1. Mi Fu's representative works include "Poems of Duojinglou", "Poems of Hongxian County", "Inscription on Yanshan Mountain", "Inscription of Worship to Zhongyue", etc. ?
2. Mi Fu (1051 to 1107), originally named Fu, later changed to Fu, with the courtesy name Yuanzhang, and signed his name as Mi or Qian, a native of Xiangyang, Hubei, and was also known as Haiyue Waishi at that time, and also known as Haiyue Waishi. Descendants of Wan Xiong and Huozheng. He was a calligrapher, painter, and theorist of calligraphy and painting in the Northern Song Dynasty. Together with Cai Xiang, Su Shi, and Huang Tingjian, he was known as the "Four Schools of Song Dynasty". He once served as school secretary, doctor of calligraphy and painting, and wailang of the Ministry of Etiquette. His ancestral home was Shanxi, but he moved to Xiangyang, Hubei, and later settled in Runzhou (now Zhenjiang, Jiangsu). He is good at poetry, calligraphy and painting, and has a unique style of calligraphy and painting. He founded "Midian Landscape". He is a calligrapher, painter, connoisseur and collector. He has a weird personality and crazy behavior. He calls him "brother" when he meets a stone, and he worships him endlessly, so he is called "Mi Dian". Emperor Huizong of the Song Dynasty awarded him a doctorate in calligraphy and painting, also known as "Mi Xiangyang" and "Mi Nangong".
3. Mi Fu’s artistic achievements
Mi Fu’s calligraphy and painting are unique in style, with dead wood, bamboo and stone, and landscape paintings having unique style and characteristics. He is also quite accomplished in calligraphy, and is good at seal script, official script, regular script, running script, cursive script and other calligraphy styles. He is good at copying ancient calligraphy to a certain degree of authenticity.
1. Calligraphy
Mi Fu has studied calligraphy the most in his life, and his greatest achievement is running script. Among the famous calligraphies since the Southern Song Dynasty, most of them are engraved with his calligraphy. They are widely circulated and have far-reaching influence. Among the "four major calligraphers of the Northern Song Dynasty", they are second to none. Kang Youwei once said: "The structure of Tang language is more important than the interest of Song Dynasty." This means that calligraphers in the Song Dynasty paid attention to interest and personality, and Mi Fu was particularly outstanding in this aspect.
Mi Fu studied calligraphy and called himself a "collector of ancient characters". Although some people thought he was a laughing stock, some praised him and said, "There is no need to boast about the beauty of the world, but he can eventually build his own family by collecting ancient characters" (Wang Wenzhi). This explains to a certain extent the reason for the success of Mie's calligraphy. According to Mi Fu's self-report, before studying Jin calligraphy from Su Dongpo, it can be roughly seen that he was most influenced by five Tang people: Yan Zhenqing, Ouyang Xun, Chu Suiliang, Shen Chuanshi, and Duan Jizhan.
After the fifth year of Yuanfeng (1082), he began to search for Jin people's Fa Tie and obtained Wang Xianzhi's "Mid-Autumn Tie". This preconception of Daling Tie (Wang Xizhi's seventh son, official to Zhongshu Ling, known as "Wang Daling") had a huge impact on him. However, Mi Fu, who was unruly by nature, was not satisfied with Wang Xianzhi's calligraphy. As early as the reign of Shaosheng, he had shouted out "Old disgusted slaves will not exchange their letters for geese" and "One washes away the evil letters of two kings".
Despite this, Mi Fu's calligraphy at this time has not been finalized. In the third year of Yuanyou (1088), he wrote "Tiaoxi Tie", "Yinling Mingtoutuo Temple Stele and Postscript" and "Shu Su Tie". Although it was written within a month and a half, the style is quite different, and it has not completely crossed the threshold of collecting ancient characters. After the sixth year of Yuanyou (1091), when Mi Fubu lived in Haiyue nunnery, he also learned Yangxin's calligraphy. It was not until he was "old enough that he started his own family, and when people saw him, he didn't know what to do first" that he finally completed the establishment of his own style, probably after the age of fifty.
