Mi Fu

Mi Fu (Chinese: 米芾 1051–1107) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the “Mi Fu” style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers of the Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own.

Mi Fu calligraphy and painting into a family, dead wood bamboo, landscape painting unique style features. In the calligraphy is also quite accomplished, good seal, Li, Kai, line, grass and other books, longer than the ancient calligraphy, to achieve the degree of chaos. The main works are “more King House poem” “Rainbow County Poetry” “Yan Shan Ming” “” worship Zhongyue Postscript “and so on.

calligraphy
Style features
Mi Fu Ping calligraphy hard work, the achievements of the book as the largest. Since the Southern Song Dynasty famous posts, the majority of its law books, widely broadcast, the impact of far-reaching, in the “Northern Song Dynasty four book home”, can be second to none. Kang Youwei said: “Tang Yan structure, Song Shangyi interest.” Meaning the Song Dynasty calligrapher exaggerated interest and personality, and Mi Fu in this regard is particularly prominent.
Mi Fu study books, claiming to be “set ancient words”, although some people think that laughing stock, there are praise that “Tianzi Yuan 轹 not boast, set the ancient end of self-reliance” (Wang Wenzhi). This explains to some extent the reason why Mickey’s calligraphy succeeds. According to Mi Fu readme, in listening to Su Dongpo study before the book, you can generally see that he was the most affected by five Tang people: Yan Zhenqing, Ouyang, Chu Suiliang, Shen Shixia, Duan Ji show.

Yuanfeng five years (1082 years later), he began to find Jin Fu Fete, got Wang Xianzhi’s “Mid-Autumn Post”. This ancestors of the big order (Wang Xizhi seventh son, the official order to the book, known as “Wang Da”), had a tremendous impact on him. But the nature of unruly Mi Fu is not satisfied with the word Wang Xianzhi, as early as Shao Sheng shouted the “old slaves do not change the goose”, “a wash two kings”.

Despite this, this time Mi Fu calligraphy and no stereotypes, he Yuanyou three years (1088 years) to write “Tiaoxi posts” “Yin Ling name Tuo Temple monument Postscript” “Shu Su posts”, although written within a half months , The style has a greater difference, not completely out of the threshold of ancient words. Yuan You six years (1091 years), the rice Fu Bu Habitat Haiyue Temple, and learned Yang Xin calligraphy. Until the “both old and home, people see, I do not know why” when the final completion of the establishment of their own style, probably after the age of 50.

In the stereotypes of calligraphy works, because Mi Fu is too uninhibited, blindly “potential”, even if the small Kai as “to the Queen Mother” is also true. This “potential” solid is the advantage, but at the same time became his flaw. “Eventually with a partial loss”, Huang Tingjian evaluation of praise, should be more objective and fair. Song of the Huang Changrui comment on his calligraphy, “but can book, is not the grass”, then the so-called “positive”, and no means that is not necessarily today’s “positive”, if the seal, it is appropriate. Mi Fu seal, not really work, cursive also written flat. He later on the Tang Chinese cursive negative attitude, but also confined to the knowledge of Jin grass, the results of flat natural inevitable.

Mi Fu to calligraphy, if the body of the horse, it is undoubtedly the first. Proof of its calligraphy, twenty-four-year-old Lin Guilong hidden rock Ming Ming cliff, slightly imposing momentum, no self-contained shadow; thirty years old “step chariot map” inscriptions, also makes people feel talented The 30 years old when the official in Changsha, had seen Yuelu Temple monument, the following year went to Lushan visit Donglin Temple monument, and are the name of the name. Yuan You two years (1087 years) also used Zhang Xuan painting six, Xu Hao Shu two posts and Shi Yi Geng for Li Yong’s “more heat to Ge Feng posts.”

Writing techniques
Mi Fu book very seriously, unlike some people imagine that, without hesitation and waved. Mi Fu himself said: “I write” Haidai poetry “, three or four times to write, between a word is good, letter book is also a difficult” (Ming Fan Mingtai “Mi Xiangyang foreign mind”). A poem, wrote three or four times, only one or two words of their own satisfaction, which is not a bit in the hands of experts can not say, but also see his creative attitude of rigorous.

