Mi Fei's calligraphy has been admired by later generations since the Song Dynasty. His calligraphy is called "brush", which means that his writing method is different from that of his predecessors.
Song Shizhai: "Mi Yuanzhang first saw Huizong, and the life letter" Zhou Guan "was written on the imperial screen. After the book was finished, he threw a pen on the ground and said,' Wash the evil letters of the two kings and shine on the emperor and the song dynasty forever.' Huizong stood behind the screen and smelled it, but he stepped out and looked at it. "In 117 AD, Mi Fei died at the age of 57. Mi Fei was fond of reading poetry books since childhood, received a good education since childhood, and was gifted with intelligence. At the age of six, he was able to recite hundreds of poems, learned calligraphy at the age of eight, and copied inscriptions at the age of ten, gaining a small reputation. At the age of eighteen, Song Shenzong succeeded to the throne. Because he didn't forget Mi Fei's mother Yan's old love affair, he gave Mi Fei a gift as the secretary of the provincial school, responsible for proofreading and correcting errors at that time. From then on, he embarked on his official career and died in 117. Mi Fei's rank is not high all his life, which is related to his incompetence in courting officialdom and his lofty personality. Mi Fei is a man of real talent and learning, and he is not good at pandering to officialdom. He won a lot of time and energy to play with the stone and admire the inkstone to study the art of calligraphy and painting, and his pursuit of the art of calligraphy and painting has reached a state of infatuation. His unique and unconventional personality and quirks in the eyes of others may be the cornerstone of his success. He once wrote a poem by himself: "Chai Jiyan's wife, Mo Qing, a window-opening museum, is a play of fame and fortune, and he has never felt guilty for his life." He is such a person who values the art of calligraphy and painting above all else.
Mi Fei studied calligraphy the most in his life, and his greatest achievement was running script. Although the paintings are not handed down to the world, many calligraphy works remain. Most of the famous hui posts since the Southern Song Dynasty are engraved with their dharma books, which are widely circulated and have far-reaching influence. They are second to none among the "four great calligraphers in the Northern Song Dynasty". Kang Youwei once said: "Tang Yan structure, Song Shang interesting." Calligraphers in the Song Dynasty stress interest and individuality, and Mi Fei is particularly outstanding in this respect, and he is an outstanding representative of the four great masters in the Northern Song Dynasty.
Mi Fei studied books, calling himself "collecting ancient characters". Although some people thought it was a laughing stock, some praised him for saying that "there is no need to praise the heavenly posture, and after collecting ancient characters, he can finally stand on his own feet" (Wang Wenzhi). This explains the reason for the success of Mi's calligraphy to some extent. According to Mi Fei's self-report, before learning the Book of Jin from Su Dongpo, it can be seen that he was most influenced by five Tang people: Yan Zhenqing, Ou Yangxun, Chu Suiliang, Shen Chuanshi and Duan Jizhan.
Mi Fei has many special brushstrokes, such as the round turn of the right corner of the word "door", the steep rise of the vertical hook and the crab claw hook, all of which are self-contained calligraphy; The shape of the body is cut, when it comes from the imitation of European characters, and it has remained for a long time; Shen Chuanshi's running script is similar to Chu Suiliang's; "Unique four sides" and "brush characters" may come from the season exhibition of Chinese characters in Mi Fei. Chu Suiliang's brushwork is the most varied and vivid, which is in line with Mi Fei's taste. He once praised his words, "If you are familiar with the horse, you will follow others, but you will not have an arrogant color."
Five years after Yuan Feng (182), he began to search for Jin people's law posts, and only one year later he got Wang Xianzhi's Mid-Autumn Post. This ancestor-oriented big order post had a great influence on him, and he always felt that the right army was inferior to his son. However, Mi Fei, who was unruly by nature, was not satisfied with Wang Xianzhi's words. As early as Shao Sheng's reign, he shouted "Old people hate slave books and don't change geese" and "one wash two kings' evil letters". Mi Fei is said to have studied Yang Xin, and Li Zhiyi said, "The immortal Haiyue is not waiting for me ... Yang Xin's works are even more surprising". So Mi Fei learned Yang Xin in Buju Haiyue Temple, which was six years after Yuanyou.
