The calligrapher who claimed to be a "brush calligrapher" was Mi Fu of the Ming Dynasty. Other explanations are as follows:

He recorded in "Haiyue Quotations": "Mi Fu, a doctor of calligraphy, summoned him to ask how many people in this dynasty were famous for their books. Haiyue each had his own name. Yes, he said: Cai Jing has no pen, Cai Bian has no charm, Cai Xiangle writes, Shen Liao types, Huang Tingjian traces, Su Shi paints, he asked again: How about the calligraphy of the minister? ".

Extended information:

1. The influence of Mi Fu’s "brushing" theory on calligraphy in "Haiyue Quotes"

First of all, "brushing" It emphasizes the free and joyful characteristics of calligraphy. Mi Fu used the word "brush" as a metaphor to vividly express the smooth and coherent state that calligraphers should pursue in their creations. This theory encourages calligraphers to give full play to their own personality and emotions in creation, making their works more vivid and distinctive artistic features.

Secondly, the "brush character" theory emphasizes the speed and rhythm in calligraphy. Mi Fu believes that excellent calligraphy works must be fast and smooth, while paying attention to the changes and ups and downs of rhythm. This theory inspires calligraphers to pay attention to details such as the speed of strokes, the weight of strokes, and the connections and transitions between strokes during the writing process, so that the works have richer and more varied artistic expressions.

Finally, the "brush calligraphy" theory had a positive impact on the development of calligraphy in later generations. Mi Fu's "brush calligraphy" theory was not only accepted and passed down by calligraphers at that time, but also had a profound impact on the calligraphy creation of later generations. During the Ming and Qing Dynasties, with the gradual revival and development of calligraphy art, many calligraphers drew on Mi Fu's "brush character" theory in their creations, giving their works a more unique and distinctive artistic style.

2. Mi Fu uses the art of "brushing" in calligraphy

Use side strokes to write quickly and crisply. This method not only produces rhythmic beauty, but also highlights the flying and hazy interest of calligraphy. The writing is calm and refreshing, quick and crisp. Judging from the ink color, although there are many dry strokes, there is no sense of ugliness. The dry and smooth changes of pointillism are easy to do and full of the rhythm of strokes.

When turning the strokes, pressing the pen tip quickly, briefly, and forcefully can make the strokes more powerful, make writing faster and smoother, enhance the vitality and power of the stipples, and will not appear. A sense of monotony. Through the change of rhythm, the artistic effect of "brushing words" is brought into full play.