Mi Fei (1051~1107) was a calligrapher, painter and painting theorist in the Northern Song Dynasty in China. First named Kun, later changed to Fu, the word stamp, Xiangyang lay man, Haiyue Mountain people and so on. Originally from Taiyuan, he moved to Xiangyang, Hubei, and lived in Runzhou (now Zhenjiang, Jiangsu) for a long time. He used to be a school book lang, a doctor of calligraphy and painting, and a foreign minister of the Ministry of Rites. Good at poetry and calligraphy, good at seal script, official script, regular script, running script, cursive script and so on. And he is good at copying ancient calligraphy, reaching a chaotic level. At first, Ou Yangxun and Liu Gongquan learned strict fonts and strong strokes. Later, they studied with Wang Xizhi and Wang Xianzhi, their bodies developed and their brushwork became vigorous and powerful. They call themselves "calligraphy", and they are called the four great calligraphers in Song Dynasty together with Su Shi, Huang Tingjian and Cai Xiang. His paintings are good at dead wood and bamboo stones, especially ink and wash landscapes. It is very creative to express the changes of mountains and rivers in the south of the Yangtze River with brush strokes, which is called the Yunshan of rice. Mi Fei's calligraphy ink handed down from generation to generation includes Mourning the Empress Dowager, Shu Su Tie, Tiaoxi Iron Stone, Bai Zhong Yue Ming Tie, Hong Xian Shi Juan, Cao Shu Jiu Tie, Duojing Lou Iron Stone and so on, but no paintings have been handed down from generation to generation. The book Mountain Forest Collection has been lost. His theory of calligraphy and painting has been dabbled and recorded in books such as History of Calligraphy, History of Painting and Zhang Bao. He is called "Mi Dian" because of his eccentric personality and crazy behavior, and he is called "brother" when he meets a stone. Zhao is a doctor of calligraphy and painting, known as Guan. Mi Fei is good at poetry, calligraphy and painting, and his appraisal is accurate. He is a painter, appraiser and collector. He is one of the "four calligraphers of Song Dynasty" (Su, Mi, Huang and Cai) and is second to none. His writing style is bold and unconstrained, and his statutes are rigorous. "The Biography of Wen Yuan in the History of Song Dynasty" said: "My calligraphy is particularly wonderful and I am deeply impressed by Wang Xianzhi's brushwork." Mi Fei studied hard all his life and made the greatest achievement in calligraphy. Mi Fei claimed that his works were "collections of ancient Chinese characters", and he had a deep understanding of the brushwork, composition and charm of ancient masters, which also showed to some extent that Mi Fei had made great efforts in the tradition of learning books. Miffy was not involved in the political whirlpool and her life was relatively stable. Later, he became a doctor of painting and calligraphy, enjoyed the collection of books in the palace and familiarized himself with the Millennium stories. The gains and losses of the ancients are countless. When he was young, he studied hard Yan, Liu, Ou and Chu, and laid a solid foundation. When Su Shi was demoted to Huangzhou, he visited for advice, and Dongpo advised him to study gold. From the fifth year of Yuanfeng (1082), Mi Fei devoted himself to the study of Wei and Jin Dynasties, searched many calligraphy posts of Jin people, and even named his study "Baojinzhai". Today, Wang Xianzhi's ink-and-wash autumn post is said to have been copied by him, which is both beautiful in form and spirit. Mi Fei turned to many teachers all his life, and in his later years, he also said in the book "readme": "I am a beginner, so I should learn to write the wall first. I was seven or eight years old. The words are as big as a picture, so it is impossible to write simply. I saw Liu and admired his tight knot, so I learned Liu's Diamond Sutra. For a long time, knowing that it comes from Europe means learning from Europe. For a long time, such as printing plate arrangement, it is the longest time to learn from Chu, and the season of Mo Duan turns fat into beauty, and all sides are perfect. Over time, Jue Duan Quanze exhibited Lanting, so he joined the Jin and Wei Dynasties and abandoned Zhong Fang to study in Yigong. " The same is true of Liu Kuanbei. The seal characters love Chuchu and Shi Guwen. I also realized that bamboo slips are painted with bamboo, which is wonderful and ancient. Miffy is famous for her calligraphy, and her achievements come entirely from her hard training the day after tomorrow. Miffy comes to the pool every day. Historical records record: "If you don't write for a day, you will feel sleepy, thinking that the ancients never wasted books for half a time." "Zhi Yong inkstone into mortar, can reach the right army (Wang Xizhi). If you start with Zhong (Yao) and Suo (Jing), he can always encourage you. " His son Mi Youren said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Friends of Mi Fermi). Mi Fei wrote a book seriously, and said to herself, "She wrote Hai Dai's Poems three or four times, but it is hard to believe what she said in the book" ("Mingming Fan Taiwan Notes Mi Fei Yang"). A poem has been written three or four times, and only one or two sentences satisfy him. Among them, the bitterness is beyond the reach of an expert, which also shows his rigorous creative attitude. Mi Fei's calligraphy is in Song Sijia, after Su Dongpo and Huang Tingjian, and before Cai Xiang. However, regardless of Su Dongpo's position as a literate Sect or Huang Tingjian's influence as a leader of Jiangxi Poetry School, Mi Fei's traditional skill is the deepest in terms of calligraphy, especially the running script, which shows that the two are positive. Dong Qichang's Essay on Painting Zen Rooms in Ming Dynasty said: "I tasted the word rice and thought that the Song Dynasty was the first. After all, it was based on Dongpo. In other words, Mi Dian's books are more self-sufficient. When he changed in his later years, it was strange that ice was colder than water. " When the emperor asked about calligraphy, Mi Fei claimed to be a "brush character". He was modest and down-to-earth, and "brush character" showed that he was quick and energetic with his pen and tried his best. His calligraphy works, from poems to bamboo slips and inscriptions, are full of vitality and freshness. Judging from the existing nearly 60 Mi Fei's handwriting, the word "brush" vividly shows the spirit of the word "rice". No wonder Su Dongpo said, "Mi Fei gets carried away." He also said: "Haiyue has been a seal character, an official, a true character, a line and a cursive script all his life. When you are parallel to Zhong Wang, dive and be happy. Not only 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 taken a Heart Sutra from Mi Zi, and this influence has continued to this day. Mi Fei's calligraphy has reached a high level, and his calligraphy theory is quite a lot. He is the author of History of Books, Famous sayings of Hai Yue, Visiting Bao Lu, Copyright Review and so on. It shows his outstanding courage and refined taste, and often scoffs at his predecessors. However, he never followed the old saying and was valued by calligraphers of all ages. However, he also talked too much, belittled Ada and Xu Su, and was harsh and critical. 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. Mi Fei is good at ink and wash landscapes, and is called "the Yunshan of Mi Fei", but Mi Fei's paintings do not exist in the world. But at present, the only thing that can be seen is hardly a real "rice painting"-"The Picture of Coral Pen Holder", in which there is a coral pen holder inlaid with the word "golden sitting" by Zuo Shu. Then add rice dots and inscriptions, and Mi Jiashan water will pop up. It's quite interesting for Miffy to use painting as a ghostwriter.