"Yan" is an ink hand scroll with a height of 36 cm and a length of 138 cm, which is divided into three sections. In the first paragraph, Mi Fei wrote thirty-nine running script words on the paper of Chengxintang in the Southern Tang Dynasty: "Does the colorful water floating in Kunlun Lake change greatly under the electric trace of hanging dragons and monsters on the top, and close the door to cover the front porch of Jinshan?" He is strong, energetic, resolute and changeable. In terms of words, it expresses itself freely, and its tendency contains steadiness, so it is elegant and graceful. Compared with Poems on Many Scenery Buildings and Poems on Hongxian County, it lacks Bai Fei's agility, but is more vigorous, galloping and heavy. It is a mature work of Mi Fei and a masterpiece of Mi Fei's calligraphy. Mr. Qi Gong wrote a poem praising: "A pen in Xiangyang is exquisite in writing late autumn in all directions."
This hand scroll was circulated in an orderly way and once entered the court of the Northern Song Dynasty and the Southern Song Dynasty. In the Southern Song Dynasty, it was collected by Jia Sidao, the right heir. It spread to the Yuan Dynasty and was collected by Ke, the most famous calligraphy and painting collector in the Yuan Dynasty. During the Yongzheng period of the Qing Dynasty, it was collected by Yu Teng, a connoisseur of calligraphy and painting and a magistrate in Chengdu, Sichuan. Due to historical reasons, this volume unfortunately drifted to Japan and was collected by museums around Japan.
Shusutie
Shu Su Tie, also known as imitation of ancient poems, is a kind of calligraphy and running script. 29.7 cm long and 284.3 cm wide; This book was written in Yuan You's third year in Song Zhezong (1088). When Mi Fei was 38 years old, * * * wrote eight poems with different styles, 7 1 line, with 658 words. The Shu Cycas was collected by famous collectors such as Xiang, Dong Qichang and so on in the Ming Dynasty, fell into the hands of Xiang, Wang and Fu Heng in the Qing Dynasty, and later entered the Qing Dynasty, and is now in the Palace Museum in Taiwan.
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 two songs that are still treasured by lines. The more you get to the back, the more free and easy you get. Miffy's pen is full of joy and unpredictability. 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" Due to Su Su's rough writing style, Dong Qichang wrote a postscript to Su Tie: "This volume is like a lion fighting an elephant, go all out and cooperate for life." . In addition, because silk fabrics are not susceptible to ink and there are many dry pens, the ink color is distinct from beginning to end, and it is even more exciting to rush to spring.
Hongshi xianjuan
Poems of Hong Xian is the calligraphy style of two seven-character poems written by Mi Fei himself. Paper ink quantity, ***37 lines, 2 or 3 words per line. In Mi Fei's works handed down from ancient times, there are few calligraphy with big characters, and the big characters are not directed by Mi Fei. Mi Fei tried to call his book "Chinese calligraphy", which is obvious in his big characters. This post has a strong sense of rhythm, and the pen and ink are clear and dry. For example, the first word "old topic in Hong County" 1 1, in one go, the pen is dry but not scattered. There is also the postscript of Jin Dading 13 Liu Zhongyou behind the post. You can make a copy today.
This volume is a poem written by Mi Fei when he passed the beautiful Hongxian (now Sixian, Anhui). Mi Fei's large-character calligraphy has been handed down from generation to generation, which is a masterpiece in his later years, so it is very precious.
Multi-angle architectural poetry
Mi Fei's later works, The Book of Poems of Duojinglou, is bold and heavy, steady in the frame, and extremely bold and magnificent in brushwork. The way of "brushing words" in this volume is very obvious, and many strokes are scattered. Some vertical pens and skimmers are thrown away because they are operated too fast. The whole work is magnificent, and there is great tension between the ups and downs of brush strokes.
The Collection of Poems of Duojinglou is 1 1 page, each page is 3 1.2 cm long, 53. 1 cm wide, * * * 4 1 line, some are two or three words, and some are only one word, which fully shows Mi Fei's big characters. The Collection of Poems of Duojinglou was originally a long scroll, which was framed in the Song Dynasty. Collected by many collectors in the Ming and Qing Dynasties, it is a well-ordered calligraphy masterpiece.
Tiaoxi poetry anthology
The full name is "Making Tiaoxi Opera into a Poem Volume of Friends", written by Mi Fei in calligraphy and running on paper, with a length of 30.3 cm and a width of 189.5 cm. Collection of Beijing Palace Museum. There are 35 lines in the whole volume, with 394 words * *, and the inscription is "Yuan August 8th", at the end of the year. It was written in Yuan You, Song Zhezong for three years (A.D. 1088), when Mi Fei was 38 years old. There is a sentence at the beginning, "Make Tiaoxi a playmate and Xiangyang an official." Knowing that the book is a self-written poem, ***6.
This volume is straight with the pen heart, full of fiber and fast-moving. In particular, the front, side, hidden and exposed are rich in changes, the stippling is tortuous and coherent, and the ups and downs are natural and detached, without traces of carving. Its knot is very comfortable, and the uterus contracts slightly, keeping the balance of the center of gravity. At the same time, long paintings are vertical and horizontal, stretching freely and ups and downs. The whole font leans slightly to the left, and there are many sideways trends, seeking flatness in danger. The style of the book is natural, lively, varied and interesting, which embodies the typical characteristics of Mifei's middle-aged book. Wu Qizhen's evaluation of this post in the Book of Calligraphy and Painting is: "The pen is smart and comfortable, and the structure is comfortable." It shows the artistic characteristics of Yan Zhenqing's patriarchal clan system and his own originality.
At the end of this volume, there is the postscript of his son Mi Youren: "On the right, there are poems by friends, and the first record is a true footprint, and the minister Mi Youren comments on the postscript." The back cover paper also has the postscript of Li Ming Dongyang. According to the seal of "Jian Cang", this post was hidden in the inner hall of Shaoxing in the Southern Song Dynasty, Yang Shiqi, Lvshui Village and Xiang in the Ming Dynasty, and then hidden in the inner hall of Qingganlong, engraved in Sanxitang.
Appendix to Works List of Calligraphy Works Tie Hong Juan, San Wu, Wu Jiangshi, Yue Mingzuo, Tie, Sui Fengtie, Liu, Lin Yizhi Juntie, the article Du Da Xuande's Discipline, Tu Tie by Yu Tie, Luo Zhongtie, He Tie, My Friend Tie, Su Taijian's Political Participation Tie, Shu Hui's Zhang Jiming Li Taishi Santie, Xin Entie, Lai Xitie and Lu. Jin's Paper Post, He Zhu's Danyang Post, on cursive script, Xiang Bochong's Ganlu Post, really crisp Post, Zheng Zan Post, Chu Suiliang's Preface to Lanting Collection and New Post.