Mi Fei studied calligraphy the hardest, and his greatest achievement was running script. Most of the famous replies since the Southern Song Dynasty are engraved with their calligraphy books, which spread widely and have far-reaching influence. They are second to none among the "Four Great Calligraphers of Northern Song Dynasty". Kang Youwei once said: "Tang Yan structure, Song Shang is interesting." Calligraphers in Song Dynasty emphasized interest and individuality, especially Mi Fei.
Mi Fei studied books and claimed to "collect ancient Chinese characters". Although some people think this is a laughing stock, others praise that "Tian character block needs no praise, and the ancient Chinese character set can finally stand on its own feet" (Wang Wenzhi). This explains the success of Mi calligraphy to some extent. According to Mi Fei's self-report, before learning the Book of Jin from Su Dongpo, we can see that he was most influenced by five Tang people: Yan Zhenqing, Chu Suiliang, Duan.
In the fifth year of Yuanfeng (1082), he began to look for Jin people's law posts and got the Mid-Autumn Post. This ancestor-oriented big order post (the seventh son of Wang Xizhi, the official to the middle book, called "Wang Daling") had a great influence on him. 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 "Wash two kings' bad faith".
Nevertheless, Mi Fei's calligraphy has not been finalized yet. During his three years in Yuan You (1088), he wrote Tiaoxi Post, Yin Ling Ming Toutuo Temple Monument and Postscript, and Shu Su Post. Although it was written within a month and a half, it has a different style and has not completely stepped out of the threshold of collecting ancient Chinese characters. Six years after Yuan You (109 1 year), Mi Fei also studied Yang Xin's calligraphy when he lived in Haiyue Temple. It was not until "I became my home when I was old, and 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 50 years old.
In stereotyped calligraphy works, because Mi Fei is too unruly, he always likes "potential", even in small letters such as "holding words to the Queen Mother". This "potential" is an advantage, but at the same time it has become his defect. Huang Tingjian's evaluation is clear and should be objective and fair. Huang Changrui, a poet in the Song Dynasty, commented on his calligraphy, "Only he can write calligraphy and cursive script is very good." At that time, the so-called "positive" did not have a definite meaning, and it is not necessarily "block letters" today. If you mean the official seal, that's appropriate. Mifei's official seal is really not 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 understanding of Cao Jin, so his achievements were generally inevitable.
In terms of posture, Mifei's calligraphy is the best. With his calligraphy, it is proved that 24-year-old Lingui Long Yin inscribed a cliff on a rock, with a slight momentum and no shadow of his family; At the age of 30, the inscription and postscript of Bujitu also made people feel deeply gifted and academically incompetent. At the age of 30, he became an official in Changsha. He once saw the stone tablet of Yuelu Temple, and the next year he went to Lushan to visit the stone tablet of Tolin Temple, and they all signed their names. In the second year (1087), six paintings by Zhang Xuan and two posts by Xu Haoshu and Shi were exchanged for Li Yong's How Hot I Want to Post.
Writing skills
Miffy's book is very serious, not as some people think. Mi Fei himself said, "I have written Haidai's poems three or four times, but I can't believe his books" (Mingming Fan Taiwan Mi Fei Yang Zhu). A poem has been written three or four times, and only one or two sentences satisfy him. Among them, the bitterness is beyond the reach of an expert, which also shows his rigorous creative attitude.
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; "Unique four sides" and "brush strokes" may come from Mi Fei's Chinese character season exhibition. Chu Suiliang's brushwork is the most varied and vivid, which is in line with Mi Fei's taste. He once praised himself for saying, "If you are familiar with horses, you will follow others, but there will be no arrogance."
Mi Fei has his unique experience in the distribution, structure and use of calligraphy. The requirement is "stable, not strange, not old, not fat", which is probably what Jiang Kui wrote, "Don't hang down, don't shrink." That is, 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, meat and fat, and charm are all there, 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. The beginning of the word is often quite heavy, and the middle is slightly light. When the side of the pen encounters a turning point, it will go straight down. 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. Hooks are also very distinctive.