In terms of stereotyped calligraphy works, Mi Fu is too unruly and loves "power", even in small regular script such as "Elegy to the Queen Mother". This "power" is certainly an advantage, but at the same time it becomes his flaw. "In the end, there will be a mistake." Huang Tingjian's evaluation is clear in praise and criticism, and should be relatively objective and fair. Huang Changrui of the Song Dynasty commented on his calligraphy, "He can only run calligraphy, but he is not good at writing straight script." The so-called "right" at that time did not have a precise meaning, and it was not necessarily the "block regular script" today. If it refers to seal script and official script, it would be appropriate. Mi Fu's seal script is indeed not very good, and his cursive writing is mediocre. He later had a negative attitude towards Tang people's cursive script, and was limited by his knowledge of Jin cursive script, so it was inevitable that his grades would be mediocre. Li Zhimin, a professor at Peking University and the one who introduced the monument to the grass, commented: "Mi Fu said that 'cursive script does not fit into the Jin Dynasty's personality and is only of low quality'. This is to deceive oneself and others. The reason why Yuanzhang's cursive script has no new ideas is that it cannot break through the barriers of the ancients. also".
Mi Fu’s calligraphy ranks first in terms of his vigorous style. Proof of his calligraphy, the inscriptions on the cliffs of Longyinyan in Lingui at the age of 24 are a bit impressive, but there is no trace of being a self-contained family; the inscriptions and postscripts of "Buchao Tu" at the age of 30 also make people feel that his talent is inferior to his academic ability. . When he was thirty years old, he was an official in Changsha and saw the stele of Yuelu Temple. The following year, he went to Lushan to visit the stele of Donglin Temple and inscribed his name on all of them.
In the second year of Yuanyou (1087), six paintings by Zhang Xuan, two paintings by Xu Haoshu and Shi Yigeng were exchanged for Li Yong's "Duore Yao Gefen Tie".
Mi Fu writes very seriously, unlike some people who imagine that he writes books without thinking. Mi Fu himself said: "I wrote "Hai Dai Shi" three or four times, with one or two good words in between. It was also difficult to write letters" (Mi Xiangyang Waiji 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 has many special writing techniques, such as the rounding of the right corner of the word "men", the steep rise of the vertical hook, and the crab claw hook, etc., all of which are derived from Yan's running script; It comes from the imitation of European characters and has been maintained for a long time; Shen Chuanshi's calligraphy may be similar to Chu Suiliang; Mi Fu studied Duan Jizhan's large characters, and the "unique four sides" and "brush characters" may come from this; Chu Suiliang's brushwork is the most varied and the texture is the most vivid. It matches Mi Fu's spleen and stomach. He once praised his writing, "He is like a master in controlling a horse, and his movements follow the person's, but there is a different kind of arrogance."
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 dry, 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, "the bones, muscles, skin and flesh, fat, luster, wind and spirit are all complete, just like a good 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.
The characteristic of Mi Fu's brushwork is mainly that he is good at forming an elegant and super-stepping momentum and a calm and happy style in the front, side, back, turning, and frustration. The strokes of characters tend to be quite heavy at the beginning and slightly lighter in the middle. When encountering a turning point, the strokes of the strokes will turn straight down. There are also many changes in the strokes. Sometimes the focus of the stroke is on the starting point, sometimes on the finishing point, and sometimes it is in the middle of the stroke. For longer horizontal strokes, there are twists and turns. The hook is also distinctive.