Despite this, Mi Shu has not been finalized. In the last three years of Yuanyou, Tiaoxi Tie, Yin Ling Ming Toutuo Temple Monument and Postscript, and Shu Su Tie were written within one and a half months, but their styles are quite different, and they have not completely stepped out of the threshold of collecting ancient characters. It was not until "I became my own family when I was old, everyone saw it, and I don't know why it was the main thing" that I finally completed the establishment of my own style, probably after the age of 5.
Because Mi Fei is too uninhibited, this stereotyped calligraphy style is always "potential", even if it is written in small letters, such as "Holding Words to the Empress Dowager", it is eager to try. This "potential" is an advantage, but at the same time it has become his defect. It should be more objective and fair to praise and criticize those who are as clear as Huang Tingjian. Huang Changrui commented on his calligraphy, "But he can write calligraphy, and the grass is not working." At that time, the so-called "Zheng" did not have a definite meaning, and it was not necessarily the current "block letters". If it refers to official seals, it is also appropriate. The existing seal-seal official in Mi Fei is really not very diligent, and the cursive script is also plain. Later, he held a negative attitude towards the cursive script of the Tang dynasty, and was limited by his knowledge of Jincao, so it was inevitable that his grades were average.
Mi Fei is very serious in writing books, unlike some people's imagination. Mi Fei himself said, "She wrote Poems of Hai Dai three or four times, but it was difficult to believe in the book" (Notes on Mi Xiangyang by Ming Fan Mingtai). A poem has been written three or four times, but only one or two words are satisfactory to him. The bitterness and bitterness among them are beyond the reach of an expert, which also shows his rigorous creative attitude.
Mi Fei is famous for his calligraphy, and he is one of the northern Song Sijia. If he is handsome, he is the first. His achievement comes entirely from the efforts made the day after tomorrow. When he was 3 years old, he was an official in Changsha. He once saw the stele of Yuelu Temple, and the following year he visited the stele of Torinji in Lushan, and they all signed their names. In the second year of Yuanyou, Zhang Xuan painted six paintings, Xu Haoshu and Shi Yigeng exchanged for Li Yong's "How Hot to Ge Fen". Proved by his calligraphy, the 24-year-old Lingui Long Yin inscribed a cliff on a rock, with a slight momentum, without the shadow of his own family; At the age of 3, the inscription and postscript of "Bu Ji Tu" also made people feel deeply gifted and academically incompetent.
Mr. Mi is crafty, and it is reasonable to boast occasionally, just as the predecessors said, "set a high standard". Mi Fei's self-narrative study of the Scriptures is often somewhat mysterious. For example, he said to the emperor that "I have learned Yan Xing since childhood". However, Mi Fei's success comes entirely from the hard training the day after tomorrow, and there is no element of trickery. Mi Fei keeps coming to the pool every day, citing two historical materials as evidence: "If you don't write for a day, you will feel sleepy, thinking that the ancients never waste books for half an hour." "Zhiyong's inkstone becomes a mortar, but he can reach the right army (Wang Xizhi). If the penetration starts from Zhong (Yao) and Suo (Jing), he can encourage it forever." His son, Mi Youren, said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Mi Fei Mi Youren). Mi Fei is rich in collections. When he goes out on official tours, he often goes with him. On the boat here, he puts up a banner of "Mijia Painting and Calligraphy Boat".
in his later years, Mi Fei lived in Dantu, Runzhou (now in Jiangsu) and had a mountain forest hall. Therefore, its poetry collection is called "Mountain Forest Collection", with 1 volumes, most of which are lost now. At present, there is "Bao Jin Ying Guang Ji" handed down from ancient times. Mi Fei can write and write poetry, poetry is called meaning, lofty and outstanding, and is a school of his own. I tried to write poems for Xu Chongyuan, saying, "I don't attack people, and I haven't recorded a poem for my life." I have a unique style for my strengths and deliberately seek differences for my shortcomings.
Mi Fei's paintings do not exist in the world. The History of Painting written by Mi Fei records his collection and appreciation of ancient paintings, as well as his preference for painting, aesthetic taste and creative experience. This should be the best basis for studying his paintings.
