Calligraphy art in different periods can show the humanistic development and social and economic development in different periods, and has its unique value orientation.
In the long historical development and dynasty change, many calligraphers emerged in the Song, Yuan, Ming and Qing Dynasties. Their works are the representatives of China's calligraphy art and the cultural treasures that show China's culture, and they are unique among the world's cultural and artistic treasures.
Among many calligraphers' works, today, let's appreciate Mi Fei's Shu Su Tie and let it take us into Mi Fei's calligraphy world.
1. Shu Sutie: The perfect combination of talents of Mo Bao and Mi Fei. Shu Su is a silk fabric with good texture and excellent hand feeling, which was produced in Sichuan during the Northern Song Dynasty. Its main manufacturing method is to deliberately weave a twill on the original plain silk: Wu Si Blue. The reason why the black silk fence is deliberately woven is to facilitate writing on it. Even so, raw silk is raw silk after all, and its writing performance is poor without alum treatment.
According to legend, there was a man named Shao Zizhong who specially mounted a volume of books for the famous Mo Bao. This volume of Shusu has been handed down for three generations, and no one dares to write it. It is because of the rough weaving lines of silk that it is difficult to write on it, so people with poor calligraphy skills dare not write at will. Later, this volume of Shuzheng was collected by lin xi, the commander of Xing Wu, Zhejiang Province in the Song Dynasty for more than 20 years, which shows that it is very difficult to inscribe it on Shuzheng.
At that time, Mi Fei, Huang Tingjian, Su Shi and Cai Xiang were also called "Song Sijia". His Mi Fei landscape and calligraphy are world-famous, and Mi Fei often likes to go to Taihu Lake to read poems and appreciate stones. In the third year of Northern Song Dynasty, Mi Fei was invited by Taishoulin to visit Tiaoxi on the edge of Taihu Lake.
It was a good time to visit the lake and enjoy the scenery. Mifei expressed her feelings after seeing the scenery and improvised several poems.
After the tour, before he left, Taishoulin took out the book Shu Su, which had been treasured for many years, and asked Mi Fei to write a poem. Mi Fei immediately wrote this volume of Shu Su Tie.
Shu Su's post engraved on the precious Shu Su is called "the first beautiful post in China", and Mi Fei wrote eight impromptu poems about Shu Su. The main contents of his works are seeing off and browsing notes at that time. Its artistic style is based on the principle of harmonious change, with natural innocence as its will, delicate brushwork, calm and happy brushwork and changeable structure. It is "Top Ten Famous Posts Handed Down from Ancient Times in China."
Second, the artistic appreciation of Shu Sutie (1) Shu Sutie's brushwork is exquisite and jumping.
When Mi Fei wrote Shu Su Tie, he used exquisite brushwork, and the "vertical" paintings in the poem were rich and colorful. For example, the word "Zhu" in his poems uses the brushwork of "Liu Ye Shu", and the word "Hua" uses the brushwork of hanging the needle at the tip and restraining it inside. The pen is lifted lightly and the force is exerted in the middle of the "vertical" of hanging the needle and collecting the pen.
The brushwork of "skimming" in poetry and prose is also a vivid change, which shows the momentum of Mi Fei's calligraphy and endows every word with irresistible charm.
Among them, there are many forms such as "left-handed", "standing left-handed" and "tortuous left-handed". For example, in the process of writing, the word "Hui" tends to break the pen, the word "Jian" is vigorous and powerful, and the word "disgusting" is full of twists and turns, which shows the writing skill. And "Four" shows Mi Fei's various brushwork or sharp-edged, or painting with a pen. There is a very strong feeling of falling, just like people's hands and feet, which can show thousands of gestures.
In Shu Su Tie, the brush strokes of the hook pen are crisp and smooth, showing a variety of strokes, which have both the momentum of Ma Benteng and the majestic beauty, while Mi Fei's pen shows a steady brushwork in changes, with just the right length and thickness, and it is hidden from the front, which fully shows his pen posture and his "brushwork" style.
In this book, Mifei's strokes are heavier, but lighter in the middle. When he meets a turning point, he takes advantage of the front side to make a sharp turn, just like the word "early", with a posture of pulling back from the cliff, showing his feelings in all directions incisively and vividly. The focus of his writing is also varied, focusing on the key points or appearing in the writing place, like the word "drunk"; Or appear at the beginning of the pen, like the word "stool"; Or in the middle of the pen, like the word "year"
These changes are the charm of the changing trend of Mi Fei's calligraphy. The whole writing of Shu Su Tie is full of urgency, urgency, vacillation and vacillation. In the strokes of frustration, turning, returning, returning and going forward, it has formed a leisurely and happy style, a stirring momentum and a gesture of combining rigidity and flexibility.
