Mi Fei's calligraphy is mostly presented in the form of running script, which is very rich in stippling and structural treatment. This is one of the most important mysteries for us to explore Mi Fei's calligraphy, so as to sum up the advantages and disadvantages of Mi Fei's calligraphy and what is worth learning. What are the characteristics of Mifei's calligraphy?
First of all, there are contrast changes in size.
If the running script changes, the font must be size-sensitive. According to the rules of regular script, the font size depends on the number of strokes. For the sake of unity, the words with more strokes are small and the words with fewer strokes are big, but they are too rigid and lifeless.
Running script breaks the rigid change of regular script, the font size changes with the natural form, and the written words are flexible and vivid. This is the case with Mi Fei's running script, which is particularly rich in size changes, with the upper and lower characters contrasted and the left and right characters contrasted. It is unique and follows the natural form.
Second, there are contrast changes from back to back.
"Back to back" refers to the "relative" and "opposite" between strokes. Simply put, "opposition" means "internal struggle" and "opposition" means "external extension". Mi Fei's calligraphy naturally seeks many such back-to-back changes, which are very rich.
Third, there are contrast changes when opening and closing.
Opening and closing is one of the common techniques in Mi Fei's calligraphy. In order to break the balance of characters, the opening and closing relationship is often adopted in the closing of characters, that is, the upper width is narrow and the lower width is narrow, like an inverted pyramid, that is, the upper width is narrow and the lower width is open, which makes the characters look steep, straight and without losing their center of gravity.
Fourth, there are density contrast changes.
The change of calligraphy density includes the change of spatial structure within words and the change of overall layout between words, which depends on the tightness of strokes. The so-called "airtight, sparse and not leaking" is the truth. This change in density is also common in Mi Fei's calligraphy.
5. There are unbalanced changes.
Staggered is irregular, the upper and lower structures are uneven, and the left and right structures are uneven, breaking the uniform structure and pursuing uneven aesthetic feeling. Words with this structure can be found everywhere in Mi Fei's running script. Words with left and right structures are high, low and high. The characters in the upper and lower structures are left, right and left. In short, there have been many changes.
Sixth, there is a contrast between retraction and retraction.
The closing of calligraphy is bound to be related, and it is not limited to the closing of running script, but also includes the closing of regular script. For example, there is usually a main pen in a word, and the main pen is characterized by "length", and this "length" means putting, and vice versa.
Dong Qichang said: "The positions of the most taboo people in the works are even. And as one sentence says, there must be a collection, a release, and a spiritual connection. " In Zhang Huaiguan's "Ten Methods of Using a Pen", the combination of Yin and Yang is considered, and writing should be combined with Yin and Yang. Convergence here refers to collection. If calligraphy is not put away, it will lack agility and vitality. Therefore, it is necessary to combine yin and yang to write good works.
Mi Fei's calligraphy is well-known, even exaggerated, with strong contrast and great degree, which is one of the characteristics of Mi Fei's calligraphy.
Seven, there are odd positive contrast changes.
"Odd positive relationship" refers to the possibility of knot, in which "odd" refers to one side, left or right, and "positive" refers to fairness and stability in all directions. The odd-positive relationship of regular script is rarely reflected, mainly fairness, except for a few. When writing, there must be odd and positive relations, which can be seen everywhere in Mi Fei's calligraphy.
Mi Fei is a famous calligrapher who collects ancient Chinese characters. Compared with the calligraphy of the two kings, Mi Fei learned the odd and positive relationship between the two kings, and enlarged and exaggerated it. Mi Fei surpassed the two kings in performance, and Dong Qichang once said with emotion:
"Wang Zhubei never knew the strokes of Jin and Tang dynasties, and he was specialized in its shape, so it was more positive. Words must be strange and unique, and new words will come out when the time is right. It's not Zhao Wuyu's dream, but Michi can be interesting. "
But when we study the Miffy singularity, we should pay special attention to the control of degree. If we go too far, we may lose our focus and lack stability. We must "not collapse, not lose danger, which is also rough." This is what we must pay attention to when we study Mi Fei's calligraphy. To grasp the degree, everything should not go too far.
Eight, cloth and white have changed.
Both calligraphy and painting pay attention to the relationship between cloth and white, which is what we often say, using the dialectical unity of white and black contrast, so that the whole reality and reality coexist, knowing white and keeping black. China's calligraphy was originally written in black ink. If they are unified, there will be no aesthetic feeling, so at this time we will use "white cloth" to deal with the relationship between space, including the white cloth in the space of words and the white cloth in the overall composition.
Mi Fei is good at dealing with the relationship between cloth and white in calligraphy, such as cloth and white in the middle of the left and right structures, cloth and white in the middle of the upper and lower structures, and cloth and white around the surrounding structures.
In fact, the relationship between cloth and white is similar to the relationship between density and density to some extent. A few strokes or blanks are sparse, corresponding to white, and a large number of strokes correspond to black.
What should we pay attention to when dealing with the relationship between cloth and white? Liu Xizai said: "There are few blanks and the spirit is far away, and there are many blanks and mysteries, but vulgar books are the opposite." The feeling of more and less white cloth is different. Less is "distant" and more is "mysterious". But we can't just look at the amount of white cloth on the surface, but mainly look at the charm. Writing by yourself may be completely different from the charm written by the great calligrapher Mi Fei, which needs to be carefully understood.
Nine, there are echo changes
The echo between words and lines is a very important technique in composition processing. The so-called "qi" is accomplished through the echo relationship between words. With gas, the overall composition has momentum. Tang said: "The words are the same, and they all mean something, just as guests and friends meet each other when they are away." Mi Fei's calligraphy has this attitude, and the changes between words are staggered, conceded and broken. Mi Fei's calligraphy is independent of every word, but "the word is dying, and the meaning of the word is dying", and every word has an echo, and there are echoing changes up and down, left and right.