Mi Fu has a lot of special strokes, such as “door” word right corner of the round, vertical hooks and crab claws, etc., are set from the line of the book; shape startled the body, when the imitation from the European word, And keep a long period of time; Shen scholar’s face or similar to Chu Sui-liang; Mi Fu large school section of the quarter show, “unique four sides”, “brush word” may come from this; Chu Sui-liang’s pen the richest Change, the body is also the most vivid, Mi Mi’s spleen and stomach, has praised the word, “such as cooked Yu tactical horse, moving with people, and do not have a kind of pride.”

Mi Fu on the distribution of calligraphy, structure, pen, with his unique experience. Requirements “stable and good, the insurance does not blame, the old is not dry, run not fat,” probably Jiang Kui recorded in the “no ditch, no go” is also intended. That is, the requirements of the unity in the change, the wrapped with possession, fat and thin, sparse and dense, simple and complex and other rivalry factors, that is, “bone, flesh, fat Ze, Aeolus, The Tuanfa, attention to the overall strength, taking into account the details of the perfect, into the bamboo in the chest, writing process with the change,

Mi Fu’s pen features, mainly good at the side, Yan Yang, to the back, turning, setbacks in the formation of elegant ultra-Mai momentum, calm and happy style. The words of the pen is often quite heavy, slightly lighter to the middle, when the tip of the tip of the twist turned straight down. There are also a lot of changes in the pen, the focus of the pen sometimes in the pen, sometimes in the pen, sometimes in the middle of a pen, for a long horizontal painting there are twists and turns. Hook is also full of characteristics.

Mi Fu’s calligraphy often have a roll of the body, want to left first right, want to Yang Xianxiu, are in order to increase the ups and down grace of grace, vigorous flying air to decades of ancient words of the rich foundation for the premise, So out of innocence naturally, never artificial. Learn Mi Fu who, even if the water station, such as those who can not help but “arduous”. Song and Yuan dynasties, on the Mi Fu law book, probably can be divided into two kinds of attitude: one is praise and not derogatory, highly respected; one is praise and derogatory, and praise the majority of the composition. Hold the first attitude, you can Su Shi as the representative. Stressed that in temperament, interest and other aspects of the distinction between the two strictly “(Ruan Pu” Su Shi’s literati painting view “). His so-called” new ideas in the program, send a wonderful reason out of bold, “” In the same way, is the old tradition, the new interest. The same is the ancestral painting of the ancestors of the Mi Fu But also disdain in such a reconciliation, Mi Fu’s success lies in a Mexican attitude and motif selection to achieve his recognition of the literati fun.Mi Fu realized to change the traditional painting programs and technical standards to achieve the purpose of new fun The

Mi Fu claiming to “brush the word”, clear and self-modest point to the essence of the Department, “brush”, reflecting his quick and hard to use the pen, dedication to make every effort. His calligraphy works, as large as the poem, as small as the slips, inscriptions have a happy dripping, 欹 longitudinal changes, fresh and fresh features. From the world’s nearly sixty meters Mi Fu’s handwriting point of view, “brush” this word is the word of God’s God live off to show it.

painting
Mi Fu as the famous painter of the Northern Song Dynasty, in a mature era of literati painting, the painting theme is very wide, people, landscapes, turquoise, plum, blue, bamboo, chrysanthemum unpredictable; Mi Fu in landscape painting achievements, He does not like the dangerous peaks of the towering, overlapping peaks of the northern landscape, but also appreciate the Jiangnan water fast changing “smoke clouds”, “naive plain”, “do not pretend” style; so Mi Fu in the artistic style of the pursuit of Is natural. He created the “Mickey Yunshan” are written by the letter, clouds set off.

