Mi Fu calligrapher. That is his writing style. Mi Fu (fú) (1051～1107) was a calligrapher, painter and theorist of calligraphy and painting in the Northern Song Dynasty. His first name was Fu, later he was changed to Fu, with the courtesy name Yuanzhang, and his nicknames include Xiangyang Jushi and Haiyueshanren. His ancestral home is Taiyuan, Shanxi, and later moved to Xiangyang, Hubei. He has lived in Runzhou (now Zhenjiang, Jiangsu) for a long time. Mi Fu's fifth-generation ancestor was Mi Xin, an honorary official in the early Song Dynasty. Most of his great-grandfathers, great-grandfathers and above were military officials. His father's name was Zuo, with the courtesy name Guangfu, and he served as a military guard general. His mother, Yan, was the wet nurse of Gao, Empress Zhao Shu of Emperor Yingzong of the Song Dynasty. He once served as school secretary, doctor of calligraphy and painting, and wailang of the Ministry of Etiquette. He is good at poetry and calligraphy, and is good at calligraphy styles such as seal script, official script, regular script, running script, and cursive script. He is good at copying ancient calligraphy to the point of imitating the real calligraphy. He first studied under a certain scholar at that time, and later Ouyang Xun and Liu Gongquan. His calligraphy was tightly knotted and his strokes were straight and vigorous. Later he studied under Wang Xizhi and Wang Xianzhi. His posture expanded and his strokes were thick and vigorous. He called himself a "brush calligrapher" and was the same as Su Shi. , Huang Tingjian and Cai Xiang are also known as the four major calligraphers of the Song Dynasty. He is good at painting dead wood, bamboo and stone, especially ink and wash landscapes. He uses dots in calligraphy to paint, and uses large strokes of ink to express the Jiangnan landscape in the changing smoke, clouds, wind and rain. It is known as Mi's Cloud Mountain and is full of creativity. Mi Fu's calligraphy ink that has been handed down from generation to generation includes "A Condolence to the Queen Mother", "Shu Su Tie", "Tiaoxi Poetry Tie", "Worship to Zhongyue Ming Tie", "Hongxian Poetry Scroll", "Nine Cursive Tie", "Duojinglou" "Poetry" and so on, but no paintings have been handed down from generation to generation. The author of "Shanlin Collection" has been lost. His theories on calligraphy and painting can be found in his books such as "History of Calligraphy", "History of Painting", and "Records of Baozhang Waiting for Visits".
Mi Fu's calligraphy has been admired by later generations since the Song Dynasty. His calligraphy is called "brush calligraphy", which means that his writing method is different from that of his predecessors.
Song History records: "When Mi Yuanzhang met Huizong for the first time, he ordered the book "Zhou Guan" to be written on the imperial screen. After writing, he threw the pen on the ground and said: "One wash away the evil letters of the two kings, and shine on the emperor. Song Wangu. "Huizong lurked behind the screen and heard it, but he stepped out to take a closer look." In 1107 AD, Mi Fu died of illness at the age of 57. "Artistic Characteristics" Mi Fu has his unique understanding of the distribution, structure and use of calligraphy. It is required to be "stable but not vulgar, dangerous but not strange, old but not withered, moist but not fat", which is probably what Jiang Kui wrote about "nothing droops, no shrinking, no direction, no gain". That is to say, it requires achieving unity in the process of change, integrating opposing factors such as wrapping and hiding, fatness and thinness, sparseness and density, simplicity and complexity, that is, "the bones, muscles, skin, fat, luster, wind and spirit are all complete, just like a good scholar." . In terms of composition, we pay attention to the overall charm, take into account the perfection of details, and have a well-thought-out approach. During the writing process, we change according to the situation and show unique ingenuity.
The characteristic of Mi Fu's brushwork is mainly that he is good at forming an elegant and super-stepping momentum and a calm and happy style in the front, side, back, turning, and frustration. The strokes of the characters are often quite heavy at the beginning and slightly lighter in the middle. When encountering a turning point, the strokes of the strokes will turn straight down. There are also many changes in the strokes. Sometimes the focus of the stroke is on the starting point, sometimes on the finishing point, and sometimes it is in the middle of a stroke. For longer horizontal paintings, there are twists and turns. The hook is also distinctive.
Mi Fu's calligraphy often includes sideways postures. When he wants to go left, he goes right, when he wants to rise, he suppresses it. This is all to increase the grace of jumping up and down, and the air of flying and flying, which is based on decades of ancient calligraphy. It is based on the strong foundation of calligraphy, so it is innocent and natural, without any artificiality. Those who learn Mifu, even if they are close to water and towers, will still be "hard and crazy". Since the Song and Yuan Dynasties, when it comes to Mi Fu's calligraphy, two attitudes can be roughly distinguished: one is praising but not disparaging, and highly praised; the other is both praising and disparaging, with mostly praise elements. Those who hold the first attitude can be represented by Su Shi.