Mi Fei has extraordinary talent in calligraphy and painting, and is called "the four great masters of Song Dynasty" with Su Shi, Huang Tingjian, Bicai and the history of calligraphy. His book is "Flying Easy, and Wang Xianzhi's brushwork"; Su Shi praised that "the wind and horses are irrelevant and should go hand in hand with Zhong Wang"; Huang Tingjian praised "like a sword, it has the potential to shoot with a strong crossbow ... the calligrapher's pen posture is also poor here". His paintings are "landscape figures, claiming to be a family" and creating "Mijia Yunshan", which is praised by history. It seems that Mi Fei is a master of painting and calligraphy who respects tradition and does not fall into the conventional pattern. In literature, "it is a literary adventure, not following the path of predecessors."
Miffy loves stones, and once bowed to a grotesque boulder and called him "brother". It is said that the appreciation of strange stones is based on "thinness, transparency, leakage and wrinkling", which is his initiative.
Mi Fei is "good at judging" and "hard to distinguish between work and confusion". He is not only an expert in appreciation and collection of cultural relics, but also an expert in counterfeiting.
Miffy is called Mi Dian because of his clean gender, the name of the water world, and many unconventional behaviors.
In calligraphy, he is one of the "four calligraphers of Song Dynasty" (Su, Mi, Huang and Cai), which is second to none. His writing style is bold and unconstrained, and his statutes are rigorous. Su Dongpo praised him as "true, diffuse, official and seal, as calm and happy as a horse"; On the other hand, he also created the method of "Mijia Yunshan" in landscape painting, made good use of "fuzzy" pen and ink to create the misty scenery in the south of the Yangtze River, and reproduced layers of mountains with scattered thick ink, Jiao Mo, horizontal dots and dots, which is called "Midian" in the world. It is admired by many painters in later generations and imitated by others. His son Mi Youren left many works in the world, which enabled this painting style to continue and led to a new level of "literati painting", which was praised by the history of painting. Historians have different emphases on whether Mi Fei values books or paintings.
Mi Fei, a painter, appraiser and collector, has a rich collection and a wide range of knowledge. In addition, he has a broad vision and excellent comments, and his works have become necessary books for future generations to study the history of painting. Zhang Bao, history of calligraphy, history of painting, history of inkstone, inscription and postscript of Haiyue, etc. will be interviewed. Zhang Bao to be Recorded was written in August of the first year of Yuanyou (1086), which is divided into two parts: witness and hearing. Eighty-four songs recorded in Tang Pin were the earliest recorded in later generations, which had great influence. There are even works that specifically imitate the style of this book, such as Zhang Si Biao in the Ming Dynasty. The detailed history of books is one of the bases for later experts. The book Sea Moon mainly describes my own experience, which is very pertinent. This book is generally believed to have been written by later generations.
Mi Fei studied calligraphy hard all his life, and his greatest achievement was running script. Although paintings have not spread to the world, many calligraphy works still exist. 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 the Song Dynasty emphasized interest and individuality, especially Mi Fei, who was an outstanding representative of the four masters in the Northern Song Dynasty.
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.
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."
Yuan Feng (1082) started looking for Jin people's law posts five years later, and got the Mid-Autumn Post only one year later. This big order post for ancestors had a great influence on him, and he always felt that the right army was not as good as his son. However, Mifei, who is unruly by nature, is not satisfied with Xiao Wang. As early as Shao Sheng's reign, he shouted "I hate slave books and don't change geese" and "I wash two kings' bad faith". Mi Fei is said to have studied Yang Xin, and Li Zhiyi said, "The immortal sea and moon don't wait for me ... Yang Xin's works are even more surprising". So Mi Fei met Yang Xin in Buju Haiyue Temple about six years later in Yuan You.
Nevertheless, the secret book has not been finalized. The Tiaoxi Post, the Monument and Postscript of the Ming Toutuo Temple in Yinling, and the Shu Su Post, which have been written in Yuan You for nearly three years, were written in a month and a half, but their styles are quite different, and they have not completely stepped out of the threshold of collecting ancient Chinese characters. 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.
This kind of stereotyped calligraphy, because Mi Fei is too unruly, blindly "potential", even in the small print such as "holding words to the queen mother", is also eager to try. This "potential" is an advantage, but at the same time it has become his defect. For a clear-headed person like Huang Tingjian, praise and criticism should be more objective and fair. Huang Changrui commented on his calligraphy, "but he can write calligraphy, but grass can't." At that time, the so-called "positive" did not have a definite meaning, and it is not necessarily the current "block letters". If it means the official seal, it is also appropriate. The existing seal cutting officials in Mi Fei are 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 understanding of Cao Jin, so his achievements were generally inevitable.