Mi Fu’s painting originated from Dong Yuan. Dong’s painting to write Jiangnan mountains, Mi Fu has been the review from the overall atmosphere of the eye, but Mi Fu did not find suitable for the expression of things. Mi Fu pay attention to “do not take fine labor, meaning seems to have”, although he copy “to chaos really can not distinguish” skills, but more keen on the “painting landscape characters, self-contained,” through some choice, Mi Fu to find Dong Yuan used “point”. Originally, Dong Yuan’s “point” is the auxiliary factor of Phi-chun, which is subject to the need to express the natural texture. It together with other modeling methods constitutes a kind of freehand atmosphere. In the penniless, especially the coke Moss makes the pen and ink itself have some kind of independent meaning freehand effect. Dong, giant points are subject to the nature of the purpose of modeling. In the two meters of the pen, the point has almost become all the shape, and have a considerable degree of freehand. The so-called “egg drop”, in fact, is a kind of point to the writing of the freehand brushwork, “with the deep and deep point of the scattered scattered scattered points, even the point into the line to point on behalf of the crack, plot points into a film, Broken, plot, stains, dry, wet and use, supplemented by rendering the performance of the mountains, the image of trees and clouds of demeanor. Completely abandon the traditional method of hook and paste. Sleeveless center changes in the occasional casual effects, informal, do not just rope ink, far beyond the contemporaries of the horizon, no wonder there was no positive reaction, and even was “public ridicule”, “people often said mad.” Mi Fu painting does not exist in the world, Mi Fu from the “painting history” recorded his collection, tasting ancient paintings and their own preferences for painting, aesthetic taste, creative experience and so on.

Collection
Mi Fu’s success lies in the adoption of a certain Mexican attitude and motif to choose to achieve his recognition of the literati fun, Mi Fu aware of changing the traditional painting programs and technical standards to achieve the purpose of new fun. The reason: Mi Fu first is a collection of wealthy collectors, experts, the merits of the history of painting in the chest, more consideration is the content of the painting ontology.

Mi Fu on the Chinese classical stone culture is the greatest contribution to his long-term stone practice, to an artist’s unique aesthetic experience, has successed a “Yan history” and concise “phase stone four law.”

Yan stone ancient also known as “mountain”, is a text stone. Mi Fu not only collection, enjoy a variety of natural rocks, or obsessed with the collection of life and study Yan stone one of the pioneers. His book “Yan Shi”, “Sikuquanshu” has given a high rating, great influence on later studies Yan stone, and his collection of famous story is also very legendary. After the Southern Tang Li Yu possession of many, which “thirty-six peak Yan” and “seventy-two peak Yan” have been Mi Fu collection and studied. After the death of the Queen after the death of the stone, the flow of folk, the flow of dozens of people, Mi Fu love, had five hundred and two gold to buy. Accidentally lost this material. Mi Fu took great responsibility, had poetry poem: “Yanshan is not visible, my poet sigh. Only jade toad, to the frequency of tears.”

Mi Fu made “Yan history” more than a thousand years, but the descendants of research, understanding of the text of the ancient woods of the material, shape, decoration and even Yan Yan technology and other aspects have an important reference value. His theory of “four-phase stone” in the history of Chinese history of stone is also extremely important, this theory not only led the trend of the moment of the stone, is still the relics of the “return to classical, Thanksgiving true” classic.

theory
Mi Fu in addition to calligraphy to achieve a high standard, the book is also a lot of books. In the theory of calligraphy, especially on the cursive theory strongly against the Tang Dynasty calligraphy law is still the law of the law, too much emphasis on the Wei Jin dull naive, advocating the two king of the program. Author of “book history” “Haiyue famous” “treasure chapter to be recorded” “commentary” and so on. Showing his excellent courage and fine to the appreciation of the predecessors more ridiculed, but never because of the ancient language, for the ancient bookstore heavy, but too many words, blame Yan Liu, Harsh.

Set the ancient new, the pursuit of individuality to create
Mi Fu in the “Haiyue famous words,” said: “My book is a small print book like a character.” The only possession of the traces of the trail, between or with, not with the caller. Heart is not only stored, free pen, have natural, prepared Its quaint. Emperors failed to stand home, people that my book for the ancient words, cover to take the strengths, and always become both old, from home, people see, I do not know why the ancestors also. There is nothing filled with heroic feelings. Mi Fu’s “ancient words”, in fact, he learned the experience of calligraphy. Mi Fei to learn the calligraphy of the Tang Dynasty after reflection, found the Tang Dynasty calligraphy defects and deficiencies and then transfer Jin “Shang Yun” with the essence of pen, in order to achieve the chic handsome, plain naive mood. Mi Fu set all the family long, which in essence is his conception of innovation on the “fun” pursuit of psychological performance.

