The characteristics of Mi Fu's calligraphy art are mainly reflected in the following three aspects:

First, he attacks from all sides.

Mi Fu was born in an era when doubts about the ancients gave rise to the new, and he refused to just imitate the steps of his predecessors. He also created many new innovations in his brushwork, and further developed and changed it based on the complete inheritance of the ancients' brushwork. , enriched and developed the brushwork. The most remarkable feature of Mi Fu's brushwork creation is that he created the so-called "attack from all sides".

It is not easy to understand about attacking from all sides, but it is a key to Mi Fu's brushwork and even his calligraphy palace, so it is necessary to explore it. Generally speaking, "outing the edge" belongs to the category of brushwork, which means that the tip of the brush is exposed in the strokes and is sharp. "Eight sides", Mi Fu also calls "four sides", can refer to both the surroundings of the strokes and the surroundings of the glyph structure.

The literal meaning of "push out from all directions" is that the sharp edges can be exposed around the strokes and glyphs. Writing on paper is still a two-dimensional art form. Although good calligraphy has a three-dimensional effect caused by changes in the thickness, shade, and dryness of the ink, the brush tip itself will not penetrate into the paper or float out of the paper.

Second, brushing is fast.

This is in terms of its writing speed. The last article of "Hai Yue's Famous Quotations" written by Mi Fu said: Hai Yue called for a doctor with a doctorate in calligraphy. He asked about the number of people in this dynasty who were famous for their books. Hai Yue answered each one in his own name: "Cai Jing cannot write. Cai Bian had a good pen but lacked rhyme. Cai Xiangle wrote calligraphy, Shen Liao typed, Huang Tingjian described calligraphy, and Su Shi painted calligraphy. ” The emperor asked again: “How is your letter?” ” He said to him, “I’ll brush the calligraphy in the book. 』

Third, boldly use flankers.

Chinese calligraphy traditionally emphasizes the center stroke, and there is even a saying of "center stroke". The so-called center stroke directly means that the tip of the brush is in the center of the stroke during the stroke process. The method is that the direction of the pen tip is exactly opposite to the direction of the stroke. Opposite to the center, the side edge is the angle between the pen tip and the direction of the stroke when the pen is on the paper.

Of course, this requires training to form a habit. It is not just staring at the tip of the pen when approaching the pool. Mi Fu undoubtedly inherited and developed the tradition of center forwards. His innovation also lies in the bold use of wing forwards, using center forwards and wing forwards alternately.

Feature analysis:

Mi Fu has his unique understanding of the distribution, structure and use of calligraphy. It is required to be "stable but not vulgar, dangerous but not strange, old but not withered, moist but not fat", which is probably what Jiang Kui wrote about "nothing droops, no shrinking, no direction, no gain".

That is to say, it is required to achieve unity in the change, to integrate the opposite factors such as wrapping and hiding, fatness and thinness, sparseness and density, simplicity and complexity, that is, "bones, muscles, skin, fat, wind and spirit are all in one". , just like a fine scholar." In terms of composition, we pay attention to the overall charm, take into account the perfection of details, and have a well-thought-out approach. During the writing process, we change according to the situation and show unique ingenuity.