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Divine | In his later years, he worked hard: Mi Fu This post is like a pine on a cliff, old and thin
In his later years, Mi Fu wrote the book "Gong Gong Ti", at the end of the first year of the Great View (1107), Song Tuo Shaoxing Mi Ti, the collection of the Palace Museum.
This post is a letter to Zeng Lun (Zi Gong Gong), which is the work of the end of Mi Fu's career, you can see the traces of old age in the handwriting, as far as the word "aging" is concerned, the word "old" is indeed sophisticated, and the word "Donggui" is also like a dead branch, and the branches are extremely thin.
【Interpretation】
Head of the dragon. Aging drags on, damage and illness are in the fake, and the grand desire to return to the residual water cannot be. Take advantage of the spring to thank the east to return to the same. Ben Jie came to inquire about the book, and no one could write a book, and he would always cherish the gentleman. A copy of the inscription is sent. Serve outside with love and love. Head of the dragon. Gong Gong Ren Ying. Eleventh.
Wang Wenzhi praised himself as "Ji Gu Zi", saying that "Tianzi Yuanzhi did not need to be exaggerated, and Ji Gu could eventually establish himself". To some extent, this explains the reason for the success of Mi's calligraphy. According to Mi Fu's own account, before listening to Su Dongpo to study the Book of Jin, it can be roughly seen that he was most deeply influenced by five Tang people: Yan Zhenqing, Ouyang Qian, Chu Suiliang, Shen Chuanshi, and Duan Jizhan.
There are many special brushwork of Mi Fu, such as the round rotation of the right corner of the "door" character, the steep rise of the vertical hook and the crab claw hook, etc., all of which are set from the Yan Zhi Xing Book; the shape of the shape of the sharp body, when imitated from the European characters, and maintained for a long time; Shen Chuanshi's line of writing may be similar to Chu Suiliang; the Ji Zhan of the Mi Fu Character Section, "unique four sides", "brush characters" may come from this; Chu Suiliang's pen is the most varied, the knot is also the most vivid, and the spleen and stomach of mi Fu have praised his words "like a familiar horse, the action follows people, and there is no arrogance".
Mi Fu has his own unique experience of the distribution, structure and use of the pen in calligraphy. It is required to be "stable, dangerous, old and not dry, moist and not fat". It is required to achieve unity in the change, and to integrate the opposing factors such as wrapping and hiding, fat and thin, sparse and dense, simple and complex, that is, "bone, flesh, fat, and wind are all complete, just like a christ." In terms of chapters, we attach importance to the overall charm, take into account the perfection of details, become bamboo in the chest, and change with the encounter in the writing process.
The characteristics of the pen are mainly good at forming a flowing and super momentum and a calm and painful style in the front side, leaning back, turning, and setbacks. The beginning of the word is often quite heavy, slightly lighter in the middle, and when it encounters a turn, the pen is raised and the side of the pen is turned straight down. There are also many variations in the pen, the focus of the next pen is sometimes in the beginning, sometimes in the pen, sometimes in the middle of a stroke, for the longer horizontal painting there are twists and turns. Ticks are also distinctive.
Mi Fu's calligraphy often has a sideways posture, wanting to be left first right, wanting to promote and suppress first, all in order to increase the wind posture of ups and downs, the spirit of flying fast, out of innocence and nature, never pretentious.
Those who learn rice, even if they are close to the water, will inevitably lose their "hardships". Since the Song Dynasty and the Yuan Dynasty, on the Mi Fu Fa Shu, it can probably be divided into two attitudes: one is praise and not depreciation, and the promotion is very high; the other is that there are praise and depreciation, and most of the components of praise. Those who hold the first attitude can be represented by Su Shi. New ideas are in the Dhamma, and the mysteries are placed in addition to the extravagance. Fitting with heaven and being disgusted.
Mi Fu calls himself "brushing words", And Mingli is humble and practical to the essence, "brushing words", reflecting that he uses his pen quickly and vigorously, and does his best. His calligraphy works, from large poems to small rulers and inscriptions, have the characteristics of being happy and vivid, changing and changing, and being strong and fresh. Judging from the nearly sixty surviving handwritings of Mi Fu, the word "brush" is vividly expressing the brilliance of the mi character. The special codex works are even more outstanding.
In his later years, Mi Fu's book "Gong Gun Ti" was super clear and appreciated
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