(2) The structure of "Shu Su Tie" changes smartly, and the ink is wet and moist.
The structure of Shu Su Tie mainly shows two characteristics:
The first is the comparison of the characteristics of stroke thickness. Throughout calligraphy, the structural changes are clever and wonderful, and the contrast of stroke thickness is very distinct, such as "group building", "poem" and "species". The strokes are oblique, slender and set off each other. The thickness of strokes varies greatly. Thick places are like towering old trees, and thin places are like embroidery stitches, which set off each other and complement each other, increasing the visual impact and rhythm of the font.
The second is the characteristic contrast of spatial density. The overall stroke writing process of Shu Su Tie is very flexible. It can be said that the dense place is airtight and the loose place is wide. The sparse or dense stippling is in sharp contrast with the structure of the font itself. Magnificent brushwork and dense lines complement each other.
Precious Shusu silk cloth says "Shusu Tie". Because the fabric is not easy to ink, the whole writing process is very fast, so there will be a lot of dry pens.
The whole book is rich in pen and ink forms, suitable in shades, or "brushed" quickly in some places, with obvious setbacks and great agitation. Through skilled strokes, the depth and dryness of ink color are well controlled, and skillfully combined with the strokes of fonts, so that the rhythm of fonts is rich and full, the ink color is not dry and moist, just right, and the contrast is sharp; Or some places are completely written with dry pen, but they are also dry but not dry.
Just like Li Rihua's comments in the Book Review, the whole book is extravagant, fast-paced, refined and silent, bringing out the best in each other, just right, and has its own natural beauty. The looming brush strokes naturally contain infinite interest, and between the lines, the writer's abundant momentum is accumulated. Where the pen is full of ink, the momentum is like a rainbow, and where the ink is white, it highlights the hazy and illusory beauty.
(C) The writing style of Shu Su Tie is interlaced.
From beginning to end, Shu Sutie naturally showed that the writer had a well-thought-out plan, and the layout of the article was unique in the world. The layout there is calm, the sky is high for birds to fly and the sea is wide for fish to jump. Ups and downs, back from the brink, Ma Benteng.
The beginning of the poem is "antique", which seems to be more regular. In the future, the more it moves, the more relaxed it becomes, the quieter it becomes like a virgin, and the more it moves, the more it becomes like a rabbit. The more flexible and beautiful the structural layout, the more beautiful it looks, and the more beautiful it looks, which has its own natural beauty.
Mi Fei's brushwork is both elegant and Fiona Fang, combining rigidity with softness, slightly revealing and slightly subtle. There are curved, straight and positive sides where pens are hung. The pen hung like a sharp knife and came to an abrupt end. In the process of pen drawing, the tension is firm, the pressure is proper, it is not dry and moist, and both sides can be used.
There are many ways to pitch and tilt the whole book, and the spacing between rows is also different. However, throughout the book, the overall ranking is coherent. Although the tilt angle of each word is different, the direction and degree of tilt can echo each other. The moving angles between the lines on the left and right sides can offset each other, and the axis end points of each word can be in a straight line to achieve a balance and form a strong cohesion, so that the whole book is not messy.
On the whole, Shu Su-tie, as a whole and as a part, has a wonderful reunion, mutual complementarity, secrecy and falsehood, and secrecy and dryness, showing a perfect posture of adventure and natural beauty. In terms of writing style, there is a strong contrast between big blank and compact stippling, soft lines and heavy brushstrokes hide each other, slow brushstrokes are combined with smooth brushstrokes, and calm and graceful static is combined with Ma Benteng's dynamic, which creates the unique style of Shu Su Tie.
Conclusion: The value of Mifei Quanshusutie lies in that although it is a precious silk fabric, it is difficult to write on it because of its poor water absorption. However, due to Mi Fei's profound calligraphy skills and natural lines, the technique of "writing brush" is unique. The whole story combines rigidity with softness, and the brushwork is smooth and smooth, with softness on the outside and rigidity on the inside, which makes calligraphy lovers deeply realize the ideal realm of China's classical calligraphy.
References:
Mifei's Historical Collection of Calligraphy
Biography of Mi Fei in Song Dynasty
Mi Fei's masterpiece Shu Su Tie in the Northern Song Dynasty
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