1. Mi Fei has his own unique experience in the distribution, structure and use of calligraphy. The requirement is "stable, not strange, not old and not fat". 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.
2. Mi Fei's pen-using features are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in front and back, turning and setbacks. 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.
3. In Mi Fei's calligraphy, there is always an inclined tendency. He wants to be left first and then right, and he wants to praise first and then restrain, all in order to increase the ups and downs and the fast-flying air. Based on the solid foundation of collecting ancient Chinese characters for decades, he is naive and natural, so he will never be influenced. 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.