Mi Fei's "Zijin Ink Paste" is treasured in the National Palace Museum. The work is written in light tooth paper, 29 cm long and 40 cm wide.
Mi Fei [1] boasts the word "brush". When evaluating several calligraphers of his time, he made no secret: "Cai Jing can't write, Cai Bian has a pen but lacks rhyme, Cai Xiang has fun, Shen Liao has typesetting, Huang Tingjian paints, Su Shi paints, and I am a brush."
What is the word "brush"? I didn't know that before. Recently, with the deepening of brushwork practice and the increase of reading materials, I have a further understanding of the concept of "writing brush". In fact, his word "brush" is embodied in the laying and gathering of brush strokes, and the various effects arising therefrom. Through the diffusion and convergence of brush strokes, brush strokes have produced the power of "Li Qi grasping paper with all his pen". This method of writing with a pen has had a positive impact on later generations. After the Song Dynasty, many calligraphers, such as Xu Wei, Huang Daozhou, Ni, Wang Duo, Fu Shan, etc., all drew nutrition from Mi Fei's calligraphy.
In fact, if you ask Du Niang what "Qi Li" is, you will soon get this explanation:
"There can be no kink in the bristles" actually means that the pen should be straight and the bristles should be smooth. In fact, the premise of doing this is to deal with the relationship between the placement of strokes and the handling of folding, lifting, changing pens and standing pens. In fact, this is the basis of Mi Fei's "brush" kung fu.
There is such a record in "Famous sayings of Haiyue": "Mi Fei, as a doctor of calligraphy, called several people to ask the world about the title of this dynasty. Haiyue said that the word" brush "was just a pen, which meant that the center wrote quickly, vigorously and flatly. Su Dongpo said he was "calm and happy. "("Dongpo Collection ") Huang Gugu said that he" learned the array with a sharp sword, shot Wan Li with a strong crossbow, and the calligrapher's brushwork was also poor. "Su Huang's inscription" The Valley ",although not dedicated to the use of pens, can also be the best understanding of" calligraphy ".
Let's continue to observe this "Zijin research post", and it really feels like "the pulp is black and thick, and there are thousands of articles in Qi Li". First of all, we can see the trajectory of the pen center running on the paper. Through Mi Fei's skillful use of qi to transport the wrist, he achieved the artistic effects of bleeding, hiding meat and using a pen flexibly.
Of course, Mi Fei's "brush" also has another meaning that Su Dongpo said, that is, "the wind drafts the horses, calmly and happily." Mifei will touch the paper with the front, side, hidden, exposed and other different faces of the pen, and quickly and forcefully write different glyphs such as size, thickness, density, front and rigidity, making the whole work full of changes, which can be described as varied and colorful. It can be seen that his brushwork is also reflected in the characteristics of "fast, energetic and changeable".
Similarly, we can also find such records in the famous sentences of Haiyue. Mi Fei emphasized "getting a pen" in writing ci: learning books is expensive, using knowledge means writing lightly, hands are naturally guilty, and the news is naive and accidental. Bones, bones, flesh, fat and spirit are all available, and there is a good scholar. At the same time, it is necessary to "write differently" and "draw three different words"; Pretend to be different. Paying attention to differences is naive and natural. "
While appreciating Mi Fei's calligraphy, we can only understand the essence of his bold changes and forge ahead on the basis of the changes in his calligraphy style, so as to get the true meaning of calligraphy learning.
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