Mi Fu [fú] (1051-1107), self-signed name Mi or Qian, Fu or Fu [fú]. Calligrapher, painter, calligraphy and painting theorist in the Northern Song Dynasty. Han nationality, whose ancestral home is Taiyuan, Shanxi, moved to Xiangyang, Hubei, and later settled in Runzhou (now Zhenjiang, Jiangsu). Talented, personable and scattered, so clean that he becomes addicted. The bedding imitates the people of the Tang Dynasty, and there are many strange stones. Calligraphy and painting are in a family of their own. He can paint dead wood, bamboo and rocks, creating new ideas from time to time, and he can also paint landscapes, creating an ink and wash drama of clouds and mountains, covered by smoke and clouds, plain and innocent. Good poetry, good calligraphy, fine identification. He is good at seal script, official script, regular script, running script and cursive script, and is good at imitating ancient calligraphy to the degree of authenticity. One of the four families of Song Dynasty. He once served as a school secretary, a doctor of calligraphy and painting, and a member of the Ministry of Rites.

   Because of his weird personality and crazy behavior, he was called "brother" when he met a stone, and he worshiped him endlessly, so he was called "Mi Dian". Huizong Zhao is a doctor of calligraphy and painting. Also known as "Mixiangyang" and "Minan Palace".

   Mi Fu has his unique understanding of the distribution, structure and brush use of calligraphy. It is required to be "steady and not vulgar, dangerous and not strange, old and not dry, moist and not fat", probably the same meaning as Jiang Kui's record of "no hanging, no shrinking, no closing". That is to say, it is required to achieve unity in the change, and to integrate the opposing factors such as wrapped and hidden, fat and thin, sparse and dense, simple and complex, that is, "bones, tendons, flesh, fat, and spirit are all complete, just like a good scholar." . In terms of composition, it pays attention to the overall charm, and takes into account the perfection of details, with a well-thought-out plan, and changes with the situation in the writing process, showing unique ingenuity.

   The characteristics of Mi Fu's brushwork are mainly good at forming an elegant and super-stepping momentum and a calm and joyful style in the front side, the back, the back, the turning, and the setback. The writing of the characters is often quite heavy at the beginning, and slightly lighter in the middle, and when the turning point is encountered, the pen is lifted sideways and turned straight down. There are also many changes in the stroke of the brush. Sometimes the focus of writing is at the beginning of the stroke, sometimes at the end of the stroke, and sometimes it is in the middle of a stroke. There are twists and turns for longer horizontal strokes. The hook is also distinctive.

   In Mi Fu's calligraphy, there is often a sideways posture. If you want to go to the left, you should go to the right, and if you want to go up, you should go down first. This is all to increase the ups and downs of the demeanor and the air of gallantry. Therefore, out of innocence and nature, never artificial. Those who learn from Mi Fu, even those who are close to the water, will inevitably lose "hard madness". Since the Song and Yuan Dynasties, when discussing Mi Fu's calligraphy, two attitudes can be distinguished: one is praise but not derogation, which is highly praised; Those who hold the first attitude can be represented by Su Shi.

The high-definition enlargement of rubbings of Mi Fu's running script "Xiao Xing Ba Xia"!


Ji Xiao voted for the Ba Gorge, and Yu Chun recalled the imperial capital. There is a female raccoon in Qingjiang, and all the roosters crow in the sun. 

In the city of boats in the country of water, the mountains, bridges and trees line. Ascend ten thousand wells out, overlooking two lumens. 

People make different dialects, and the warbler is the voice of the homeland. Lai Duo's landscape is interesting, and a little understanding of parting.