How to Learn Mi Fei's Shu Su Tie

Mi Fei's Shu Su Tie and Shu Su Tie are the representative works of Mi Fei's running script, and their styles are extremely prominent, just like a wild style. Mifei himself is brilliant, with profound copying skills and extraordinary works. Without good writing skills, comprehensive artistic accomplishment and correct learning methods, it is difficult to understand and master its natural style, chic and detached brushwork, let alone understand its profound connotation. First of all, before learning Shu Su Tie, we must have a good foundation of regular script in Jin and Tang Dynasties. Because each stroke of regular script has a clear beginning and end and a standardized structure, it conforms to the law of learning calligraphy from easy to difficult and from flat to dangerous. Secondly, read and paste correctly. The quality of copy depends largely on reading posts. Reading here refers to carefully pondering, appreciating and analyzing the template. First, we should appreciate the overall style and spiritual temperament of Shu Su Tie. Mifei's calligraphy takes a very high road. As a representative of the wind of attaching importance to books in the Song Dynasty, he studied Jin law intensively and was also proficient in past dynasties. The fengshen temperament of "taking off your hat in a horse's day and chasing the wind and electricity", the fengshen temperament of plump bones and graceful demeanor, can not be grasped at once, and must be observed and understood for a long time. Second, pay attention to the overall composition. Including the processing of line pen, the change of ink color, the relationship between characters ml and so on. In Shu Su Tie, there is not much connection between words, and the connection between lines and strokes is mainly accomplished by the cooperation of word potential and the echo of strokes. Third, we should pay attention to a large number of linear changes in posts. Line is the basis of calligraphy modeling, and the most important thing in learning running script is to master the expression techniques of various lines. When reading the post, try to figure out one by one according to the order of writing strokes, and try to restore the essentials of ancient actions. Fourthly, we should pay attention to the structure of the characters in the post and consciously remember the physical structure of some characters, which is of great help to master the font structure of the book element post and enrich the modeling ability of learners. With sufficient reading basis, we will make great efforts in the next post. The level of writing is reflected by the skill of competing, that is, how to write a pen and what line to write. Here, it is necessary for us to know something about Mi Fei's calligraphy experience. Mi Fei said in the eighth volume of Yu Tang Fa Tie: "Learning books is expensive, but learning is clumsy, which is naturally called having a guilty conscience. Zhen Xun is naive, by accident. So ancient books are different; If they are similar one by one, then the book slave is also. Secondly, you need a pen, that is, your bones and muscles, your fat and your spirit are all complete, just like an excellent scholar. Three words and three paintings are different, and the installation is different; Paying attention to differences is naive and natural. Books must be exquisite, so that they can be printed in ink, as natural as thin silk. The pen is as thin as a stick and round; No pen is as thick as a rafter; Just as dull. Although this is a result, it can also be learned; The principle of admission is to write the wall first, and you must hang up your hand when you write. You will be interested for a long time. " He emphasizes "innocence", "nature" and "nature", so don't be artificial. We should be "born different" and "different", not "slave books" that are similar to each other; Be "round", not "flat", and have a three-dimensional sense; Become "all bones, muscles, meat, fat and soul" and live instead of die. These are all things that he personally practiced and embodied in his works. The reason why we can reach this state is the result of "holding the pen lightly, naturally having a guilty conscience" and the habit of "hanging hands", which is consistent with what we often say: "pointing to reality, palm deficiency, hanging elbows" Only in this way can all joints move freely when writing, and the strength of the whole body can smoothly reach the nib through the arms, elbows, wrists, fingers and pen tubes, so that the pen can be lifted and pressed freely on the paper. The initial curtain is slightly larger than the words on the post, and the speed should not be too fast. Be as straightforward as learning regular script, and imitate the composition as before. When many people first came to this post, they raised their eyes in order to speed up writing, unilaterally pursued the agility of fonts, and sought adventure and novelty, ignoring the perfection of pen structure, resulting in the weakness of strokes and the habituation of font forms. If you want to have a complete understanding of how to write words with a pen in a post and explore its rules, you need to analyze it in slow motion, so as to make the imitation more realistic and the writing more powerful. Wait until self-awareness can master the statutes that must be maintained in temporary writing, and then speed up. In addition, in the process of approaching, it is necessary to be accompanied by "reading" from time to time, that is, at the same time of writing, analyze and compare the lightness, heaviness, illness, emptiness, hiding, revealing, lifting, pressing with a pen, tying the line, leading the belt, the size ratio, positive inclination angle, and even the ink color change, layout, posture and spirit of each part. In this way, with the temporary study of thinking, there will be gains and achievements, and ultimately achieve twice the result with half the effort. With some practice, you can take a back-to-back approach, that is, put the copybooks together and write them on your back. Compare with the model after reversing, observe carefully, and deepen your impression of the model before reversing. The back can show the understanding of the model from various angles, such as sometimes highlighting the characteristics of its pen and sometimes highlighting the characteristics of its structure. This is actually a kind of "improvisation", and it also lays the foundation for future creation. Mi Fei learned from many calligraphers as well as others. He learned from the ancients without being confined to them, as he himself said, "learn from others and do it." If there is no "take advantage" in front, it will not form a unique style of Mi Gu. Therefore, in order to truly master this post, we should not only learn from Mi Fei's own inscriptions, but also understand the formation track of Mi Fei's running script, and make great efforts to copy the famous artists of past dynasties, such as the regular script of Jin and Tang Dynasties and the running script of "Two Kings". Although learning books is "a hundred schools are not as good as one", we should not only learn one, but also learn one and read widely. Only in this way can we broaden the road of calligraphy. The above is my understanding and experience of studying Shu Sutie and Mi Fei's calligraphy for many years. I hope it can help the calligraphers of Guangdong University, and I will be very pleased if I really get it.