There are many comments on Mi Fei's calligraphy in past dynasties, especially the outstanding achievements in the contemporary research on Mi Fei's calligraphy. I don't want to comment on the inheritance of his calligraphy, nor how the ancients evaluated his artistic style. I just want to make a brief analysis from four aspects: his inheritance relationship with "Two Kings", his unique brushwork, his influence on later generations and his comparison with "Song San Family". Judging from the works and words left by Mi Fei, Mi Fei's artistic achievements mainly benefited from the calligraphy of Jin people, which is the inheritance and development of the calligraphy system of "Two Kings". Mi Fei is good at cursive script, especially cursive script. He is also an important representative of the calligraphy system of Jin people, especially the "two kings". He has made great artistic achievements and exerted the greatest influence. The relationship between Mi Fei and the "two kings" is mainly manifested in the following three aspects:
1. Selection: Mi Fei not only let us feel his admiration and appreciation for the calligraphy of "Two Kings" from the words he left behind, but also can see the influence of "Two Kings" on him from the selection of calligraphy works. In Mi Fei's calligraphy study life, although he learned from many calligraphers, the Jin people, especially the "two kings", had the deepest influence and gained the most. His love and admiration for the calligraphy of the "two kings" has reached the point of madness and obsession. Mi Fei's Notes describes a period of time when he bought Wang Xizhi's Lue Wang Post (also known as Broken Qiang Post). According to the article, he spent 6.5438+0.5 million yuan to buy Wang Xizhi's Lue Wang Post. According to the rice price in the Song Dynasty and now, he spent about 20 million yuan to buy this work, which is just the same as the price of Mi Fei's own work "Yan" currently auctioned, showing Mi Fei's love for Wang Xizhi's works.
From Mi Fei's approach to the calligraphy of "Two Kings", we can see that Mi Fei has a unique vision and superb artistic accomplishment in pursuing the art of calligraphy. The mainstream art of calligraphy dominated by "Two Kings" has been declining since the Southern Song Dynasty, which is precisely due to the deviation and misunderstanding of the mainstream calligraphy of "Two Kings". The cursive script Two Kings has set a historical benchmark for us. Practice has proved that the return and reinterpretation of "Two Kings" calligraphy by Mi Fei and contemporary is the key to Mi Fei's success, and it is also the historical choice for contemporary calligraphy to return to rationality.
Second, using a pen: Mi Fei talks about the characteristics of the brushwork of Song Sijia, which is widely circulated and the most wonderful. Unique brushwork is the biggest feature of Mifei's calligraphy. No matter how "brush" Mi Fei's calligraphy is, it is inseparable from the "two kings" calligraphy pen system, that is, the pen is used for China and the pen is the positive pulse. He turned the "ancient style" of the "two kings" into his own "beauty", brought the brushwork of "two kings" and "bi" to the extreme, and "brushed" a new world of calligraphy.
III. Works: Among the calligraphy works preserved in Mi Fei, the running script is the majority, followed by regular script and cursive script, and there are also a few official scripts and seal scripts. The Complete Works not only reflects Mi Fei's works of various styles, but also provides the real objects of seal script and official script in Song Dynasty, which provides valuable calligraphy materials for us to study the inheritance and decline of seal script and official script in Tang and Song Dynasties. Obviously, Mi Fei's running script calligraphy works not only have the most remains, but also have the highest artistic level. No matter how changeable the style of Mi Fei's running script and calligraphy is, the "two kings" have the greatest influence on him, and his breath, pen and structure are even more "Jin people". Some works correspond to the "Two Kings" in form, such as the early work "Anji, Fiona Fang", which embodies Mi Fei's inheritance and development of the "Two Kings" calligraphy. The most commendable thing is that Mi Fei has made a breakthrough on the basis of inheriting the "two kings", and has his own unique calligraphy language, forming a unique face of calligraphy. Above, we have paid a little attention to Mi Fei's brushwork, which he called "writing brush" and Su Shi praised as "graceful and easy", which is really vivid and apt, and highly summarized Mi Fei's calligraphy brushwork personality and unique techniques. Although Mi Fei's brushwork has the artistic characteristics of "attacking from all sides", he did not jump out of the "two kings" brushwork system, but only developed the brushwork of Jin people's calligraphy to the extreme. Only Mi Fei, who has superb calligraphy skills and the ability to control the writing brush, can "brush words" and produce unique artistic effects.
Because Mi Fei developed the brushwork of "Two Kings" to the extreme, two phenomena appeared among later literati. One is his son Mi Youren, Wu Ju of the Southern Song Dynasty, who can't jump out of the shadow of the word "rice" all his life. The other is that many rice learners later emphasized Mi Fei's brushwork "brush" and "happy", which made the brushwork worse and farther away from the brushwork of Jin people. It can be said that after the Northern Song Dynasty, the lackluster learning of calligraphy by the "two kings" was closely related to the use of calligraphy, and Mi Fei's "writing brush" played a negative role. If we only look at Mi Fei's "happiness" and ignore the "leisurely" pen-using characteristics, we will "brush off" the quaint spirit of the "two kings", and the charm of Wei and Jin dynasties will not exist at all, resulting in the lack of cursive scripts in Ming and Qing dynasties, only the appearance of the "two kings" and lack of internal temperament, leading to the overall decline of epigraphy and the decline of epigraphy in Ganjia period. It can be said that Mi Fei was the most influential to calligraphy in Song Dynasty. Not only can we see from the complete works that a large number of his works have been imitated and circulated in the past dynasties, and the total amount far exceeds the sum of the existing works of the "Song San family", but also his works have been imitated by many calligraphers in the past dynasties, making many successful calligraphers. There are mainly Mi You's son in the Northern Song Dynasty, Chen Chun and Wu Ju in the Southern Song Dynasty, Wang Sheng and Wang Tingjun in the Yuan Dynasty, Zhu Yunming, Wen Zhiming, Xu Wei, Dong Qichang and Fu Shan in the Ming Dynasty, Wang Wenzhi, an apprentice in the Qing Dynasty, and the calligraphy of Jingjiang painters. Especially in contemporary times, Mi Fei's calligraphy style shows the aesthetic characteristics of quickness, quickness and interest, and has a strong artistic personality, which conforms to the aesthetic psychology of modern people. Therefore, it has been loved by many learners, and its calligraphy has been widely spread and passed down.