Mi Fu Xingshu's work "Zijin Yan Ti", pale tooth color paper
29 cm in length and 40 cm in width, in the collection of the National Palace Museum in Taipei
Commentary: Su Zizhan with me Zi Jin went and asked his son Into the coffin. I have it now, but I will not take it collect. What is passed down from generation to generation, how can it be? With a clean circle ming originally The true nature of the mysterious consciousness is the same Go live
The gist is: Su Zizhan (Su Shi) borrowed the Zijin Yantai from me and instructed his son to bury this ZijinYan as a funerary after his death. Now I have taken back zijinyan and don't want it to be used as a funeral product. For how can an object that has been passed down to future generations be placed together with the remains of a person, a holy thing that has been fully nirvana and has been cultivated to a positive fruit?
The Zijin Yanti was written by Mi Fu after the first year of the Yasukuni Dynasty (1101), and this inkblot is on paper, 28.2 cm in length and 39.7 cm in width. On it are zhu wen "siyin" half seal, that is, "ceremonial inspection siyin", baiwen "Korean", "anqi seal" fish and goose shaped seal "no harm", Zhu Wen "An Yi Zhou family treasure" and "heart appreciation", Bai wen "Qianlong appreciation", Zhu Wen "Xuantong appreciation" and "Wuyi Zhaijing appreciation". It can be known that this frame was once held by the Ming Dynasty, later owned by An Qi (1683-1745), and subsequently entered the Qing Court Inner House. "Shigutang Calligraphy and Painting Examination", "Ink Edge Huiguan", and "Shiqu Baodi Continuation" are all recorded and are now in the National Palace Museum in Taipei.
This work records a past incident between Mi Fu and Su Shi, that is, "Su Zizhan took Wu Zijin to study". According to legend, Emperor Huizong of Song once gave him a stone and rice, which was later borrowed by Su Shi. There are also various legends about the process of giving and borrowing Stones, and the Song Dynasty He Xue's "Chunzhu Chronicle" records: "One day on the book with Cai Jing on the book Gengyue, the resurrection of Fu zhi, making the book a big screen." Gu left and right to take the pen research, and the upper refers to the end of the imperial case, so that it is used. Shu Cheng, that is, holding the study and kneeling, please know: This study is given to the subjects, and it is impossible to return to the imperial court, and to take the end. Laugh at it, because it is given. Dancing in thanks, that is, ambition tends to come out, yu mo stains the sleeves of the robe, and the joy is to see the color. It is unknown whether the Yan mentioned in this "Zijin Yan Ti" was given by Emperor Huizong, but the rumors that existed in this Song Dynasty can also reflect the various interesting things that Mi Fu had caused because of his love for Yan. Regarding the Zijin Yan mentioned in the "Zijin Yan Ti", Mi Fu himself mentioned in the "Baojin Yingguang Collection": "My old fang obtained the Langya Purple Gold Stone, which is no different from the Right Army Yan received by the Yu family, and the first product in the world is also." The end and the shed are all below. The newly obtained right army purple gold stone, the force of the book for a few days also, I do not come to the si do not reuse this stone. "It is said that the elderly can get this stone, and it is especially cherished, in ancient times, over fifty years old was called old age, so this stone should be obtained after fifty years of rice.
Su Shi was demoted to Huizhou in the first year of Shao Sheng (1094), and after many years of absence from Mi Fu, he said in the "Book of Chapters with Mi Yuan": "In the eighth year of Linghai, relatives and friends were absent, and they did not try to remember. Recite the Qi of Lingyun alone, the exquisite text of Qingxiong, the word of super wonderful god, when to see it, in order to wash away my accumulation of miasma and poison!" The late meeting between Su Shi and Mi Fu was in the Zhenzhou (Zhengyi) Boat one night in May of the first year of the Jing Dynasty (1101). By the beginning of June, Su Shi and Mi Fu were in the East Garden of Baisha (Zhengyi), "swimming in the West Mountain (Xishan Academy of Mi Fu), under the pine bamboo of the south window of the Summer Sun, and luo fu saw the red ape thing." Then there is "Mi Fu came out of The Taizong Caosheng and Xie An Ti to ask for a trek, and wanted to be sick and unable to comply, and returned the post." Here they should have met each other, and then when Su Shi left Zhenzhou, don't go through Mi Fu, but this time it was already a farewell. Mi Fu said that Zi Jin Yan was earned after the age of fifty in his old age, and Mi Fu was fifty years old in the first year of Jingguo, so it was most likely that Su Shi borrowed Zi Jin Yan during this time in Zhenzhou, and if it was, it should be the time when you visited Mi Fu Xishan Academy. However, when Su Shi took away the Purple Golden Stone of Mi Fu, he was already seriously ill, and his words, "I am born without evil, and I will not fall in death, and I will not cry to be transformed", and died on July 28 of this year, and instructed his son to bury mi Fu's purple gold stone with him. This matter was known to Mi Fu, so he retrieved it and said, "How can the things that have been passed down from generation to generation go and live with the pure and clear nature of the original mysterious and permanence." In fact, it shows that Su Shi is reluctant to this stone even if he is dying, and Mi Fu seems to be reluctant to treat this purple gold stone and Su Shi.
Because Fang Yan has its story, it has created a treasure in the history of calligraphy, "Zijin Yan ti". This post is written in a dashing and handsome style, although it is a work of later years, its sharpness and wantonness have not diminished. Song Ke said, "Mi Yuanzhang's book, the pen is brilliant, less strange and more strange, aware of the lack of strength, just in the right place, but there is a lazy pen." Like a gaoyang drunkard, after getting drunk, he wants to rely on his son. "This post line is full of ups and downs, ups and downs, but there is no impropriety, such as a cunning rabbit in the forest, free to travel. The glyph is not a single word is positive, the left and right slopes are different, the length and size are varied, and they can be blended together. In the whole chapter, Mi Fu pays more attention to the contrast between the weight of the large blocks, such as "Zi Zhan Carry Wu", "Zhi Qi" and "Jin De" so that the thick weight of the whole lower left is connected to the middle, and then "Zi Jin" and "Enter" are connected with "Zi Zhan Carry Wu", so that the thick picture in the whole picture forms a ring. From the fourth line onwards, the "things that have been passed down from generation to generation", "pure and clear", and "true and constant" are connected into a triangle. Then there is the whole lower part of the "sub", "no", "how can it be", "original", "with" these thinner strokes of the words are also connected into a piece to form a triangle. This is not only richer in changes, but also more visually clear, with a certain visual impact, and also reflects the subtlety of Mi Fu in dealing with various relationships in calligraphy.
As a work of Mi Fu in his later years, the Zijin Yanti is extremely artistic and an excellent model for learning calligraphy. It also records the past of the two masters in the history of calligraphy, and witnesses the friendship and life habits of the two calligraphers, which is of great significance.
Author: Hu Peng, Source: China Culture Daily