Derogatory Tang Chongjin, from aesthetic choice
Mi Fu beginner calligraphy is started by the Tang, but Mi Fu in the depth of the study of Tang Dynasty calligraphy, the Tang Dynasty calligraphy to reflect on and found Yan Zhenqing, Liu Gongquan, Chu Suiliang and other Tang calligraphy by the regular program of excessive restraint, calligraphy “Fun” aesthetic taste can not be reflected, it began to produce criticism of the Tang. Mi Fu book on the “Haiyue famous words” in the Tang Dynasty calligraphy comments to see: “Europe, Yu, Chu, Liu, Yan are a book also. Arranged, how can we die, Lack of fiber thick … … “Thus, Mi Fu is found in the Tang Dynasty calligraphy over-emphasis on the program, resulting in Tang Kai” fun “gradually missing, showing excessive programmatic and rational drawbacks, and Mi Fu’s pursuit of chic natural Of the “real fun” is contrary to the. However, Jin’s calligraphy is the natural rate of real aesthetic realm and Mi Fu’s pursuit of “real fun” aesthetic coincide.

Poetry
Mi Fu later lived in the state of Dantu (now this is Jiangsu), there are mountains and trees. Named its poetry collection for the “mountain set”, there are a hundred volumes, are mostly scattered. Today, there are “Po Jin Yingying set”. Mi Fu can book and poetry, poetry that lattice, lofty, self-contained. Try to write poetry cast Xu Chongyuan, since the words “not a person, life has not recorded a cast expensive”, unique for its long, deliberately different for its short.

Major works:
Yan Shan Ming
“Yan Shan Ming” hand roll, ink paper, 36 cm high, 138 cm long, divided into three sections. The first paragraph for the Mi Fu with the South Tang Cheng heart tea writing thirty-nine lines of the book: “Yan Shan Ming colored water floating Kunlun Lake in the top of the black clouds hanging dragon strange electric shock under the shock of the string of special changes Jinshan Qianxuan book. “In the pen on the vigorous and vigorous, with the potential of the Pentium, tendon bone Yi, change infinite. Knot words, free play, dumping among the stable, and thus dignified among the graceful, compared to the “multi-view floor poem” “Rainbow County Poetry” less flying white Smart, more bold, Pentium, Shen Dayun fast, is Rice book mature for the Mi Fu calligraphy in the boutique. Mr. Qiang Fu poem said: “envy of Xiangyang a pen, exquisite eight to write autumn deep.

This hand-rolled in an orderly manner, once into the Northern Song Dynasty, the Southern Song court. Southern Song Lizong was right bearing Jia Sidao collection. Handed to the Yuan Dynasty, was the Yuan Dynasty’s most famous calligraphy and painting collectors Ke Jiu Si collection. Qing Dynasty Yongzheng years, was painting and calligraphy connoisseur, Sichuan Chengdu prefect in the collection. As a result of historical reasons, this volume unfortunately unlucky to the east, by the Japanese neighborhood museum collection.

Shu Su posts
“Shu Su posts”, also known as “ancient poetry posts”, ink silk, the book. (1088 years), Mi Fu thirty-eight years old, a total of eight books from the various poems, accounting for 71 lines 658 words, the Department of money. “Shu Su posts” Ming Dynasty Yuan Yuanyuan, Dong Qichang, Wu Ting and other famous collectors collection, the Qing Dynasty fell into Gao Shiqi, Wang Hongxu, Fu Heng hand, after entering the Qing government, the existing Taiwan Palace Museum.