Mi Fei's success lies in achieving his recognized literati interest through his attitude and motif choice in a certain ink play. Mi Fei realized to change the traditional painting procedures and technical standards to achieve new interests. The reasons are as follows: firstly, Mi Fei is a collector and appraiser who collects great wealth, and he is well aware of the pros and cons of paintings in past dynasties, and more considers the content of painting itself; However, Su Shi was a generation of literary giants first, and then he expressed his painting view as an amateur. He measured and demanded painting by the standards of poetry (literature). Although there was no lack of insight, he was separated from painting after all.
Therefore, later generations mostly regard Mi Fei as a painter and Su Shi as an art theorist. Su Shi's painting theory is in his mind, but Mijia Yunshan is in his hand, although Su Shi's paintings have been handed down from generation to generation and Mi Fei has nothing. As a historical research, we can't help but point out that Mi Fei's art thought is far beyond their time than Su Shi's.
Mi Youren, his son, inherited his family style and was also a calligrapher. [Edit this paragraph] "Artistic characteristics" Mi Fei has his unique experience on the distribution, structure and use of calligraphy. It is required to be "steady, not strange, not old, not fat", which is probably what Jiang Kui wrote, "Nothing hangs down, nothing shrinks, nothing goes." That is to say, it is required to achieve unity in change, and to integrate the opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simplicity and complexity, that is, "bones and muscles, flesh and fat, and charm are all available, just like a good scholar." In terms of composition, we attach importance to the overall charm, give attention to the perfection of details, have a good idea, change with the situation in the writing process, and be ingenious.
Mi Fei's pen-using characteristics are mainly that he is good at forming an elegant and extraordinary momentum and a calm and happy style in front, back, turning and frustration. The beginning of the word is often quite heavy, slightly lighter in the middle, and the side of the pen turns straight down when it meets a turning point. There are also many changes in the pen-holding. Sometimes the focus of the next pen is on the pen, sometimes it is on the pen, sometimes it is in the middle of a pen, and there are twists and turns for a long horizontal painting. Hooks are also distinctive.
In Mi Fei's calligraphy, there is a tendency of tilting. He wants to be left first and right first, and he wants to praise first and restrain first, all in order to increase the ups and downs and the air of flying fast. Based on the solid foundation of collecting ancient characters for decades, he is naive and natural, so he never pretends. Those who learn from Mi Fei, even if they are close to the water, will inevitably lose their "difficulties". Since the Song and Yuan Dynasties, there have been two attitudes towards Mi Fei's calligraphy: one is to praise without disparaging, and to hold high esteem; One is that there are praises and denials, and most of them are praises. Those who hold the first attitude can be represented by Su Shi. [Edit this paragraph] "Artistic achievements" Mi Fei, as a famous painter in the Northern Song Dynasty, is in a mature era of literati painting, and his painting themes are very wide, with figures, landscapes, turquoise, plum, orchid, bamboo and chrysanthemum all painted; Mi Fei has made the greatest achievement in landscape painting, but he doesn't like the towering and mountainous northern landscape, and he appreciates the ever-changing "smoke and cloud scenery", "naive and plain" and "not pretending to be clever and interesting" of the water towns in the south of the Yangtze River. Therefore, Mi Fei pursues nature in his artistic style. The "Mi's Yunshan" created by him is all written in letters and covered with clouds.
Mi Fei's calligraphy is in Song Sijia, after Su Dongpo and Huang Tingjian, and before Cai Xiang. However, regardless of Su Dongpo's position as a literator and Huang Tingjian's influence as the leader of Jiangxi Poetry School, as far as calligraphy is concerned, Mi Fei's traditional skill is the deepest, especially running script, which shows the right of both.
