Zhao Mengfu’s Technique Theory of “Calligraphy Brushwork Is the Top Priority”

赵孟頫是著名的书法家，同时在书法理论方面也有一定建树。南宋末期到元代，书坛颓靡，大多书家不师古，造成书法乱象。赵孟頫试图“力挽狂澜”，复古魏晋典雅书风。在实践层面，赵孟頫书法极力效法“二王”，以“尚韵”为旨归，最终形成典雅大方，秀美华贵的独特书法风格，引领元明书风。在理论层面，赵孟頫强调书法技法的重要性与传承性，他提出的“用笔千古不易”和“用笔为上”观点是赵孟頫对书法技法层面的思考，他提出回归魏晋笔法，以“技法为上”，重新确立了书法正统，引发了后世对用笔与结字的争论，对当代书法的发展有重要启示意义。Zhao Mengfu was a renowned calligrapher and also made significant contributions to calligraphy theory. During the late Southern Song Dynasty and the Yuan Dynasty, the calligraphy scene was in decline, with most calligraphers not adhering to the ancient styles, leading to chaos in calligraphy. Zhao Mengfu attempted to “stem the tide” by reviving the elegance of the Wei and Jin Dynasties. In practice, Zhao Mengfu’s calligraphy closely emulated the “Two Wangs”, aiming for “emphasizing grace”, and ultimately developed a unique style that was elegant, grand, and refined, leading the way for calligraphy in the Yuan and Ming Dynasties. In theory, Zhao Mengfu emphasized the importance and inheritance of calligraphy techniques. His propositions of “calligraphy brushwork is eternal and not easy” and “calligraphy brushwork is the top priority” were Zhao Mengfu’s reflections on the technical aspects of calligraphy. He advocated a return to the brushwork of the Wei and Jin Dynasties, prioritizing “technique”, thereby re-establishing the orthodoxy of calligraphy and sparking debates on brushwork and structure of characters among later generations. His ideas have had a significant impact on the development of contemporary calligraphy.