“Shu Su posts” book in the Wusi column, but the momentum was not limited, rate of indulgence, with the pen Junmai, gestures flying, mention by turning to pick, song to make changes. “To be ancient,” the two is still out to the line of regret, the more the back of the more free and easy flying, superb look. Mi Fu with pen hi “octahedral front”, unpredictable. This post with pen changeable, is the side of the possession of dew, length and thickness, body thousands, fully embodies his “brush” the unique style. Because of Su Su rough, the book go all out, so Dong Qichang in the “Shu Su posts” Postscript said: “This volume is like a lion stroke, to go all out, when the life for cooperation.” In addition, because the silk fabric is not susceptible to ink and the emergence of more dry pen, so that all the ink has a strong concentration of light, such as thirsty Benfen, feel more exciting and moving.

Rainbow County Poetry Volume
“Hongxian poetry volume” Department of Mi Fu essay, the book of two seven words of the poem line of calligraphy posts. Paper ink volume, a total of 37 lines, each line 2,3 words ranging. Mi Fu handed down the works, the characters calligraphy rarely, the characters are not Mi Fu director, Mi Fu taste that the book for the “brush”, which in his characters in the performance was more obvious. The posts of priority, a strong sense of rhythm, with the wet and wet ink, seamless, was natural and interesting. Such as the beginning of the first “Hongxian old clouds fast Ji day Qing Shu” 11 words, at one go, the pen is dry and scattered. Posts after the gold Dading 13 years Liu Zhong travel postscript. This is a photocopy of the world.
This volume for the Mi Fu through the beautiful rainbow County (now Anhui Sixi), the brush written on the poem. Mi Fu’s character line handed down very little, and this is the latest year’s masterpiece, which is very precious.

More King House Poems
“Multi-King House poetry book” is Mi Fu late works, with the pen old and spicy, heavy, between the side of the frame to see the sound, extremely bold, pen force majestic. “Brush word” in the way of writing in this book was very obvious, many strokes of the pen showing a scattered front. Some vertical pen, write pen because of the rapid operation and stay white. The whole works of momentum heroic, ups between the strokes contains a huge tension.
“Duojing Lou poetry book” consists of 11 albums, each page of paper vertical 31.2 cm, horizontal 53.1 cm, wrote a total of 41 lines of words, each line for the two words, and some are only one word, full display The Mi Fu big line of books of the magnificent spirit. “Multi-King House poetry book” was originally a long scroll, in the Song Dynasty has been framed into a book, the Ming and Qing Dynasties for many collectors, is an orderly calligraphy trail.

Tiaoxi poetry volume
Full name “will be the Tiaoxi opera for the Friends of poetry volumes”, Mi Fu book, paper, line books, vertical 30.3 cm, horizontal 189.5 cm. Beijing Palace Museum. Full volume of 35 lines, a total of 394 words, the end of the year “Yuan Wu Chen August 8 for”, known as Song Zhezong Yuan You three years Wu Chen (AD 1088), when Mi Fu 38 years old. The beginning of a sentence “will be Tiaoxi opera for all friends, Xiangyang Man Shi Fu.” Know the book for the self-written poetry, a total of six first.

This volume with a pen center straight down, thick fiber and out, throwing pen swiftness, vertical and horizontal unrestrained. In particular, Yunfeng, positive, side, possession, dew change rich, dotted twists and turns transition coherent, mention the ups and downs of natural super Yi, no carved marks. Its body is comfortable, the palace of small convergence, to maintain the balance of the center of gravity. At the same time long painting vertical and horizontal, stretch freely, rich suppression of ups and downs. Through the font slightly to the left, more than the side of the potential, in the insurance in the pursuit of Pingyi. Full book style really natural, happy dripping, change has caused, interesting, reflecting the typical appearance of Mi Fu middle-aged book. Wu Qizhen “painting and calligraphy” comment on this post said: “pen chic, comfortable structure, cover Yan Yan Gong public.” That the book Zong Fa Yan Zhenqing from the new artistic features.

