making the word rice, the world is learning rice. Song Wang Yinglin's "Jade Sea" recorded: "Emperor Gaozong Yunzhangkui painted, Zhao returned to the sky. Since the beginning of the flying dragon, I like Huang Tingjian's physique, and then I picked Mi Fu. has been put aside, dedicated to Xi, dedicated to father and son. In the records of Yang Wanli and Wang Yinglin, Gaozong's calligraphy turned to the Jin and Tang Dynasties after learning Mi Fu, and the style of "Luo Shen Fujuan" is more like Sun Guoting, the style is gradually maturing, and the rhythm is still coordinated. Gaozong's calligraphy art was fond of the Wei and Jin dynasties, and Song Xiongke's "Zhongxing Xiaoji" recorded that Gaozong "must learn books with Zhong and Wang as the law, and then change in and out, and become a family of its own". At the beginning, if you eat the mouth, the throat is less sweet, and the end is like eating olives, and the true taste is more and more in the heart, so you don't forget to forget it. "Since the Wei and Jin dynasties, to the six dynasties of penmanship, all copying, or sloppy, or thin, or strong and not back, or show different and unique, the body is prepared in the pen, the meaning is still in the trade-off, to if the "Yu Ti" is measured to be deep, the proposed benefit is strict, the posture is horizontal, do not create its source, detailed view painting, so that a lot of recitation to the Huai also." It can be seen that Gaozong worked the calligraphy of the Wei and Jin dynasties, and finally achieved Gaozong's retro calligraphy art. Yu Hui divided Gaozong's calligraphy into three stages in the article "A Court Calligraphy and Painting Cooperation for Su Shi's Rehabilitation: Behind Ma Hezhi's Painting and Song Gaozong's Inscription 'Later Chibi Futu' Volume": "First, he imitated Huizong's calligraphy in his early years, and more or less retained some of Huizong's sharp pen marks in his brushwork, and also learned Huang Tingjian's body after ascending the throne. Second, he respects the traces of Mi Fu. Third, Zhao Gou chased the traces of the two kings of the Eastern Jin Dynasty, and chased the heart of the hand, no less than a few years, and the style of writing was almost Zhiyong. "A generation of emperors, sincerely and tirelessly on the road of calligraphy, has achieved in various types of calligraphy

"Nothing is wonderful" achievement. Gaozong's calligraphy art is recorded in the "Hanmo Zhi" that he "was interesting in his later years, horizontal and straight, and casual and adaptable." To make more than a ruler of large characters, the pen is all done, and everyone does not mind". Gaozong was satisfied and confident in his calligraphy art, which was also the most suitable spiritual sustenance he found in the feelings of his family and country.

Gaozong's calligraphy artistic achievements are worthy of recognition, and they have benchmarking significance in the history of calligraphy in the Song Dynasty, which directly influenced the value orientation of the calligraphy style of the Southern Song Dynasty. Gaozong's achievements in the art of calligraphy, his emphasis on the orthodox style of calligraphy on the road of retro, does it also show that he strengthened his dominance and the legitimacy of the throne, and used it to remember Huizong, we can't help but ponder what is Gaozong's inner world in such a ruined social environment? Could it be that in the face of the unchangeable reality, he turned to immerse himself in the world of calligraphy and painting in search of a place for the soul to dwell?

Ma Hezhi's "Hou Chibi Futu" volume has Gaozong's own inscription Su Shi's "Hou Chibi Fu", this Gaozong's calligraphy work is based on the "two kings" calligraphy style, integrating the penmanship of Sun Guoting in the Tang Dynasty, which has important value for the study of Gaozong's calligraphy art, and can be regarded as Gaozong's representative work of cursive. However, Ma Hezhi and Gaozong's "Later Chibi Futu" is not an ordinary calligraphy and painting inscription, Yu Hui in the article "A Court Calligraphy and Painting Cooperation for Su Shi's Rehabilitation: Behind Ma Hezhi's Painting and Song Gaozong's "Later Chibi Futu" Volume" believes that this "has a deep political meaning", "it rehabilitates Su Shi and other old parties by artistic means, and affirms his achievements in literature and art, which is a special and best form of rehabilitation." This is the first person in history to experience Su Shi's "Hou Chibi Fu" as an emperor, Zhao Gou, the monarch of this half-country, must have many sad feelings about Su Shi's good sentence: 'The river has a sound, the bank is thousands of feet, the mountains are high and the moon is small, and the water falls out. The geometry of the sun and the moon cannot be recognized. At this time, Gaozong made progress in the art of calligraphy, perhaps to bring a kind of sustenance and some comfort to his later life. Li Sheng analyzed the political connotation of "Mao's Poems" in the article "Research on Ma Hezhi's 'Mao's Poems'", arguing that this image of calligraphy and painting "consciously and directly defends or propagates his own status and ruling behavior", and carries Gaozong's function of "political ideals and educating the Son of Heaven". The world of calligraphy and painting not only carries Gaozong's pursuit of art, but also uses the combination of calligraphy and painting to carry his own political ideals and comfort his spiritual wounds.

Ma Hezhi's "Hou Chibi Futu" volume has Gaozong's own inscription Su Shi's "Hou Chibi Fu", this Gaozong's calligraphy work is based on the "two kings" calligraphy style, integrating the penmanship of Sun Guoting in the Tang Dynasty, which has important value for the study of Gaozong's calligraphy art, and can be regarded as Gaozong's representative work of cursive. However, Ma Hezhi and Gaozong's "Later Chibi Futu" is not an ordinary calligraphy and painting inscription, Yu Hui in the article "A Court Calligraphy and Painting Cooperation for Su Shi's Rehabilitation: Behind Ma Hezhi's Painting and Song Gaozong's "Later Chibi Futu" Volume" believes that this "has a deep political meaning", "it rehabilitates Su Shi and other old parties by artistic means, and affirms his achievements in literature and art, which is a special and best form of rehabilitation." This is the first person in history to experience Su Shi's "Hou Chibi Fu" as an emperor, Zhao Gou, the monarch of this half-country, must have many sad feelings about Su Shi's good sentence: 'The river has a sound, the bank is thousands of feet, the mountains are high and the moon is small, and the water falls out. The geometry of the sun and the moon cannot be recognized. At this time, Gaozong made progress in the art of calligraphy, perhaps to bring a kind of sustenance and some comfort to his later life. Another work of Ma Hezhi and Gaozong's calligraphy and painting, "Mao's Poems", Gaozong hopes to use the function of calligraphy and painting to promote politics and religion.