Miffy's book is very serious, not as some people think. Mi Fei himself said, "She wrote three or four poems by Haidai, but it's hard to believe her 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 his unique experience in the distribution, structure and use of calligraphy. The requirements are "stable, not strange, not old, not fat", which is probably what Jiang Kui wrote "no sag, no shrinkage, no going." 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 features are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in positive, backward, 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.
Mi Fei is famous for his calligraphy and 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. 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 two years, I also bought Li Yong's How Hot I Want to Post with six paintings by Zhang Xuan and two posts by Xu Haoshu and Shi. 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.
It is reasonable for Mi Lao to be scheming and occasionally boasting, just as his predecessors said, "Set a high standard." Mifei's self-narration and learning from the scriptures are often somewhat mysterious. For example, he said to the emperor, "I have been studying Yan Xing since childhood.". However, Mifei's success comes entirely from the hard training the day after tomorrow, and there is no element of Machiavellian tactics. 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." "Zhi Yong inkstone into mortar, can reach the right army (Wang Xizhi). If you start with Zhong (Yao) and Suo (Jing), he can always encourage you. " His son Mi Youren said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Friends of Mi Fermi). Mifei has a rich collection. He often goes with him when he is on business. On the boat here, he hung the banner of "Mijia Painting and Calligraphy Boat".
Mi Fei loves stones, and this biography of the history of the Song Dynasty is related to this. Yuan Nizhen has a poem entitled "The Worship of the Stone in Minangong": "Bird loves inkstone and stone, and it is a hobby to explore roses for a long time. The younger brother is full of worship and writes his own pictures, but he knows the name. " According to this poem, Mi Fei was complacent about this hobby, and wrote "Stone Worship" by himself. Later painters were also good at writing this picture, so Mi Fei made a scene by worshipping the stone and became a much-told story. Before Mi's fast, there was also a different stone for Qing Ba to play with, which was recorded in The Story of the Stone. According to legend, Mi Fei has the method of "being thin, beautiful, wrinkled and transparent".
Miffy still loves inkstone. Inkstone is one of the "Four Treasures of the Study", which is necessary for painters and calligraphers. Mi Fei is famous for his research on inkstone. He is the author of History of Ink. It is said that all kinds of ancient crystal samples, as well as the similarities and differences between Duanzhou and Zhangzhou inkstones, are discussed in detail, and he advocates that "the use of utensils is the work, and the stone tube is based on ink." "Zan Jin Bao Zhu Fa Shu" quoted a post in "Mountain Forest Collection": "Insulting teaching requires precious inkstone ... inkstone is my first piece, ..." Mi Fei regarded inkstone as his own head, which can be described as deep affection. Mi Fei, who is addicted to both stone and inkstone, naturally attaches great importance to inkstone.
The inkstone is a kind of inkstone formed by natural peaks. At the foot of the mountain at the bottom, it can be polished with water and ink, which can be used as a study or a tool for dyeing ink in the pool. In Zhi Lin, Mi Fei got an inkstone and slept for three days. One of the most famous buildings is the property of Li Yu, the queen of the Southern Tang Dynasty, which was transferred to others in exchange for a homestead. Mi Fei thought about it, because the map of Yan (inkstone) Mountain was passed down from generation to generation.
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. At present, there is a "Jin Bao Ying Guang Ji" 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.
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. This should be the best basis for studying his paintings.
Mi Fei's success lies in that he achieved his recognized literati interest through his attitude and motif choice in an ink painting play. Miffy realized to change the traditional painting procedures and technical standards in order to realize new benefits. The reasons are as follows: First of all, Mi Fei is a collector and appraiser who collects great wealth. He is well aware of the advantages and disadvantages of paintings in past dynasties and thinks more about the contents of the paintings themselves; However, Su Shi was a literary giant first, and then he expressed his painting view as an amateur. He used the standard of poetry (literature) to measure and demand painting. Although there is no lack of insight, he is divorced from painting after all.
Therefore, later generations regarded Mi Fei as a painter and Su Shi as an art theorist. Su Shi's painting theory is in his mind, and Mijia Yunshan is in his hand. Although Su Shi's paintings have been passed down from generation to generation, Mifei has nothing. As a historical researcher, we can't help but point out that Mi Fei's artistic thought far surpassed Su Shi of their time.
His son, Mi Youren, inherited the family tradition and was also a calligrapher.
