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 Mi Fei, even those who are close to the advantages of Confucianism, are inevitably "hot-headed". Since the Song and Yuan Dynasties, there have been two attitudes towards Mi Fei's calligraphy: one is to praise but not to belittle, the other is to admire; One kind is both praise and criticism, and the composition of praise is mostly. Those who hold the first attitude can be represented by Su Shi.
Mi Fei's calligraphy is in Song Sijia, after Su Dongpo and Huang Tingjian, and before Cai Xiang. But if it weren't for Su Dongpo's position as a literate Sect and Huang Tingjian's influence as a leader of Jiangxi Poetry School, Mi Fei's traditional skill is the deepest in calligraphy, especially his running script, which shows that the two are right.
Dong Qichang, a painter and calligrapher in the Ming Dynasty, said in "Essays on Painting Zen Rooms": I tasted rice and thought that the Song Dynasty was the first, after all, it was above Dongpo. That is to say, Mi Dian's book is more of a self-report. When it was changed in his later years, it was strange that ice was better than water cooling.
When the emperor asked him about his calligraphy, Mi Fei claimed to be "calligraphy". He is modest and pragmatic, and his "brushwork" shows that he is quick and powerful with his pen and tries his best. His calligraphy works, from poems to bamboo slips and inscriptions, are full of vitality and freshness.
The word "brush" vividly shows the spirit of the word "rice". No wonder Su Dongpo praised Mi Fei.
Su Dongpo added: Haiyue was born with seal script, official script, original script, running script and cursive script. Calm and happy, when parallel to Zhong Wang. Not only is it worth it.
Mi Fei's calligraphy had a far-reaching influence, especially in the late Ming Dynasty. Many scholars, such as Wen Zhiming, Zhu Yunming, Chen Chun, Xu Wei, Wang Juesi, Fu Shan, etc., have got a Heart Sutra from the word "secret", and this influence has been continuing.
Mi Fei's calligraphy has reached a high level, and there are many in calligraphy theory. He is the author of History of Books, Famous sayings of Hai Yue, Visiting Bao Lu, Copyright Review and so on. Mi Fei's ink handed down from generation to generation mainly includes Tiaoxi Poetry Collection, Shu Sutie, Fiona Fang Anji and Ma Tiancai, among which there are many Korean essays.