1. The cursive writing method of the word "qian" in Mi Fu's works

1. 1. The cursive writing method of the word "qian" in Mi Fu's works:

2. Introduction:

Mi Fu, whose original name was Fu, was renamed Fu in the sixth year of Yuanyou's reign, and was named Xiangyang Manshi. He was a foreigner in Haiyue and a layman in Lumen. He was also known as "Minangong" and "Mi Dian".

Mi Fu learned calligraphy from Xizhi, and Shi Zhen of the seal script sect was subordinated to Dharma Master Yiguan. In his later years, I followed the rules for going out and coming in. I claimed to be a good calligrapher with only one stroke, and I was alone on all sides.

Mi Fu's reputation as a calligrapher seems to be worthy of his reputation.

Mi Fu has no basic skills in Zhen, Kai, Zhuan and Li; he only has the ability to be sincere in practicing grass.

Mi Fu is used to collect the calligraphy and ink of the Six Dynasties at the end of the pen, so it is calm and joyful, like riding a horse, advancing and retreating easily, not bothering to be whipped, and doing nothing inappropriate.

Mi Fu's calligraphy, together with "Su, Huang, and Cai", is known as the "Four Calligraphers of the Song Dynasty" and has a great influence on later generations.

3. Some copybooks of Mi Fu’s running script:

2. Other running scripts

1. Simplified hard-pen running script

2. Wandering Wolf U.S. Steel Running Script 2. What are Mi Fu's calligraphy works handed down?

Mi Fu is famous for his running script among the "Four Schools of Song Dynasty". His running script was deeply influenced by the "Two Kings" and Su Shi, and became his own style.

Mi Fu's calligraphy is like flowing clouds and flowing water, with ups and downs of characters. His representative works are "Shu Su Tie" and "Tiaoxi Poems".

"Shu Su Tie" is written on silk, and the brush strokes are varied and free and easy, and Wang Xianzhi's brushwork is hidden. It can be regarded as the best work in Mi Fu's running script. "Tiaoxi Poems" is a collection of six self-written poems written on paper. The writing is steady and free. It is also one of Mi Fu's representative works in running script.

Many of Mi Fu's calligraphy works have been handed down, such as "Elegy of Queen Daxing", "Qunyutang Shu Calligraphy", "Poems in Wujiang Zhouzhong", "Reinstatement of Official Calligraphy", "Coral Calligraphy" "Han Guang Tie", "Shu Hui Tie", "Zhen Su Tie", "Zijin Yan Tie", etc. 3. Four-character idioms are suitable for calligraphy works

yuán yuǎn liú cháng

Explain that the source is far away and the water flow is long. Metaphor has a long history.

Source from "The Epitaph of Li's Wife, Mrs. Pei Jun, the Governor of Haizhou" by Bai Juyi of the Tang Dynasty: "The one with a long history has a long history, and the one with deep roots has a luxuriant branch."

Structural joint type.

Usage has a positive connotation. It is mostly used for the origin and origin of historical things. Generally used as predicates and attributives.

The correct sound is long; it cannot be pronounced as "zhǎnɡ".

Identify the source of form; cannot write "original".

Synonyms: endless, steady, steady stream

Antonyms: tree without roots, water without source

Example: China has a history of five thousand years ;Chinese culture can be described as~. 4. Mi Fu, the great calligrapher of the Song Dynasty, was good at that kind of handwriting

Mi Fu (1051~1107) was a calligrapher, painter, and theorist of calligraphy and painting in the Northern Song Dynasty.

His first name was Fu, later he was changed to Fu, with the courtesy name Yuanzhang, and his nicknames include Xiangyang Jushi and Haiyueshanren. His ancestral home was Taiyuan, and he later moved to Xiangyang, Hubei Province, and lived in Runzhou (now Zhenjiang, Jiangsu Province) for a long time.

He once served as a school secretary, a doctor of calligraphy and painting, and a foreign minister of the Ministry of Etiquette. He is good at poetry and calligraphy, and is good at calligraphy styles such as seal script, official script, regular script, running script, and cursive script. He is good at copying ancient calligraphy to the point of imitating the real calligraphy.