Mi Fu's calligraphy often includes sideways postures. When he wants to go left, he goes right, when he wants to rise, he suppresses it. This is all to increase the grace of jumping up and down, and the air of flying and flying, which is based on decades of ancient calligraphy. It is based on a strong foundation of calligraphy, so it is innocent and natural, without any artificiality. Those who learn Mifu, even if they are close to water and towers, will still be "hard and crazy". Since the Song and Yuan Dynasties, discussions on Mi Fu's calligraphy can be roughly divided into two attitudes: one is praising but not disparaging, and highly praised; the other is both praising and disparaging, with mostly praise elements. Those who hold the first attitude can be represented by Su Shi. Emphasizing the need to strictly distinguish the difference between the two in terms of temperament, interest, etc." (Ruan Pu's "Discussion on Su Shi's Views on Literary Painting"). What he calls "create new ideas in laws and regulations, and convey wonderful principles in boldness", " "It is in harmony with the creation of heaven, and it is distasteful to people's wishes", etc., all of which require painting based on traditional attainments, skills, and formatting standards. Simply put, it is old tradition and new taste. Mi Fu, who is also the ancestor of Wen Ru painting However, he disdains such reconciliation. Mi Fu's success lies in achieving the literati taste he recognized through a certain attitude and theme selection of ink play. Mi Fu realizes that he can change the traditional painting procedures and technical standards to achieve new tastes. .
Mi Fu calls himself a "brush calligrapher", and he is humble and down to the essentials. "Brush calligraphy" reflects his quick and vigorous brushwork and his dedication to his calligraphy. The works, ranging from poems and calligraphy to small ruler slips and inscriptions, are all characterized by lively, dynamic, vigorous and refreshing characteristics. Judging from the nearly 60 pieces of Mi Fu's handwriting that have been preserved in the world, the word "brush" is exactly what Mi Fu is. The spirit of the calligraphy is vividly expressed.
2. Painting
As a famous painter in the Northern Song Dynasty, Mi Fu was in a mature era of literati painting. His paintings had a wide range of subjects, 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 "smog and mist" of the water towns in the south of the Yangtze River. "Scenery", "innocent and plain", "no pretense of cleverness"; therefore Mi Fu pursues nature in his artistic style. The "Mi Fu's Cloud Mountains" he created are all written in letters, hidden by smoke and clouds.
Mi Fu's paintings originated from Dong Yuan.
Dong's paintings mostly depict the scenery of the mountains in the south of the Yangtze River. Mi Fu's previous comments focused on the overall atmosphere, but Mi Fu did not find anything suitable for expression. Mi Fu pays attention to "doing not pay attention to details, just like the meaning". Although he has the ability to copy "to the point where the truth is indistinguishable", he is more interested in "painting landscapes and figures, creating a style of his own". After some selection, Mi Fu found the method used by Dong Yuan. "point". Originally, Dong Yuan's "dots" were auxiliary factors for the texture, and were subject to the need to express natural texture. The dots together with other modeling methods constituted a certain freehand overall atmosphere; in Ju Ran's works, especially the burnt ink dots on the mountain tops The moss gives the pen and ink itself a certain independent freehand effect. Dong's and Ju's points have properties that are subject to modeling purposes. Under Ermi's brushwork, dots have become almost all of the shapes, and they have a considerable degree of freehand brushwork. The so-called "eggplant chapped" is actually a freehand painting method that uses dots to replace chapped, "using round, deep and dignified horizontal dots staggeredly arranged, connecting the dots to form a line, using dots to replace chapped, accumulating dots into pieces, splashing, Broken, accumulated, stained, dry and wet are used together, supplemented by rendering to express the image of mountains, forests, trees and the appearance of clouds and smoke." Completely abandon the traditional method of hooking and dotting. The random and accidental effect of the change of lying center, unconventional and unconventional, was far beyond the vision of contemporaries. No wonder there was no positive response at the time, and was even "ridiculed" and "people often call it crazy." ("Painting Successor: Xuan Mian Talents")
Mi Fu's paintings do not exist in the world. Mi Fu's "History of Painting" records his collection, appreciation of ancient paintings and his own experience in painting. Preferences, aesthetic tastes, creative experiences, etc.