Mi Fei, a painter, appraiser and collector, has a rich collection and a wide range of knowledge. In addition, he has a broad vision and excellent comments, and his works have become necessary books for future generations to study the history of painting. There are Zhang Bao, History of Books, History of Painting, History of Inks and Inscriptions of Haiyue to be interviewed. Zhang Bao to be Recorded was written in August of the first year of Yuanyou (1086), which is divided into two parts: witness and hearing. Eighty-four songs recorded in Tang Pin were the earliest recorded in later generations, which had great influence. There are even works that specifically imitate the style of this book, such as Zhang Si Biao in the Ming Dynasty. The detailed history of books is one of the bases for later experts. The book Sea Moon mainly describes my own experience, which is very pertinent. This book is generally believed to have been written by later generations.
Mi Fei studied calligraphy the most in his life, and his greatest achievement was running script. Although paintings have not spread to the world, many calligraphy works still exist. Most of the famous replies since the Southern Song Dynasty are engraved with their calligraphy books, which spread widely and have far-reaching influence. They are second to none among the "Four Great Calligraphers of Northern Song Dynasty". Kang Youwei once said: "Tang Yan structure, Song Shang is interesting." Calligraphers in the Song Dynasty emphasized interest and individuality, especially Mi Fei, who was an outstanding representative of the four masters in the Northern Song Dynasty. Mi Fei studied books and claimed to "collect ancient Chinese characters". Although some people think this is a laughing stock, others praise that "Tian character block needs no praise, and the ancient Chinese character set can finally stand on its own feet" (Wang Wenzhi). This explains the success of Mi calligraphy to some extent. According to Mi Fei's self-report, before learning the Book of Jin from Su Dongpo, we can see that he was most influenced by five Tang people: Yan Zhenqing, Chu Suiliang, Duan. Mi Fei has many special brushstrokes, such as the turning of the right corner of the word "door", the steep rise of the vertical hook, the crab claw hook, etc., all of which are taken from Yan's running script; The shape of the body is cut, when it comes from the imitation of European characters, and it has been kept for a long time; Shen Chuanshi's running script is similar to that of Chu Suiliang; "Unique four sides" and "brush strokes" may come from Mi Fei's Chinese character season exhibition. Chu Suiliang's brushwork is the most varied and vivid, which is in line with Mi Fei's taste. He once praised himself for saying, "If you are familiar with horses, you will follow others, but there will be no arrogance."
Yuan Feng (1082) started looking for Jin people's law posts five years later, and got the Mid-Autumn Post only one year later. This big order post for ancestors had a great influence on him, and he always felt that the right army was not as good as his son. However, Mifei, who is unruly by nature, is not satisfied with Xiao Wang. As early as Shao Sheng's reign, he shouted "I hate slave books and don't change geese" and "I wash two kings' bad faith". Mi Fei is said to have studied Yang Xin, and Li Zhiyi said, "The immortal sea and moon don't wait for me ... Yang Xin's works are even more surprising". So Mi Fei met Yang Xin in Buju Haiyue Temple about six years later in Yuan You. Nevertheless, the secret book has not been finalized. The Tiaoxi Post, the Monument and Postscript of the Ming Toutuo Temple in Yinling, and the Shu Su Post, which have been written in Yuan You for nearly three years, were written in a month and a half, but their styles are quite different, and they have not completely stepped out of the threshold of collecting ancient Chinese characters. It was not until "I became my home when I was old, and everyone saw it, and I don't know why it was the main thing" that I finally completed the establishment of my own style, probably after 50 years old. This kind of stereotyped calligraphy, because Mi Fei is too unruly, blindly "potential", even in the small print such as "holding words to the queen mother", is also eager to try. This "potential" is an advantage, but at the same time it has become his defect. For a clear-headed person like Huang Tingjian, praise and criticism should be more objective and fair. Huang Changrui commented on his calligraphy. "But he can write calligraphy, but grass can't. "At that time, the so-called' positive' did not have a definite meaning, and it was not necessarily the current' block letters'. If it means the official seal, it is also appropriate. The existing seal cutting officials in Mi Fei are really not very diligent, and the cursive script is also plain. Later, he held a negative attitude towards the cursive script of the Tang Dynasty and was limited by his understanding of Cao Jin, so his achievements were generally inevitable.