At first, he studied under Ouyang Xun and Liu Gongquan. His calligraphy was tightly knotted and his strokes were straight and vigorous. Later, he studied under Wang Xizhi and Wang Xianzhi. His postures expanded and his strokes were thick and vigorous. He called himself a "brush calligrapher" and was the same as Su Shi and others. Huang Tingjian and Cai Xiang are both known as the four major calligraphers of the Song Dynasty. He is good at painting dead wood, bamboo and stone, especially ink and wash landscapes.

He uses dots in calligraphy to paint, and uses large strokes of ink to express the Jiangnan landscape in the changing smoke, clouds, wind and rain, known as Mi's Cloud Mountain, which is full of creativity. Mi Fu's calligraphy ink that has been handed down from generation to generation includes "A Condolence to the Queen Mother", "Shu Su Tie", "Tiaoxi Poetry Tie", "Worship to Zhongyue Ming Tie", "Hongxian Poetry Scroll", "Nine Cursive Script Tie", "Duojinglou" "Poetry" and so on, but no paintings have been handed down from generation to generation.

The author of "Shanlin Collection" has been lost. His theories on calligraphy and painting can be found in his books such as "History of Calligraphy", "History of Painting", and "Records of Baozhang Waiting for Visits".

Because of his weird personality and crazy behavior, he called him "brother" when he met a stone and worshiped him endlessly, so he was called "Midian". Huizong awarded him a doctorate in calligraphy and painting, and was known as "Minan Guan".

Mi Fu is good at poetry and prose, is good at calligraphy and painting, and is a calligrapher, painter, connoisseur, and collector. He is one of the "Four Calligraphers of the Song Dynasty" (Su, Mi, Huang, and Cai). And second to none. His calligraphy style is casual and unrestrained, but also strict with the law.

"History of the Song Dynasty·Wenyuan Biography" says: "Fu is particularly wonderful in calligraphy and ink, calm and flying, and captures Wang Xian's brushstrokes." Mi Fu studied calligraphy most deeply and achieved the greatest achievements in his life.

Mi Fu claims that his works are "collections of ancient characters", and he has a deep understanding of the ancient masters' brushwork, composition and charm. This also explains to a certain extent the importance of Mi Fu's calligraphy in the traditional A lot of effort has been put into it. Mi Fu was not involved in the political whirlpool and lived a relatively stable life. Later, he became a doctor of calligraphy and painting. He had a good understanding of the imperial collection of books and was familiar with the stories of thousands of years.

When he was young, he studied hard Tang Kai scripts such as Yan, Liu, Ou and Chu, and gained solid basic skills. When Su Shi was demoted to Huangzhou, he went to visit him for advice. Dongpo persuaded him to learn from Jin.

Beginning in the fifth year of Yuanfeng (1082), Mi Fu devoted himself to the Wei and Jin Dynasties. Taking the calligraphy style of the Jin people as his guide, he searched for many Jin people's Dharma texts. Even his study was named "Baojin Zhai". ". The "Mid-Autumn Tie" written by Wang Xianzhi today is said to be his copy, and it is extremely exquisite in form and spirit.

Mi Fu studied under many teachers throughout his life, and he also said this in his "Autobiography" written in his later years: "I first learned to write on walls when I was seven or eight years old. The characters are the largest and the writing is simplified. If you don't succeed, you will learn Liu's "Diamond Sutra" when you see it.

After a long time, you will know that it comes from Europe, so you will learn from Europe. After a long time, you will admire Chu for the longest time. , and also touched Duan Ji's turning point, which is full of all aspects.

After a long time, Duan Quanze exhibited "Lanting", and then he joined the Fa Tie. After entering the Jin and Wei Dynasties, he abandoned Zhong Fang and studied with Shi Yi Gong. "Kuan Stele" is also the seal script of "Zi Chu" and "Shigu Wen".