Dong Qichang's "Essays on Painting Zen Rooms" in the Ming Dynasty said: "I tasted the word rice and thought that the Song Dynasty was the first, after all, it was above Dongpo. "That is to say, Mi Dian's book was even more successful. When he changed in his later years, it was strange that ice was colder than water. When the emperor asked about calligraphy, Mi Fei claimed that he was a "brush character". He was modest and practical, and "brush character" showed that he was quick and vigorous with his pen and tried his best. His calligraphy works, ranging from poems to slips and inscriptions, are full of vigor and freshness. Judging from the existing nearly 6 Mi Fei's handwriting, the word "brush" is vividly showing the spirit of the word Mi. No wonder Su Dongpo said, "Mi Shu is ecstasy." He also said, "Haiyue was born with seal script, official script, truth, line and cursive script. Calm and happy, when parallel with Zhong Wang. Not only is it worthy. " Mi Fei's calligraphy had a far-reaching influence, especially in the late Ming Dynasty. Many scholars, such as Wen Zhiming, Zhu Yunming, Chen Chun, Xu Wei, Wang Juesi and Fu Shan, had to take a "Heart Sutra" from Mi Zi, and this influence has continued to this day. Mi Fei's calligraphy reached a very high standard, and his calligraphy theories were also quite numerous. He is the author of History of Books, Famous sayings of Haiyue, Records of Treasures to Be Visited, Comments on Copyrights, etc. It shows his outstanding courage and refined taste, and he often scorns his predecessors. However, he never follows the ancient language and is valued by calligraphers of all ages. However, he also talks too much, belittles Liu Yan and Xu Su, and is harsh and critical.
Mi Fei studied hard and achieved the greatest success in calligraphy all his life. Mi Fei claimed that his works were "Collection of Ancient Characters", and he had a profound understanding of ancient masters' brushwork, composition and charm, which also showed to some extent that Mi Fei had made great efforts in the tradition of learning books. Mi Fei was not involved in the political whirlpool, and his life was relatively stable. Later, he became a doctor of painting and calligraphy, enjoyed the collection of books in the imperial palace, and was familiar with stories of thousands of years. The gains and losses of the ancients were numerous. He studied Yan, Liu, Ou, Chu and other Tang Kai hard when he was young, and laid a solid foundation. When Su Shi was demoted to Huangzhou, he went to visit for advice, and Dongpo advised him to learn Jin. In the fifth year of Yuanfeng (182), Mi Fei devoted himself to the Wei and Jin Dynasties, searching for many Jin people's calligraphy posts, and even named his study "Baojinzhai". Wang Xianzhi's ink Mid-Autumn Festival Post today is said to be his copy, which is extremely exquisite in form and spirit. Mi Fei turned to many teachers all his life, and in his later years, he also said in the book "Self-Narration": "I was a beginner, and I learned to write walls first. I was seven or eight years old. The word is as big as a picture, and it is impossible to write simply. When I see a willow, I admire its tight knot, so I learn from Liu's Diamond Sutra. For a long time, knowing that it is from Europe is to learn from Europe. For a long time, such as printing plate arrangement, it is the longest time to admire Chu and learn, and the season of Mo Duan turns fat and beautiful, and all sides are complete. For a long time, Jue Duan Quanze exhibited "Lanting", so he joined the Jin and Wei Dynasties in a dull way, abandoned Zhong Fang and studied in the appropriate palace. "Liu Kuanbei" is also true. Seal characters love Zui Chu and Shi Guwen. I also realized that bamboo slips are painted with bamboo, and Ding Ming is wonderful and ancient. "
Mi Fei is famous for his calligraphy, and his achievements are entirely due to his hard training the day after tomorrow. Mi Fei keeps coming to the pool every day. According to historical records, "If you don't write for a day, you will feel sleepy, and you will miss the ancients for half an hour." "Zhiyong's inkstone becomes a mortar, but he can reach the right army (Wang Xizhi). If the penetration starts from Zhong (Yao) and Suo (Jing), he can encourage it forever." His son, Mi Youren, said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Mi Fei Mi Youren). Mi Fei wrote a book very seriously, and said to himself, "She wrote" Poems of Haidai "three or four times, but it was difficult to believe in the book" (Notes on Mi Xiangyang by Ming Fan Mingtai). A poem has been written three or four times, but only one or two words are satisfactory to him. The bitterness and bitterness among them are beyond the reach of an expert, which also shows his rigorous creative attitude.
Mi Fei's calligraphy is in Song Sijia, after Su Dongpo and Huang Tingjian, and before Cai Xiang. However, regardless of Su Dongpo's position as a literate Sect and Huang Tingjian's influence as the leader of Jiangxi Poetry School, as far as calligraphy is concerned, Mi Fei's traditional skill is the deepest, especially running script, which shows the right of the two. Dong Qichang's "Essays on Painting Zen Rooms" in the Ming Dynasty said: "I tasted the word rice and thought that the Song Dynasty was the first. After all,