At the end of this volume there are his son Mi You Ren Postscript: “right out of all friends and other poems, the first minister Fu Fu really footprints, Chenmi Friends of the Friends of the identification of Christine.” After the paper another Ming Li Dongyang Postscript. According to Kam seal imprint, know this post has been hidden in the Southern Song Dynasty Shaoxing House, Ming Yang Shiqi, Lu Shui Village, Xiang Yuan Bian Zhujia, after entering the Qing Emperor Qianlong, and engraved “three Greek Church Futie.”

influences:
Since the Song Dynasty, Mi Fu’s calligraphy influence can be described as important. Mi Fu’s book, generally believed that the first book to learn rice, should push his eldest son Mi Youren, sub-father biography, quite achievements, millet “move only blessing” quite old rice style. Song Dynasty Wei Weng “Heshan set” cloud: “Yuanhui book though not catch his father, such as Wang Xie children, own a style.”

Mi Fu calligraphy on the later influence is mainly in the South after the crossing. According to records, as the Shaoxing emperor visited his book, widely collected, possession of the House, before the valuable in the world, and ordered people engraved “Shaoxing rice paste” so the world Xi Ran learn rice.

After the South crossing, Zhang Xiaoxiang, Wu Ju, Fan Chengda, Zhang Yizhi, Zhao Mengjian and so on to take the law book, quite successful. Southern Song Xiaozong, Ningzong era of Wu Ju, the word father, home cloud gorgeous lay, Gao Zongxian queen of the nephew, the princes of the king of Wu Yi son. Official to the town of Anjun Jiedushi, sent Jianfu and left behind. “Book history will be” Comment on him: “word class Mi Fu, and steep over.” “Billiton Do not set” also recorded. The special study Mi Fu calligraphy, is recognized as a master of rice, his boutique can almost and Mi Fu calligraphy chaos. Its pen side of the majority, edge more exposed, stressed the severity of contrast, pen pen light. As the emperor’s esteem, the secretary is also popular among the people. Mi Fu’s influence is not limited to the Southern Song Dynasty, and the Southern Song Dynasty confrontation of the Jin Dynasty, also popular rice book, on behalf of Mi Fu’s nephew Wang Tingyun. Its calligraphy and dry wood bamboo Mi Fei, pay attention to ink and fun, not for the law of the trap, on the ancient people. Wang Tingyun is Mi Fu calligraphy followers, study rice word and take the law Tang, for the world said. His calligraphy won the Mi Fu style, bearing extraordinary, but the edge slightly distracting, the structure tends to be stable, calm and soothing.

Yuan Dynasty books strongly retro, return to Jin and Tang dynasties, mostly affected by Zhao Mengfu. White 珽, Zhang Duo, Li Yuan Gui and others are homesaw school. Mi Fu “coral post” at the end of the family to the yuan between people Shi Guangyuan book, still have rice intention, but the lack of Chun Chun trend.

In the early and middle of the Ming Dynasty, followed by the Yuan Dynasty calligraphy, in general still not off Zhao Mengfu style, in addition, Song Ke, “two sink” (Shen degree, Shen charm) book, also quite popular, , Because the Ming people like the game Han ink, the pursuit of unrestrained, rice book just to meet their temperament. Such as Zhang Bi, Li Yingzhen, Zhu Yunming, Wen Zhengming, Chen Chun, Mo is the dragon, Xu Wei, Xing Dong, Mi Wanzhong, Dong Qichang, Wang Duo, Among them, Dong Qichang, Wang Duo the highest achievement, the greatest impact.

Qing Dynasty monument rise, do not open pattern. But the post to learn the wind is not reduced, Fu Shan, Zha Shi superscript, Xu You, Da Chongguang, Wang Hongxu, Jiang Chenying, Zhang Zhao, Chen Yuxi, Wang Shu, Weng Fang Gang, Wang Wenzhi, Liang Tongshu, Weng Tonghe, Qian Feng et al. Learn the road, although they are deeply influenced by Dong Qichang’s calligraphy, but can be next to Mi Fu and other famous books, to seek their own art world.

Mi Fu’s calligraphy has been far-reaching, and since the Republic of China, people have entered into a new era of art and research on Mi Fu’s calligraphy. In particular, after entering the 20th century, 80 years, the study of rice is even more common practice, but also achieved some success.