I also realized that the bamboo slips are painted with bamboo, and the tripod inscriptions are wonderful and ancient. "Mi Fu is famous for his calligraphy. His achievements came entirely from hard training. Mi Fu visited the pond every day. Historical records record: "If you don't write for a day, you will feel dull, thinking that the ancients never stopped writing."

"Zhiyong Inkstone" If you can reach the right army (Wang Xizhi) by forming a mortar, if you can penetrate it to Zhong (Yao) and Suo (Jing), you can encourage it forever." His son Mi Youren said that he did not forget to write even on the first day of the lunar new year. .

(According to Sun Zubai's "Mi Fu Mi Youren"). Mi Fu was very conscientious in writing. He said: "She wrote "Hai Dai Shi" three or four times, with one or two good words in between. It is also difficult to write letters" (Mi Xiangyang Foreign Notes by Fan Mingtai of the Ming Dynasty).

After writing a poem three or four times, I am still satisfied with only one or two words. The joys and sorrows involved are beyond the reach of an expert, which also shows the rigor of his creative attitude. Mi Fu's calligraphy ranks among the four calligraphers of the Song Dynasty, after Su Dongpo and Huang Tingjian, and before Cai Xiang.

However, regardless of Su Dongpo’s status as a literary master and Huang Tingjian’s influence as the leader of the Jiangxi School of Poetry, as far as calligraphy is concerned, Mi Fu has the most profound traditional skills, especially running script. to the right. Dong Qichang of the Ming Dynasty said in "Essays on Painting Zen Rooms": "I have tried to comment on the rice character, and I think the Song Dynasty was the best, after all, it came from Dongpo.

That is to say, Mi Dian's calligraphy was more self-proclaimed, and changed in his later years. "It's as cold as water." When asked about calligraphy by the emperor, Mi Fu claimed that he was a "brush calligrapher". He was modest but down to the essentials. "Brush calligraphy" reflected his swiftness and vigor in using the pen. , enjoy yourself and do your best.

His calligraphy works, ranging from poems and calligraphy to small rulers, slips, inscriptions and postscripts, are all characterized by joyful, dynamic, dynamic, vigorous and fresh. Judging from the nearly 60 existing handwritings of Mi Fu, the word "brush" vividly expresses the spirit of the word "rice". No wonder Su Dongpo said: "The calligraphy of rice is so elegant and fascinating."

He also said, "Hai Yue has written in seal script, official script, Zhen script, Xing script, and cursive script all his life. He is a master of wind and Qiao formations. He is calm and cheerful, and should be on par with King Zhong.

Not only is he worthy of it." Mi Fu's calligraphy has far-reaching influence. Especially in the late Ming Dynasty, there were many scholars, such as Wen Zhengming, Zhu Yunming, Chen Chun, Xu Wei, Wang Juesi, and Fu Shan, who all took a "Heart Sutra" from rice. This influence continues to this day.

In addition to his extremely high level of calligraphy, Mi Fu also has many calligraphy commentaries. He is the author of "Book History", "Haiyue Quotations", "Baozhang Waiting for Visits", "Comments on Calligraphy", etc.

Showing his outstanding courage and sophisticated appreciation, he often ridiculed his predecessors, but he never followed the ancient sayings. He was valued by calligraphers of the past dynasties, but there were also many exaggerations and ridicules. Yan Liu and Xu Su were criticized and criticized. Mi Fu's handed down ink writings mainly include "Tiaoxi Poetry Scroll", "Shu Su Tie", "Fangyuan An Ji", "Tianma Fu", etc., and there are especially many short pieces of Hanzha.

Mi Fu is good at ink landscapes and is known as "Mi's Cloud Mountain", but Mi Fu's paintings do not exist in the world. But the only thing that can be seen so far is hardly a "rice painting" in the true sense - "Coral Pen Stand", which depicts a coral pen stand with the word "Golden Sitting" written on the left.

Then add rice dots and inscriptions, and the Mijia landscape will emerge. Mi Fu uses painting as a substitute for writing, which is quite interesting.