There is always an inclination in Mi Fei's calligraphy. He wants to be left first and then right, and he wants to praise first and then suppress, all in order to increase the charm of ups and downs and the gas field of flying fast. After decades of rich collection of ancient Chinese characters, he is naive and natural, and never pretends. People who learn from Miffy will inevitably lose their "difficulties" even if they get the moon first in the water. Since the Song and Yuan Dynasties, there have been two attitudes towards Mi Fei's calligraphy: one is to praise but not to belittle, and to admire it to the utmost; 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. Emphasize the need to strictly distinguish the differences between them in temperament and interest "(Ruan Pu's On Su Shi's View of Literati Painting). His so-called "innovation in statutes, ingenious and bold" and "harmony with nature, disgusting desire" all require painting on the basis of traditional attainments, techniques and style standards. Simply put, it is old tradition and new taste. Mifei, the originator of literati painting, dismissed this reconciliation. Mi Fei's success lies in his attitude towards ink opera and his choice of motif, which has realized his recognized literati interest. Miffy realized to change the traditional painting procedures and technical standards in order to realize new benefits.
Mi Fei calls himself a "writing brush", which is modest and practical, while the "writing brush" shows that he is quick and energetic, and tries his best. His calligraphy works, from poems to bamboo slips and inscriptions, are full of vitality and freshness. Judging from nearly 60 Mi Fei's handwriting in the world, the word "brush" vividly shows the spirit of the word "rice". As a famous painter in the Northern Song Dynasty, Mi Fei is in the mature era of literati painting, with a wide range of painting themes, including figures, landscapes, turquoise, plum, orchid, bamboo and chrysanthemum. Mi Fei has made the greatest achievement in landscape painting, but he doesn't like the towering and mountainous northern landscape. What he appreciates is the ever-changing water towns in the south of the Yangtze River, which are "beautiful scenery", "naive and simple" and "smart and interesting without affectation". So Miffy pursues nature in artistic style. His "Mi's Yunshan" is all written in letters, and the clouds cover the fog.
Mifei's paintings originated from Dong Yuan. Most of Dong Shi's paintings describe the mountains and rivers in the south of the Yangtze River. Mifei's existing comments focus on the overall atmosphere, but Mifei has not found anything suitable for expression. Miffy pays attention to "doing nothing, meaning is enough". Although he has the ability to copy "chaos is inseparable", he is more keen on "painting landscape figures and forming his own family" Through some choices, Mi Fei found the "point" used by Dong Yuan. It turns out that Dong Yuan's "point" is an auxiliary factor of Pima, subordinate to the need of expressing natural texture, and together with other modeling methods, it constitutes a certain overall atmosphere of freehand brushwork; In Ju Ran's works, especially the scorched ink and moss on the hills, ink itself has an independent freehand brushwork effect. Dong Heju's views are subject to the purpose of modeling. In Mill's pen, the point almost becomes a whole, which has a considerable degree of freehand brushwork. In fact, the so-called "falling eggplant" is a kind of freehand brushwork with points instead of points. "The round and dignified horizontal points are randomly arranged, and the points are connected into a line, and the points are replaced by points, and the points are accumulated into blocks, splashed, broken, accumulated, dyed, dry and wet, supplemented by rendering, showing the images of mountains and rivers and trees and the expression of clouds." Completely abandon the traditional rubbing method. The random and accidental effect brought by the change of the writing center is far beyond the vision of his contemporaries. No wonder there was no positive response at that time. He was even "ridiculed" and "people often call it a crazy life". ("Painting Following, Xuanmian Talent")
Miffy's paintings don't exist in the world. Mi Fei's History of Painting records his collection and appreciation of ancient paintings, as well as his love for painting, aesthetic taste and creative experience. Mi Fei's success lies in the fact that he realized his recognized literati interest through his attitude towards a certain ink painting method and motif choice. Mi Fei realized that he wanted to change the traditional painting procedures and technical standards to realize new interest. Reason: Mifei is first and foremost a collector and appraiser who collects the extremely rich. He has a clear understanding of the advantages and disadvantages of paintings in past dynasties, and more consideration is given to the content of paintings themselves.
Mi Fei's greatest contribution to China's classical stone appreciation culture is that through his long-term stone appreciation practice and an artist's unique aesthetic experience, he has successively achieved a history of inkstone and a concise "four methods of stone appreciation".