Miffy's book is very serious, not as some people think. Mi Fei himself said, "She wrote three or four poems by Haidai, but it's hard to believe her books" (Mingming Fan Taiwan Mi Fei Yang Zhu). A poem has been written three or four times, and only one or two sentences satisfy him. Among them, the bitterness is beyond the reach of an expert, which also shows his rigorous creative attitude.
Mi Fei has his unique experience in the distribution, structure and use of calligraphy. The requirement is "stable, not strange, not old, not fat", which is probably what Jiang Kui wrote, "Don't hang down, don't shrink." That is, it is required to achieve unity in change, and to integrate the opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simplicity and complexity, that is, "bones and muscles, meat and fat, and charm are all there, just like a good scholar." In composition, attention is paid to the overall charm, the perfection of details, ingenious conception, changing with the situation in the writing process, and ingenuity. Mi Fei's pen-using features are mainly that he is good at forming elegant and extraordinary momentum and calm and happy style in the process of forward, backward, turning and frustration. The beginning of the word is often quite heavy, and the middle is slightly light. When the side of the pen encounters a turning point, it will go straight down. There are also many changes in holding the pen. The focus of the next stroke is sometimes on the pen, sometimes on the pen, and sometimes in the middle of a stroke, a long horizontal painting has twists and turns. Hooks are also very distinctive.
There is always an inclination in Mi Fei's calligraphy. He wants to be left first and then right, and he wants to praise first and then suppress, all in order to increase the charm of ups and downs and the gas field of flying fast. After decades of rich collection of ancient Chinese characters, he is naive and natural, and never pretends. People who learn from Miffy will inevitably lose their "difficulties" even if they get the moon first in the water. Since the Song and Yuan Dynasties, there have been two attitudes towards Mi Fei's calligraphy: one is to praise but not to belittle, and to admire it to the utmost; One is that there are praises and denials, and most of them are praises. Those who hold the first attitude can be represented by Su Shi.
Mi Fei is famous for his calligraphy and is one of the northern Song Sijia. If he is handsome, he is the first. His achievement comes entirely from the efforts made the day after tomorrow. At the age of 30, he became an official in Changsha. He once saw the stone tablet of Yuelu Temple, and the next year he went to Lushan to visit the stone tablet of Tolin Temple, and they all signed their names. In two years, I also bought Li Yong's How Hot I Want to Post with six paintings by Zhang Xuan and two posts by Xu Haoshu and Shi. With his calligraphy, it is proved that 24-year-old Lingui Long Yin inscribed a cliff on a rock, with a slight momentum and no shadow of his family; At the age of 30, the inscription and postscript of Bujitu also made people feel deeply gifted and academically incompetent. It is reasonable for Mi Lao to be scheming and occasionally boasting, just as his predecessors said, "Set a high standard." Mifei's self-narration and learning from the scriptures are often somewhat mysterious. For example, he said to the emperor, "I have been studying Yan Xing since childhood.". However, Mifei's success comes entirely from the hard training the day after tomorrow, and there is no element of Machiavellian tactics. Mi Fei keeps coming to the pool every day, citing two historical materials as evidence: "If you don't write for a day, you will feel sleepy, thinking that the ancients never waste books for half an hour." "Zhi Yong inkstone into mortar, can reach the right army (Wang Xizhi). If you start with Zhong (Yao) and Suo (Jing), he can always encourage you. " His son Mi Youren said that he didn't even forget to write on New Year's Day. (According to Sun Zubai's Friends of Mi Fermi). Mifei has a rich collection. He often goes with him when he is on business. On the boat here, he hung the banner of "Mijia Painting and Calligraphy Boat".