Mi Fei (1051-1107) In Song Dynasty, he called himself Qian, Bi or Kun. Wu, whose ancestral home is Taiyuan, moved to Xiangyang, Hubei, lived in Zhenjiang, Jiangsu, and built Haiyue Temple. Xuanhe Shizhen is a doctor of painting and calligraphy. High talent, scattered characters, and so clean and addictive. Being served by the Tang people, he accumulated more strange stones. Not in the world. Mi Dian. Calligraphy and painting are a family. Good at identification. The landscape he made originated from Dong Yuan, which was naive and exposed, and the dead wood was green and innovative. Few people have learned mountains and rivers in ancient and modern times. Because of the letter and pen, most of them are covered by smoke and clouds, and the trees are not meticulous. Don't use a special pen for drawing on the back. Paper doesn't use alum, and it won't spin. However, it is wonderful to cultivate and dye elements and make the past serve the present. None of them are vulgar. Its regret is so heavy. The poetic language of the work is strange and dangerous, elegant and chic. Book is one of the four great masters in Song Dynasty. Learn calligraphy, history and stone. In old age, people go in and out, and people compete for treasure. I asked Hui Zong, claiming: I brush the words on the book. There is only one person who claims to be a good book, and I have four unique aspects. I have been conceited all my life that I can write small characters, and the strokes are sincere, and the words are like flying flowers, but the position and scale are big characters. However, he refused to write more. He tried to imitate Huang Ting's lowercase letters and wrote Zhou Xingsi's quatrains. He also used two rhymes to write cursive script on the screen. The second rhyme is Chinese characters, and the pen is straight as a line from top to bottom. Hui Zong praised: "There is no empty man under the name." In the Ming Dynasty, after Dong Qichang tasted Li Xiyuan's elegant drawings and got the title of "Fly", Dong said that it was very interesting to be in Lanting. He wrote Jin Yingguang Collection, History of Books and History of Painting.
Many people know Mi Fei, but few know that Mi Fei is from Taiyuan. Miffy is good at poetry and painting. He learned calligraphy from Yan, Liu and Europe in the Tang Dynasty, and later caught up with Wang Xizhi and even Li Chuan. Everything that is beneficial to calligraphy is widely collected and acquired. Be careful with your pen, and be firmly called "Song Sijia" together with Cai Xiang, Su Shi and Huang Guajian. He painted landscapes meticulously, and painted them with pen and ink, creating a misty and high-spirited "Yunshan" scene, which was praised as "Midian Landscape" by later generations, creating a unique style and showing a new page in the history of painting.
Miti, a painter and calligrapher in the Northern Song Dynasty, has a seal, the number of which does not hinder laity, Bao Yang slow soil, fire descendants and so on. Born in the Northern Song Dynasty, Emperor Renzong worked for three years? 105 1 year, died in the first year of Huizong Daguan in the Northern Song Dynasty? 1 107 。 Mi's ancestral home is Taiyuan, and he belongs to the Western Regions (the former Soviet Union). In Mi Fei, he moved to Xiangyang, Hubei, and finally settled in Runzhou (now Zhenjiang, Jiangsu). Mi Fei is a doctor of calligraphy and painting, a minister of rites, and a soldier of Huaiyang Army. His name is Min Nangong. He is called "Mi Dian" because he "acts wild and plays the fool". Mi Fei's fifth ancestor was Mi Xin, a scholar in the early Song Dynasty. His great-grandfather and great-grandfather were mostly Wu Zhi officials. His father's name is Zuo, the word Guangfu, and the official is Wuwei. His mother Yan is the wet nurse of Queen Gao. Mi Fei lived in a feudal official family and had something to do with the royal family.
Mifei received a good reading of poetry and books and a good education from an early age. Coupled with his cleverness, he can recite hundreds of poems at the age of six, learn calligraphy at the age of eight, and copy inscriptions at the age of ten, which makes him famous. At the age of eighteen, Song Shenzong succeeded to the throne. Because he didn't forget Mi Fei's mother Yan's old love, he became the secretary of the provincial school for Mi Fei, responsible for proofreading and correcting mistakes at that time. From then on, he embarked on his official career and died in 1 107. Mi Fei's low rank in life is related to his incompetence in pandering to officialdom and his lofty personality. Mi Fei is a man of real talent and learning, and he is not good at catering to officialdom. He has won a lot of time and energy to study the art of painting and calligraphy by playing with stones and appreciating inkstones, and his pursuit of painting and calligraphy has reached the realm of infatuation. His unique unconventional personality and quirks in others' eyes may be the cornerstone of his success. He once wrote a poem by himself: "Chai Wife, opening a window to the museum, fame and fortune, never guilty for life." He is such a person who values the art of calligraphy and painting above everything else.
