Mi Fei was a very famous calligrapher in the Northern Song Dynasty, and his painting skills were outstanding, so he was respected and admired by many people. Because of his achievements in calligraphy, he was once called Song Sijia with Su Shi and others, and once held some official positions. In a word, his achievements in calligraphy are very noble, which has a lot to do with the characteristics of Mi Fei's calligraphy. What are the characteristics of Mifei's calligraphy?
Mi Fei's calligraphy has its own system and profound attainments. He is very good at seal script, official script, regular script and other styles, and even copied the notes of his ancestors, so the characteristics of Mi Fei's calligraphy are different from many people. His characteristics can be analyzed from different aspects. First of all, he is usually diligent in calligraphy, and his achievements in running script are the greatest. He once said that his calligraphy was a collection of ancient Chinese characters. Although some people don't think so, others sincerely praise him. Because of his unruly personality, his calligraphy is also very good. Although this trend can be regarded as an advantage, it can sometimes become a disadvantage. As for the seal script written by Mi Fei, some of them are not very neat.
In addition, Mi Fei's calligraphy is characterized by handsome figure and many special strokes, all of which are imitated by different people. Besides, Mi Fei's layout in calligraphy. The structure and use of the pen are different from the experience of ordinary people. In composition, he pays great attention to the overall temperament of the full text and takes care of the perfection of details. In the process of creation, he always acts in a carefree way, but he is very clever. In a word, he has a unique charm.
Mifei's artistic characteristics
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 the process of forward, 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.
Mifei's artistic experience
Mifei loved reading poetry books since childhood and received a good education since childhood. Coupled with his cleverness, he can recite a hundred poems at the age of six, learn calligraphy at the age of eight, and copy inscriptions at the age of ten, making 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 studied calligraphy the most in 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 that this is a laughing stock, others praise that "Tian Character Block does not need to boast, 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."
Five years later, Yuanfeng *** 1082*** began to look for Jin people's law posts, and only one year later he got the Mid-Autumn Post. 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, Mi Fei, who was unruly by nature, was not satisfied with Wang Xianzhi's words. As early as Shao Sheng's reign, he shouted "Old people hate slave books and don't change geese" and "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 studied Yang Xin in Buju Haiyue Temple, which was six years after Yuan You.
Nevertheless, the secret book has not been finalized. In the last three years in Yuan You, I wrote Mianxi Post, Yin Ling Ming Toutuo Temple Monument and Postscript, and Shu Su Post within one and a half months, 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, "I wrote Haidai's poems three or four times, but it's hard to believe the words in the book" * * * Mingming Fan's Notes on Xiangyang, Mi Fei. 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.
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 the second year, Zhang Xuan painted six paintings, and Xu Haoshu and Shi got Li Yong's How Hot It Is. 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's inkstone becomes mortar, which can reach the right army * * * Wang Xizhi * * *. If it starts with Zhong * * * and Suo * * * *, it can be encouraged forever. " His son Mi Youren said that he didn't even forget to write on New Year's Day. * * * Based on 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 lived in Runzhou Dantu in his later years, and now he belongs to Jiangsu, with a 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, Mi Fei is a collector and appraiser who collects great wealth. He knows the pros and cons of paintings in past dynasties and considers the content of paintings more; Su Shi was a literary giant at first, and then he expressed his views on painting as an amateur. He used the standards of poetry and 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.