Mi Fu’s unique analysis of calligraphy articles

Mi Fu's calligraphy theory

Mi Fu's famous calligraphy theory is his unique view on calligraphy and writing articles and his views on the development of calligraphy. He said that when he saw the calligraphy of the ancients, some of the references were very obscure, or the articles were too exhaustive, making it impossible for future generations to understand their meaning. Therefore, he believes that calligraphy and articles should be simple and profound, and there is no need to deliberately pursue gorgeous rhetoric.

Mi Fu said in his calligraphy theory that when he writes calligraphy, writing calligraphy is the same as writing articles. You need to follow your heart and write casually, so that the words you write will become natural. He mentioned that others said that his calligraphy surpassed the achievements of the ancients, but in fact, he actually abandoned the style of the ancients and formed his own style.

Then, he gave many examples to demonstrate the correctness of his above-mentioned views.

Finally, he said, "Stone carving cannot be learned." Why? Because you have written calligraphy and asked others to engrave it on the monument for you, in fact, it is no longer your original calligraphy, but the credit of the engraver. Therefore, to appreciate calligraphy, you must view it on the original work, so as not to lose the original flavor of the work.

Mi Fu also mentioned in his calligraphy theory that writing requires not only effort, but also spirit. Many people think that when they pick up a pen to write, they think that the strokes they write will be strong. In fact, this is not the case. The harder a person writes, the weaker and weaker their writing will be. Writing requires concentration, so that the words written will appear natural and elegant. When it comes to writing, we must first pursue the bones, and then pursue the muscles and flesh. The implication is that you need to understand the layout when writing. For example, for words with upper and lower structures, the upper structure and lower structure cannot be separated too much. Writing is like drawing. If you don't pay attention to layout and structure, you will suffer from handwriting problems.

In addition, Mi Fu's calligraphy theory also mentioned that writing requires diligence and practice every day. You cannot fish for three days and dry the nets for two days. Just like the ancients, they never slacked off in practicing calligraphy every day, so there is So many calligraphy treasures we see now. Mi Fu's calligraphy

Mi Fu was a calligrapher in the Northern Song Dynasty. Mi Fu was good at identifying calligraphy, and was good at seal script, official script, regular script, running script, cursive calligraphy and other calligraphy styles. Mi Fu often copied the ancient calligraphy, so that the fake ones could be confused with the real ones. Effect. Mi Fu was one of the "Four Masters of the Northern Song Dynasty". Emperor Huizong of the Song Dynasty awarded Mi Fu a doctorate in calligraphy and painting.

Mi Fu's calligraphy is beautiful. Like his character, Mi Fu's character is unique and his calligraphy is unique. Mi Fu has been deeply devoted to calligraphy in his life and has achieved the greatest achievements. Mi Fu is a casual person. Although he is in official career, he is not good at being ingratiated with official circles. The best he can do in his life is to get a doctorate in calligraphy and painting. Although his official rank is not high, he has many opportunities to explore the world. Mi Fu's calligraphy is also a pleasure. A breakthrough point, so he approached Su Dongpo for advice. Su Shi suggested that he study calligraphy from the Wei and Jin Dynasties, and he began to study Jin calligraphy. The study of the "Two Kings" had a great influence on him. After the age of fifty, he completed the establishment of his own style. Mi Fu's stereotyped calligraphy was grand and unruly, and he had his own ideas about the distribution, structure and use of brushes. He has a unique perspective and is good at upright, backward, and turning strokes, forming an elegant momentum and a heavy and happy style in the ups and downs of the words.

Mi Fu's brushstrokes tend to be very heavy at the beginning, and become slightly lighter in the middle. When encountering a turning point, the brush tip will turn with the flow, and the strokes will flow, which is very pleasant. The biggest feature of Mi Fu's calligraphy is "brushing". What is "brushing"? That is to say, the pen is used quickly and vigorously, just like using a brush, but the words that come out are always on point, and the style is bold, bold and joyful. The word "brush" alone brings out Mi Fu's style vividly. Su Dongpo once said that Mi Fu's calligraphy is extraordinary, calm and lively, and can be compared with that of King Zhong. Mi Fu's Nine Cursive Scripts

Mi Fu, a calligrapher and painter in the Northern Song Dynasty, was originally from Taiyuan, Shanxi, and later moved to Xiangyang, Hubei.