Guyan, also known as "Yanshan Mountain", belongs to the category of learning stone. Mifei not only collects and appreciates all kinds of natural strange stones, but also is one of the pioneers who are obsessed with collecting and studying inkstone. His "History of Ink" and "Summary of Si Ku Quan Shu" were highly praised, which had a great influence on later inkstone studies, and the story of his collection of famous inkstones was also legendary. Li Yu, queen of the Southern Tang Dynasty, collected many inkstones, among which "36 Peak Ink" and "72 Peak Ink" were collected and studied by Mi Fei. After Li Houzhu's death, this inkstone spread among the people and to dozens of families. Mifei liked it very much and bought it for 520 gold. Then I accidentally lost it. Deeply regretful, Mi Fei once wrote a poem saying, "The inkstone mountain is invisible, and my poets sigh. Only Yuchan is crying frequently. "
Mi Fei's History of Ink has been written for more than 1000 years, but it has important reference value for future generations to study and understand the material, shape, decoration and even inkstone making technology of this study. His theory of "Four Methods of Appreciating Stones" is also extremely important in the cultural history of appreciating stones in China. This theory not only led the trend of stone appreciation at that time, but is still a classic of "returning to classicality and thanking the truth" in the stone appreciation field. Mi Fei's calligraphy has reached a high level, and his calligraphy theory is quite a lot. In calligraphy theory's theory, especially in cursive script theory, he strongly opposed the statutes of calligraphy in Tang Dynasty, paid too much attention to the innocence of Wei and Jin Dynasties, and advocated the statutes of two kings. He is the author of History of Books, Famous sayings of Hai Yue, Visiting Bao Lu, Copyright Review and so on. It shows his outstanding courage and refined taste, and often scoffs at his predecessors. However, he never followed the old saying and was valued by calligraphers of all ages. However, he also talked too much, belittled Ada and Xu Su, and was harsh and critical.
Mi Fei said in "Famous Sentences of Haiyue": "My small letters are like big characters. Only the original works are kept at home, sometimes there are, and books are not needed. If you store your thoughts and write at will, you will find it natural and prepare for its elegance. When I was young, I couldn't start a family. People say that my book is a collection of ancient Chinese characters, which is based on all the advantages. When you get old, you start your own family. When people see it, they don't know who their ancestors are. " Words are full of heroic feelings. Mi Fei's collection of ancient Chinese characters is actually his experience in learning calligraphy. After studying the calligraphy of the Tang Dynasty, Mi Fei reflected and found the defects and deficiencies of the calligraphy of the Tang Dynasty, and then transferred to the essence of the "Shang Yun" of the Jin Dynasty, in order to achieve the artistic conception of elegance, simplicity and truth. Mi Fei is essentially his psychological expression of pursuing "interest" through innovative ideas.
Demoting Tang Chongjin stems from aesthetic choice.
Mi Fei began to learn calligraphy from the Tang Dynasty. Mi Fei did not reflect on the calligraphy of the Tang Dynasty until he deeply studied it. He found that the calligraphy of Yan Zhenqing, Liu Gongquan, Chu Suiliang and others in the Tang Dynasty was too rigid in regular script, and the aesthetic taste of calligraphy could not be reflected, so he began to have the consciousness of criticizing the Tang Dynasty. Mi Fei's comments on the calligraphy in the Tang Dynasty in the book "Famous sayings of Haiyue" show that "Europe, Henan, Chu, Liu and Yan are all one book. It can be seen that Mi Fei is discovering that the calligraphy in the Tang Dynasty paid too much attention to statutes, which led to the gradual loss of Tang Kai's "interest" and showed the disadvantages of over-stylization and rationalization, which ran counter to Mi Fei's pursuit of "true interest" in natural style. However, the calligraphy in Jin Dynasty emphasized the natural and true aesthetic realm, which coincided with Mi Fei's pursuit of "true interest" aesthetics. In his later years, Mi Fei lived in Dantu, Runzhou (now Jiangsu) and had a mountain forest hall. Therefore, its poetry collection is called "Mountain Forest Collection", with 100 volumes, and most of them are lost now. Nowadays, there are a number of Jin Baoying Guang handed down from generation to generation. Mi Fei can write and write poems, and the title of the poem is meaning, which is lofty and unique. I tried to write a poem for Xu Chongyuan and said, "I don't attack people. I haven't recorded a poem in my life." "I have a unique style for my own advantages and deliberately seek differences for my own shortcomings.