2. Mi Fei (105 1 to 1 107), formerly known as Kun, later changed to Kun, has a personal seal. He was a native of Xiangyang, Hubei Province, whose own name was Mi or Qian. At that time, he was an outsider of Haiyue, and he was also known as the descendant of Kuaixiong and Huozheng. Calligrapher, painter and painting theorist in Northern Song Dynasty, together with Cai Xiang, Su Shi and Huang Tingjian, are also called "Song Sijia". He used to be a school book lang, a doctor of calligraphy and painting, and a foreign minister of the Ministry of Rites. Originally from Shanxi, he moved to Xiangyang, Hubei, and then settled in Runzhou (now Zhenjiang, Jiangsu). He can write poetry, is good at calligraphy and painting, and has accurate appraisal. Calligraphy and painting are unique and he founded "Midian Landscape". He is a painter, appraiser and collector. He has a strange personality and crazy behavior. When he meets a stone, he calls him "brother" and worships him, so he is called "Mi Dian". Song Huizong was appointed as a doctor of calligraphy and painting, also known as "Mi Xiangyang" and "Mi Nangong".
Third, Mi Fei's artistic achievements
Mi Fei's calligraphy and painting has its own style, including dead wood and bamboo stones and unique landscape paintings. He is also quite accomplished in calligraphy. He is good at seal script, official script, regular script, running script and cursive script. And he is good at copying ancient calligraphy, reaching a chaotic level.
1, calligraphy
Mi Fei studied calligraphy the hardest all his life, and his greatest achievement was running script. 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 Song Dynasty emphasized interest and individuality, especially Mi Fei.
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.
In the fifth year of Yuanfeng (1082), he began to look for Jin people's law posts and got the Mid-Autumn Post. This preconceived big order post (Wang Xizhi's seventh son, the official to the middle book, known as "Wang Daling") had a great influence on him. However, Mi Fei, who was unruly by nature, was not satisfied with Wang Xianzhi's words. As early as Shao Sheng's reign, he shouted "Old people hate slave books and don't change geese" and "Wash two kings' bad faith".
Nevertheless, Mi Fei's calligraphy has not been finalized yet. During his three years in Yuan You (1088), he wrote Tiaoxi Post, Yin Ling Ming Toutuo Temple Monument and Postscript, and Shu Su Post. Although it was written within a month and a half, it has a different style and has not completely stepped out of the threshold of collecting ancient Chinese characters. Six years after Yuan You (109 1 year), Mi Fei also studied Yang Xin's calligraphy when he lived in Haiyue Temple. 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.
In stereotyped calligraphy works, because Mi Fei is too unruly, he always likes "potential", even in small letters such as "holding words to the Queen Mother". This "potential" is an advantage, but at the same time it has become his defect. Huang Tingjian's evaluation is clear and should be objective and fair. Huang Changrui, a poet in the Song Dynasty, commented on his calligraphy, "Only he can write calligraphy and cursive script is very good." At that time, the so-called "positive" did not have a definite meaning, and it is not necessarily "block letters" today. If you mean the official seal, that's appropriate. Mifei's official seal is really not 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. Li Zhimin, a professor at Peking University and a great scholar, commented: "Mi Fei said that cursive script does not enter the golden personality, but only the inferior." This is self-deception by cutting land for prison. Bird's cursive script is not new because it can't break through the barriers of the ancients. "
In terms of posture, Mifei's calligraphy is the best. 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. 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 the second year (1087), six paintings by Zhang Xuan and two posts by Xu Haoshu and Shi were exchanged for Li Yong's How Hot I Want to Post.
Miffy's book is very serious, not as some people think. Mi Fei himself said, "I have written Haidai's poems three or four times, but I can't believe his 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 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."
Mi Fei has his unique experience in the distribution, structure and use of calligraphy. The requirements are "stable, not strange, not old, not fat", which is probably what Jiang Kui wrote "no sag, no shrinkage, no going." 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 positive, 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. Emphasize the need to strictly distinguish the differences between them in temperament and interest "(Ruan Pu's On Su Shi's View of Literati Painting). His so-called "innovation in statutes, ingenious and bold" and "harmony with nature, disgusting desire" all require painting on the basis of traditional attainments, techniques and style standards. Simply put, it is old tradition and new taste. Mifei, the originator of literati painting, dismissed this reconciliation. Mi Fei's success lies in his attitude towards ink opera and his choice of motif, which has realized his recognized literati interest. Miffy realized to change the traditional painting procedures and technical standards in order to realize new benefits.
Mi Fei calls himself a "writing brush", which is modest and practical, while the "writing brush" shows that he is quick and energetic, and tries his best. His calligraphy works, from poems to bamboo slips and inscriptions, are full of vitality and freshness. Judging from nearly 60 Mi Fei's handwriting in the world, the word "brush" vividly shows the spirit of the word "rice".
Step 2 paint
As a famous painter in the Northern Song Dynasty, Mi Fei is in the mature era of literati painting, with a wide range of painting themes, including figures, landscapes, turquoise, plum, orchid, bamboo and chrysanthemum. Mi Fei has made the greatest achievement in landscape painting, but he doesn't like the towering and mountainous northern landscape. What he appreciates is the ever-changing water towns in the south of the Yangtze River, which are "beautiful scenery", "naive and simple" and "smart and interesting without affectation". So Miffy pursues nature in artistic style. His "Mi's Yunshan" is all written in letters, and the clouds cover the fog.
Mifei's paintings originated from Dong Yuan. Most of Dong Shi's paintings describe the mountains and rivers in the south of the Yangtze River. Mifei's existing comments focus on the overall atmosphere, but Mifei has not found anything suitable for expression. Miffy pays attention to "doing nothing, meaning is enough". Although he has the ability to copy "chaos is inseparable", he is more keen on "painting landscape figures and forming his own family" Through some choices, Mi Fei found the "point" used by Dong Yuan. It turns out that Dong Yuan's "point" is an auxiliary factor of Pima, subordinate to the need of expressing natural texture, and together with other modeling methods, it constitutes a certain overall atmosphere of freehand brushwork; In Ju Ran's works, especially the scorched ink and moss on the hills, ink itself has an independent freehand brushwork effect. Dong Heju's views are subject to the purpose of modeling. In Mill's pen, the point almost becomes a whole, which has a considerable degree of freehand brushwork. In fact, the so-called "falling eggplant" is a kind of freehand brushwork with points instead of points. "The round and dignified horizontal points are randomly arranged, and the points are connected into a line, and the points are replaced by points, and the points are accumulated into blocks, splashed, broken, accumulated, dyed, dry and wet, supplemented by rendering, showing the images of mountains and rivers and trees and the expression of clouds." Completely abandon the traditional rubbing method. The random and accidental effect brought by the change of the writing center is far beyond the vision of his contemporaries. No wonder there was no positive response at that time. He was even "ridiculed" and "people often call it a crazy life". ("Painting Following, Xuanmian Talent")
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.