If the erwang calligraphy can be called the most classic, then the rice calligraphy is undoubtedly the most gorgeous, and his words can be called a visual feast. Mi Fu had the deepest skill among many scholars in the Northern Song Dynasty, using his pen quickly and vigorously, doing his best, and the characteristics of the knots were painful, changing, and strong and fresh.
When we zoom in, it seems that even the fine fibers and ink marks on the paper can be seen, at this time, you seem to be able to see the contemplative eyes between the pens, the breath between the pens, and you can hear the breath of this ancient calligraphy god.
Mi Fu has a unique understanding of calligraphy with pens. Asking for "stability, danger, old and not dry, moist and not fat", we see the classic "water" word, representative "pinch point", very expressive. A few strokes, flipping the momentum. The words shared today are all the essence, we have learned these words, and the calligraphy is immediately alive!
We see the word "ben" again, as shown in the picture Yunfeng, the positive, side, Tibetan, and dew changes are rich, the dot painting twists and turns are coherent, and the undulating nature is transcendent, without any traces of carving, very natural.
The rice pen requires unity in change, integrating opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simple and complex. We see the single characters of the famous "Coral Sticker", the knot is comfortable, the middle palace is slightly restrained, and the balance of the center of gravity is maintained.
After feeling the "round" word of the post, the "brush pen" makes the paper flutter:
In Mi Fu's "Coral Thesis", the characters are extremely strange and super-majestic, casual and bookish, the charm is natural, the spirit is more flying, and the sense of form is more interesting. Large characters are no exception, such as the large character poster "Yanshan Ming" as follows:
This post has many ups and downs, the knot is free to reach, open and close, not subject to the restrictions of the laws of the predecessors, expressing the natural interest, and is a rare treasure in the works of rice and big characters.
The starting pen is often quite heavy, slightly lighter in the middle, and when it encounters a turn, the pen is raised and the flank turns straight down. From the words "Zhao" and "Ze" in "To Brother Bo Xiu", it can be seen that the rice character stretches the flavor:
There are also many variations in the stroke of Mi Fu, and the focus of the next stroke is sometimes in the beginning, sometimes in the pen, sometimes in the middle of a stroke, and there are twists and turns for longer horizontal paintings. "Reverse" is a major classic of the Rice Fu Yun Pen, such as the "number" of "Value Rain Post":
The outline of the rice character is also full of characteristics, such as the word "rain" in the following "Value Rain Post":
Dong Qichang said: "The rice character is the first in the Song Dynasty, after all, it comes from the eastern slope. That is, the rice book is more self-indulgent, and it changes in its later years, and it is strange that it is cold than water. "Akari is humble and realistic to the essence. Speaking of "The Strangeness of The Cold", we should see the "Many Scenery Building Poetry Book", which is particularly "strange and strange":
Mi Fu calligraphy, single word sinister, and in the same work, the contrast and momentum of single word and single word, but also very eye-catching, below see the "China's first beautiful post" of the "Shu Su Tie" single word:
"Shu Su Ti" is known as the first beautiful post, although the book is in the Wusi column, but the momentum is not limited at all, see the choice of words, indulge in indulgence, use the pen handsome, the gestures fly, lift the turn to pick, twist and change.
Yes, under Mi Fu's pen, the long paintings are long and horizontal, stretching freely, rich and depressed. The knot is generally more sideways, seeking peace in the midst of danger. That's the beauty of rice dumplings.