He is very talented and has a unique style of calligraphy and painting. He is good at landscape painting, can paint withered trees, and can also paint landscapes with ink. He is good at calligraphy, and is good at seal script, official script, regular script, running script, cursive script and other calligraphy. Among them, cursive script is the most free and elegant. Because of his weird personality , when he encounters a stone, he calls him brother, so he is also called "Mi Dian".

"Nine Calligraphy Calligraphy in Cursive Script" is one of Mi Fu's main works. Young people often copy the works of calligraphy masters, and they can often achieve the effect of imitating the real thing. The "Nine Cursive Scripts" are respectively "Yuanri Tie", "Haidai Tie", "Dechen Tie", "Jiaji Tie", "My Friend Tie", "Cursive Script", "Muqiong Tie" and "Feng Tie". Discussion Posts" and "Mid-Autumn Poetry Posts". Among them, "Cursive Script", "Yuanri Tie" and "Dechen Tie" are the most famous. The original "Cursive Script Nine" was collected by Emperor Gaozong of the Song Dynasty, and was later copied by Wen Zhengming, Zhu Yunming and others.

Mi Fu has his own unique insights into the distribution, structure and brushwork of calligraphy. Because of his weird personality, his calligraphy is unique. He does not stick to the rules, is stable but not vulgar, and dangerous but not strange. The fat, thinness and density are just right. In terms of composition, we pay attention to the overall charm, while taking into account the perfection of details. During the writing process, we adapt to changes and have a well-thought-out approach. In using the pen, he is calm and happy, and there is a charm of his own between starting and finishing the pen. He wants to rise before he suppresses, and when he wants to go left, he can right. Although the words are fixed on the paper, they make people feel that the rhythm is clear, ups and downs, and natural. Free and easy, never pretentious. Although later generations have mixed reviews of Mi Fu, his calligraphy style has become a model that later generations of great calligraphers appreciate and learn from. Mi Fu Yuan Ri Tie

Mi Fu Yuan Ri Tie is very famous and is still well preserved. Through Mi Fu Yuan Ri Tie, we can see that Mi Fu has profound attainments in calligraphy. Next, we will introduce Mi Fu Yuan Ri Tie in detail. stick.

Just by looking at its name, you can imagine that it was created by Mi Fu on New Year's Day. This volume of New Year's Day Tie is currently collected by the Japan Art Museum. Mi Fu became very interested after seeing other people's calligraphy, so he copied it several times based on other people's handwriting. But when I wrote it down, I found that it had no artistic conception at all, and it couldn't achieve the style I wanted. So he wrote it again, and this time it became a masterpiece of Mi Fu's cursive script.

Mi Fu's cursive writing is rare, and some people think that his cursive writing is not as good as running script. However, after carefully reading his Yuanri Tie, we found that it has distinctive personality and originality. The reason why Mi Fu started writing again after writing several times was because he believed that he only copied the calligraphy of his predecessors, but did not see himself in it. The most fearful thing about calligraphy is that he only copied other people's writing styles, which would easily be forgotten. Lose. As soon as this idea came to his mind, he wrote the Yuanri Tie again.

Looking at his Yuanri post again, each character has a different thickness, forming a sharp contrast, and the writing is fast, and the wrist is steady and strong when writing. Not only does he have speed, but he also has great writing power, impressive penmanship, and free flow in the fonts. You can also see that he is in a high-spirited state when writing, which is like everyone's style.