Mi Fei likes to fiddle with different stone inkstones all his life, and sometimes he is obsessed with them. According to Liang Man Zhi, when he was an official in Anhui, he heard that there was a strange stone by the ruxu River. At that time, people thought it was a fairy stone out of superstition, and they were afraid to touch it for fear of bringing accidents. Mi Fei immediately sent someone to move it into his apartment, set the table, made offerings, bowed down to the grotesque rocks, and said, I've been wanting to see my other disciples for twenty years, and we haven't seen each other for a long time. The matter was reported in the future and was impeached and dismissed because it was detrimental to official prestige. However, Miffy never took rank seriously, so she didn't feel much regret. Later, he made a stone worship map. The intention of making this picture may be to show others an inner dissatisfaction. Li Dongyang said in Huai Lu Tang Ji: "It is not surprising that Zhou Nan has strange stones, and scholars are curious. My knee never touched the ground, and the stone industry deserved it. " Here we can see Miffy's devotion to playing with stones and unyielding character. Li Bai's feeling is, "Oh, how can I bow and scrape to those high-ranking officials whose sincere faces will never be seen?" Mifei focused on strange stones, summed up the secrets of "thinness, beauty, wrinkle and transparency", and created a precedent for playing with stones.
Miffy loves inkstone to the depths? For an inkstone, even before the feudal emperor, I don't care about elegance. On one occasion, Emperor Song Huizong asked Mi Fei to write a cursive script with two rhymes. In fact, he also wants to see Mi Fei's calligraphy, because Song Huizong is also a great calligrapher, and his "thin gold body" is also very famous. Mi Fei's pen moves the dragon and snake, straight as a line from top to bottom. After reading it, Song Huizong really liked it and praised it. When Mi Fei saw the emperor happy, he immediately held his favorite inkstone in his arms, and ink splashed everywhere. He told the emperor that the minister of inkstone had already used it, and the emperor could not use it any more. Can I have it, please? Seeing that he loved this inkstone so much and cherished its calligraphy, the emperor couldn't help laughing and gave it to the emperor. Mi Fei's inkstone was deep. He compared it to his own head, held his beloved inkstone and slept for several days. He loves inkstones not only because he appreciates them, but also because he constantly studies them. He discussed the origin, color, fineness and technology of various inkstones, and wrote a book "History of Ink", which left valuable experience for future generations.
Mi Fei has made great achievements in painting, which is inseparable from his collection and reference of previous works. His collection of paintings and calligraphy works is not for fun, publicity and showing off, but for earnestly summing up and studying the experience of predecessors to fill the shortcomings of his own paintings. He spent a lot of energy collecting paintings and calligraphy all his life. Su Dongpo said in the Episode of Two Kings that he was "shameless, and suddenly seized truth, doubt and wisdom". We can see Mi Fei's improper means of collecting calligraphy and painting, and we can also see his profound kung fu of copying ancient paintings. Mi Fei often obtained paintings and calligraphy by exchange. Mi Fei has a rich collection of paintings and calligraphy, and all of Mi Fei's collections are recorded on the Qinghe painting and calligraphy boat.
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.
Mi Fei's calligraphy achievement is extremely high, and calligraphy and cursive script are the greatest achievements. "Su, Huang, Mi and Cai", which are highly praised by later generations, are the most widely spread among the four major families in the Song Dynasty. Rice is second to none. His eldest son, Mi Youren (known as Xiaomi in the world), inherited his family studies and made some achievements. Mifei is extremely diligent in learning calligraphy. He himself said, "If you don't write for a day, you will feel sleepy, thinking that the ancients didn't waste books for a moment." His son once said that his father was always away during the Jin and Tang Dynasties. Mi Fei's calligraphy statutes are very rigorous, fluent and elegant, and full of strength. Therefore, Mi Fei's calligraphy, even one-inch paper drawings, is sought after as a treasure. Su Shi once said in the Book Review of Tang Xue: "Haiyue (Mi Fei) wrote seal script, official script, truth, line and cursive script all his life. He was calm and happy. Should he be a clock? Hey, Wang? The parallelism of Xi. " It can be seen that Mi Fei's calligraphy had a great influence at that time and was highly respected. Mi Fei's handed down works include Shu Su Tie, Le Tiejian, Coral Tie and Tiaoxi Poetry Tie. His calligraphy is natural and unrestrained, with bones and flesh, bones and aura. This is related to his weak character, and it is also the famous saying that "there is backbone first, then there is gas field", which is praised by future generations.