Mi Fu (1051-1107) was a calligrapher and painter in the Northern Song Dynasty. His first name was Fu (f?, also named Yuanzhang). A famous calligrapher, connoisseur, painter and collector in the Northern Song Dynasty. What I bring to you is the complete collection of Mi Fu's cursive calligraphy. I hope you like it.
Enjoy the complete collection of Mi Fu's cursive calligraphy. >
Mi Fu’s cursive calligraphy 1
Mi Fu’s cursive calligraphy 2
Mi Fu’s cursive calligraphy 3
Mi Fu’s cursive calligraphy 4
Mi Fu’s cursive calligraphy 5
Mi Fu’s artistic achievements:
As a famous painter in the Northern Song Dynasty, Mi Fu was in a mature era of literati painting. His painting themes Very broad, including figures, landscapes, turquoise, plums, orchids, bamboos, and chrysanthemums. Mi Fu made the greatest achievements in landscape painting, but he did not like the northern landscapes with towering peaks and overlapping mountains. What he appreciated more was the ever-changing water towns in the south of the Yangtze River. The "smoky and foggy scenery" is "innocent and plain", and does not pretend to be clever; therefore, what Mi Fu pursues in his artistic style is nature. .
Mi Fu’s calligraphy ranks after Su Dongpo and Huang Tingjian, and before Cai Xiang. Regardless of Su Dongpo’s status as a literary master and Huang Tingjian’s influence as the leader of the Jiangxi Poetry School, as far as calligraphy is concerned, In terms of art, Mi Fu has the most profound traditional skills, especially in running script.
Dong Qichang of the Ming Dynasty said in his "Essays on Painting a Zen Room": "I have tried to comment on the word Mi, and I think it is the best in the Song Dynasty." First, after all, it came from Dongpo. That is, Mi Dian's calligraphy changed in his later years, and he was as cold as water. When the emperor asked about calligraphy, Mi Fu claimed that he was "brush calligraphy" and Mingli Zi. Modesty and pragmatism, focusing on the essential points, "brushing words", which reflects that he uses the pen quickly and vigorously, and does his best. His calligraphy works, ranging from poems and calligraphy to small rulers and inscriptions, are full of joy and vividness. Judging from the nearly sixty existing handwritings of Mi Fu, the word "brush" vividly expresses the spirit of the word "rice". No wonder Su Dongpo said: "Mi Fu's handwriting is so fascinating. "It is also said that "Hai Yue's calligraphy in seal, official, official, and cursive scripts was calm and lively, and he was worthy of being on par with King Zhong." Mi Fu's calligraphy had a profound influence, especially in the late Ming Dynasty. Many people, such as Wen Zhengming, Zhu Yunming, Chen Chun, Xu Wei, Wang Juesi, and Fu Shan, all took a "Heart Sutra" from Mi Zi. This influence continues to this day. In addition to his extremely high level of calligraphy, Fu also wrote a lot of calligraphy works, such as "History of Calligraphy", "History of Haiyue", "Records of Bao Zhang Waiting for Visits", and "Comments on Calligraphy", etc. With his exquisite appreciation, he often ridiculed his predecessors, but he never followed the ancient sayings. He was valued by calligraphers of the past dynasties. However, he often went too far, criticizing Yan Liu, belittling Xu Su, and being harsh and critical.
Mi Fu's handed down ink writings mainly include "Tiaoxi Poetry Volume", "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 Shi Yun Shan", but Mi Fu's paintings do not exist in the world. But it is difficult to say that the only one that can be seen so far is the "Coral Pen Stand" painted by Mi Mi in the true sense. It is a painting of a coral pen stand with the word "Golden Sitting" on the left side of the frame. Then add the rice dots and the inscription, and the Mi family landscape will emerge. Mi Fu uses painting as a substitute for writing, which is quite interesting.