Mi Fei liked reading poetry books since childhood, and received a good education since childhood. Coupled with his cleverness, he was able to recite hundreds of poems at the age of six, began to learn to write calligraphy at the age of eight, and copied inscriptions at the age of 10, which made him famous from an early age.
Mi Fei has his unique experience in the distribution, structure and use of calligraphy. His font requires "stability, danger, age and fat", which was said by Jiang Kui, a calligrapher in the Southern Song Dynasty.
It is to achieve unity in change, to integrate the opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simplicity and complexity, that is, "bones, muscles, flesh, fat and spirit are all available, just like a good scholar." In composition, attention is paid to the overall charm, the perfection of details, ingenious conception, changing with the situation in the writing process, and ingenuity.
Mi Fei's pen-using characteristics are mainly good at forming elegant and extraordinary momentum and calm and happy style in the face, retrogression, turning and frustration. His handwriting is often quite heavy, slightly lighter in the middle, and he turns straight down when he meets a turning point. There are also many changes in holding the pen. The focus of the next stroke is sometimes on the pen, sometimes on the pen, and sometimes in the middle of a stroke. A long horizontal painting has twists and turns and hooks are also very distinctive.
In Mi Fei's calligraphy, there is a tendency to tilt. He wants to be left first and then right, and he wants to praise first and then restrain, all in order to increase the charm of ups and downs and galloping horses. Based on his profound knowledge of collecting ancient Chinese characters for decades, he is naive and natural, and never pretends.
Mi Fei studied calligraphy the most in his life, and his greatest achievement was running script. It can be seen that he was deeply influenced by five famous calligraphers in Tang Dynasty: Yan Zhenqing, Chu Suiliang, Duan.
Mi Fei has many special brushstrokes, such as the turning of the right corner of the word "door", the steep rise of the vertical hook, the crab claw hook, etc., all of which are taken from Yan's running script; The shape of the body is cut, when it comes from the imitation of European characters, and it has been kept for a long time; Shen Chuanshi's running script is similar to that of Chu Suiliang; In the exhibition season, the "unique four sides" and "calligraphy" of Mifei Chinese character section may come from this; Chu Suiliang's brushwork is the most varied and vivid, just to Mifei's taste. He once praised his own words: if you are familiar with horses, you will follow others, but there will be no arrogance.
"Shu Su Tie" is the Mo Bao of Mi Fei. Because silk fabrics are not easy to ink, there are many dry pens in this post, which make the ink color clear from beginning to end and more exciting and moving.
Mifei paints bamboo with strokes. He likes to "show off on all sides". This post is changeable in pen, hidden in the front, clear in thickness and varied in posture, which fully embodies his unique style of "brushing words" The words in this post are also inclined, changing greatly, and mainly on the side, showing a dynamic aesthetic feeling.
Dong Qichang, a famous painter and calligrapher in the Ming Dynasty, wrote a postscript after the Book Suthep: This volume is like a lion fighting an elephant. Go all out and cooperate for life.
Shu Su Tie is written in the column, but its momentum is not limited at all, unrestrained and uninhibited, with a pen, flying with a pen, with changeable turns and twists and turns. "Antique" is still a bit rigid, and the more free and easy it is, the more detached it is.
The speed, weight, starting and ending, and turning point of the pen used in Shu Su Tie are not limited to one method, but can be freely retracted. The knot is long and inclined, showing agility. The same words, written in different ways, have changed greatly. Miffy's writing fully reveals his personality.
The structure of Shu Su Tie is amazing, flexible, effective, symmetrical, beautiful and tall, elegant and random. His pen swings freely, and the hole jumps down. Fiona Fang combines rigidity with softness. The hidden front is slightly exposed, and the exposed front is also subtle. Exposing the pen comes to an abrupt end, such as a sharp knife, and the hanging needle has a positive side, either curved or straight; The pressure is clear and the bond is firm; It is also a thick fiber, which is neither good nor violent, but also a middle edge, not dry or moist.
In the composition of Shu Su Tie, the compact stippling is in sharp contrast with the large blank, the thick strokes and soft lines appear alternately, the smooth brushwork and the slow brushwork are combined with each other, and the dynamic and calm, graceful and quiet are perfectly combined, forming the unique composition of Shu Su Tie.
In a word, Shu Sutie's expressive brushwork, eccentric structure and neutral layout have created a lively and smart artistic conception by washing away the peaceful and simple book style since the Jin and Tang Dynasties. Therefore, Gao Shiqi, a famous calligrapher in Qing Dynasty, wrote a poem praising this post: Shu Maozhi, a vegetarian poultry and silk industry, and Mi Dian Shu Mai, an occasional school. Naive in and out of Wei and Jin dynasties, horses are absolutely happy.
At that time, many calligraphers only dared to write a few words on Shu Su until Mi Fei wrote eight poems on it. This post was first reserved by Huzhou county magistrate Lin.