"Tiaoxi Poems" is one of the representative works of Mi Fu, an outstanding calligrapher of the Northern Song Dynasty. The whole volume has 35 lines and 294 words
The entire "Tiaoxi Poetry Volume" is on paper, running script, 30.3 cm in length and 189.5 cm in width. Collection of the Palace Museum, Beijing. The whole volume has 35 lines and 394 words. The final year mark is "Made on August 8th, Yuanwuchen". It is known that it was written in Wuchen, the third year of Yuanyou, Zhezong of the Song Dynasty (1088 AD), when Mi Fu was 38 years old. There is a sentence at the beginning: "I will present the Tiaoxi opera to all my friends, and Xiangyang will be full of officials." The book is composed of self-written poems, including 6 poems.
In this volume, the center of the pen is straight down, thick and fine, and the pen is written quickly and freely. Especially the movement front, there are rich changes in front, side, hidden and exposed, the stipples have a coherent transition, and the ups and downs of the lift are natural and elegant, without any trace of carving. The structure is comfortable and the middle palace is slightly convergent, maintaining the balance of the center of gravity. At the same time, the long painting is vertical and horizontal, stretching freely, rich in ups and downs. Throughout the text, the font is slightly tilted to the left, with many sideways tendencies, trying to level out the danger. The writing style of the whole volume is sincere, straightforward, lively, varied, and full of interest, which reflects the typical appearance of Mi Fu's middle-aged books. Wu Qizhen's "Calligraphy and Painting Notes" commented on this post: "The brushwork is elegant and the structure is smooth, which is worthy of Yan Lugong's teaching." It shows the patriarchal tradition of this book, and Yan Zhenqing's innovative artistic features.
At the end of this volume, there is a postscript by his son Mi Youren: "On the right are the poems of friends and others, the footprints of the ancestor Fu Zhen, and the postscript of the appraisal by Mi Youren." There is also a postscript by Li Dongyang of the Ming Dynasty on the later paper. According to the imprint of the collection, it is known that this calligraphy was once hidden in the Shaoxing Neifu of the Southern Song Dynasty, Yang Shiqi, Lu Shuicun, Xiang Yuanbian and other families in the Ming Dynasty. It was later entered into the Qianlong Neifu of the Qing Dynasty and was engraved in the "Sanxitang Dharma Calligraphy". The post is 30.3 centimeters long and 189.5 centimeters wide. It is a poem written by Mi Fu when he visited Tiaoxi (now Huzhou, Zhejiang). The writing style of this post is elegant and the structure is comfortable. This work has become a masterpiece in the history of Chinese calligraphy and is now in the collection of the Forbidden City in Beijing.
Mi Fu (fú ㄈㄨˊ) (1051-1107) was a calligrapher and painter in the Northern Song Dynasty. His first name was Fu (fú ㄈㄨˊ), with the courtesy name Yuanzhang. At that time, he was also known as Xiangyang Manshi, Haiyue Waishi, and his self-titled Lumen Jushi. Famous calligrapher, connoisseur, painter and collector in the Northern Song Dynasty. Mi Fu was originally from Xiangyang (now part of Hubei), and later settled in Runzhou (now Zhenjiang, Jiangsu). He was called a doctor of calligraphy and painting, and promoted to a foreign minister in the Ministry of Rites. Mi Fu was not satisfied in officialdom. He "could not stand up to the world, so he had difficulty in serving as an official." Because of his clothing, behavior and obsession with calligraphy, painting and precious stones, he was regarded as crazy by the world, so he was also known as "Mi Dian".