Mi Fei loves stones, and this biography of the history of the Song Dynasty is related to this. Yuan Nizhen has a poem entitled "The Worship of the Stone in Minangong": "Bird loves inkstone and stone, and it is a hobby to explore roses for a long time. The younger brother is full of worship and writes his own pictures, but he knows the name. " According to this poem, Mi Fei was complacent about this hobby, and wrote "Stone Worship" by himself. Later painters were also good at writing this picture, so Mi Fei made a scene by worshipping the stone and became a much-told story. Before Mi's fast, there was also a different stone for Qing Ba to play with, which was recorded in The Story of the Stone. According to legend, Mi Fei has the method of "being thin, beautiful, wrinkled and transparent".
Miffy still loves inkstone. Inkstone is one of the "Four Treasures of the Study", which is necessary for painters and calligraphers. Mi Fei is famous for his research on inkstone. He is the author of History of Ink. It is said that all kinds of ancient crystal samples, as well as the similarities and differences between Duanzhou and Zhangzhou inkstones, are discussed in detail, and he advocates that "the use of utensils is the work, and the stone tube is based on ink." "Zan Jin Bao Zhu Fa Shu" quoted a post in "Mountain Forest Collection": "Insulting teaching requires precious inkstone ... inkstone is my first piece, ..." Mi Fei regarded inkstone as his own head, which can be described as deep affection. Mi Fei, who is addicted to both stone and inkstone, naturally attaches great importance to inkstone. The inkstone is a kind of inkstone formed by natural peaks. At the foot of the mountain at the bottom, it can be polished with water and ink, which can be used as a study or a tool for dyeing ink in the pool. In Zhi Lin, Mi Fei got an inkstone and slept for three days. One of the most famous buildings is the property of Li Yu, the queen of the Southern Tang Dynasty, which was transferred to others in exchange for a homestead. Mi Fei thought about it, because the map of Yan (inkstone) Mountain was passed down from generation to generation.
In his later years, Mi Fei lived in Dantu, Runzhou (now Jiangsu) and had a mountain forest hall. Therefore, its poetry collection is called "Mountain Forest Collection", with 100 volumes, and most of them are lost now. At present, there is a "Jin Bao Ying Guang Ji" handed down from generation to generation. Mi Fei can write and write poems, and the title of the poem is meaning, which is lofty and unique. I tried to write a poem for Xu Chongyuan and said, "I don't attack people. I haven't recorded a poem in my life." I have a unique style for my own advantages and deliberately seek differences for my own shortcomings. Miffy's paintings don't exist in the world. Mi Fei's History of Painting records his collection and appreciation of ancient paintings, as well as his love for painting, aesthetic taste and creative experience. This should be the best basis for studying his paintings. Mi Fei's success lies in that he achieved his recognized literati interest through his attitude and motif choice in an ink painting play. Miffy realized to change the traditional painting procedures and technical standards in order to realize new benefits. The reasons are as follows: First of all, Mi Fei is a collector and appraiser who collects great wealth. He is well aware of the advantages and disadvantages of paintings in past dynasties and thinks more about the contents of the paintings themselves; However, Su Shi was a literary giant first, and then he expressed his painting view as an amateur. He used the standard of poetry (literature) to measure and demand painting. Although there is no lack of insight, he is divorced from painting after all. Therefore, Mi Fei is regarded as a painter and Su Shi as an art theorist. Su Shi's painting theory is in his mind, and Mijia Yunshan is in his hand. Although Su Shi's paintings have been passed down from generation to generation, Mifei has nothing. As a historical researcher, we can't help but point out that Mi Fei's artistic thought far surpassed Su Shi of their time. His son, Mi Youren, inherited the family tradition and was also a calligrapher.