Most of his fonts in this post imitate Jin people, and the characteristics of his brushwork are also the same. He brought the Jin people's calligraphy to full play, with powerful strokes, pauses and setbacks, and the momentum can be seen in the pauses. He also has his own style, so this post is considered his masterpiece, which makes His calligraphy has reached another level. Mi Fu is probably the only person after Wang Xizhi who dares to compete with him! Mi Fu's Poems

Mi Fu's calligraphy is famous all over the world, but the poems he wrote are not as famous as his calligraphy. Is it because his calligraphy is so famous that his poetry has been overshadowed? Next, let’s interpret Mi Fu’s poem in detail.

One of Mi Fu's poems is called "Shui Tune Song Tou". The general meaning of the poem is: The sound of the hammer is faster because of the wind. Seeing the crickets reminds me that it is already late autumn. Today I am going to write poems about scenery, but I cannot reach the level of those famous poets who can use scenery to express their emotions. The desolate feeling of autumn is not easy to dissipate, and it becomes even more desolate after drinking. Seeing the full moon hanging high in the south tower makes me feel sad! This is the first half of the sentence, narrating first. It can be seen that he is very humble, but he can connect the poems very naturally.

The last sentence of the first half expresses true feelings, while the second half uses scenes to express emotions.

The general meaning of the second half is that I feel a little melancholy, and feel very comfortable listening to the beautiful and charming sound of the jade flute. On this beautiful night with the breeze, I couldn't help but drink and get drunk. Looking at this lovely universe, I walked from one end of the railing to the other. I was reluctant to leave for a long time, thinking that the universe was like duckweed. I fell asleep when I was drunk, and I could go with the river.

Mi Fu's poems are unique. He appreciates the moon but does not write about it. It feels like he uses the scenery to express emotions but is not sad, but writes about all things in the universe. His emotional expressions are relatively elegant, and the scenes blend naturally, making people endlessly memorable. Secondly, he also wrote many other poems, which have their own style and make people look very relaxed. Maybe it's because his poetry has not yet become a genre of its own and is not as famous as his calligraphy. Furthermore, he is just a business enthusiast and mostly composes a poem when the mood strikes. Mi Fu Suo Tie

In history, Mi Fu was a famous calligrapher, artist and theorist of calligraphy and painting during the Song Dynasty. Mi Fu was named Yuan Zhang and was known as a foreign envoy to Haiyue and a descendant of Huo Zheng. She is very good at calligraphy and painting. For calligraphy, she is good at various fonts, such as cursive script, official script, running script and so on. He can also identify the authenticity of various calligraphy and paintings, and also likes to collect some good calligraphy and painting works. Because of her weird personality and bumpy behavior, she was called "Midian" by the world.

In the classical Chinese text "Mi Fu Suo Tie", Mi Fu's weird character and erratic behavior are vividly described. "Mi Fu Suo Tie" is a classical Chinese article selected from "Stone Forest Yan Yu". It tells a story about Mi Fu asking Cai You for a post.

The first sentence in "Mi Fu Suo Tie" reads: "Mi Fu is curious and curious. In Zhenzhou, Mi Fu often visits Cai Taibao You in the boat, and you go out to protect the army" "Wang Lue Tie" shows it. This means that Mi Fu was very curious, so when he was in Zhenzhou, he went to visit Cai You. Cai You was very happy to see his attitude, so he took out the treasured "Wang Lue Tie" by Wang Xizhi I showed it to Mi Fu. Unexpectedly, Mi Fu liked it very much after reading it and couldn't put it down. He asked Cai You to give "Wang Lue Tie" to him. Cai You refused.

Seeing that Cai You had no intention of giving "Wang Lue Tie" to him, Mi Fu roared: "If you don't give the painting to me, I will throw myself into the river." . At first, Cai You thought Mi Fu was just joking. Unexpectedly, Mi Fu got up and walked to the side of the boat, preparing to commit suicide by throwing himself into the river. Cai You immediately stood up and grabbed him. In desperation, he gave Mi Fu the "Wang Lue Tie".

From the classical Chinese article "Mi Fu Suo Tie", it can be seen that Mi Fu's character is indeed weird and her behavior is bumpy, but it also reflects her immense love for calligraphy from the side.