"Mid-Autumn Tie" was the great love of Emperor Qianlong. He built a house for "Mid-Autumn Tie", "Kuaixue Shiqing Tie" and "Boyuan Tie", euphemistically calling it "Sanxi Hall". He not only signed the autograph, but also gave instructions: the charm is unique and the beauty is beautiful.

The Mid-Autumn Festival is here, and you can't look up at the bright moon in the world of steel and concrete. You might as well lower your head and open this "Mid-Autumn Tie" to read or copy it. For calligraphers, appreciating Tie in the study is also a convenient and elegant thing?

"Mid-Autumn Tie" has been regarded as Wang Xianzhi's authentic work for a long time. It is now recognized by academic circles that the "Mid-Autumn Tie" is not the original work of Wang Xianzhi, but the calligraphy of the Northern Song Dynasty calligrapher Mi Fujie's "December Tie" written by Wang Xianzhi. "Mid-Autumn Tie" is written briskly, with rich and mature lines, and the brushstrokes are bold and unrestrained, dancing continuously.

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The ancestor of "one stroke of writing"

"Mid-Autumn Tie" can be said to be a masterpiece of Song Dynasty artist Mi Fu's creative copying of Wang Xianzhi's works. The Tang Dynasty herbal manuscripts handed down by the two kings, especially the handwritten copies of palace calligraphy, are all realistic copies, that is, the copies follow the footsteps of the ancients in terms of shape and quality, appearance and spirit, and do not dare to go too far. However, As a highly individual person, Mi Fu is bound to be more creative when he imitates ancient works and Wang Xianzhi's works. People call this post the ancestor of "one-stroke calligraphy". As a "one-stroke calligraphy", it embodies the "expression" The aesthetic characteristics of "ism" are the charm of the beauty of calligraphy. No matter at any time, when you read "Mid-Autumn Tie", you can't help but be moved by its momentum and spirit, and you can't help but follow it with the touch of your soul. The footprints created by the calligrapher can be experienced by the calligrapher's joyful creative mentality, and he is impressed by the beauty of the character shape, composition, and expression he created. If you can coin an aesthetic term to describe it, Wang Xizhi is a realist, and Wang Xianzhi is a realist. They are romantics; Wang Xizhi is the "saint" and Wang Xianzhi is the "immortal". At this point, Mi Fu's pursuit of Wang Xianzhi has achieved the greatest artistic truth. This is exactly what the saying goes, "When the truth is fake, the fake is also true."

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Jin people's calligraphy is naturally free of carvings

Calligraphers in the Song Dynasty focused on interest and individuality, and Mi Fu was particularly outstanding in this aspect. Looking at "Mid-Autumn Tie" again, although Liao Liao has three lines of calligraphy, it is full of changes in the use of pen, structure, and ink color. The ink lines in this post are flexible and appear clean and neat in the thick and thin circles. The words are well matched and complement each other. The writing seems to be fast, but it is strong and round, charming and colorful, the dots are sparse and clear, the gaze is sentimental, the muscles and bones are open, the energy is clear and harmonious, the ink is easy-going and has a natural change of green and lustrous, with its ups and downs. It is clear and the whole text appears vigorous and majestic, giving readers a hearty feeling. The first six characters of the post are connected in one stroke, followed by more and less, and the situation is grand and elegant. Looking carefully at each word, the two words "Mid-Autumn Festival" are connected, and then after a short pause, the four words "no longer no" are swept out in one breath. The lines are undulating, long and not chaotic, turned and connected, and dense and dense. After "no longer no", the word "xiang" in regular script is used, which is dignified, full and serious. Compared with the other 21 words in this post, the word "phase" gives people a strange feeling and makes people think. After passing the word "phase", the writing speed rushes to catch up again, and the shock continues until the end. It is precisely "the roc turns to the wind, the whale sprays waves and rocks fall from the cliff, and the lightning is shocked and the light is left behind". However, this kind of indulgence and arrogance also contains an atmosphere of elegance and purity, which reproduces the natural, free and elegant style of the Jin people's calligraphy.

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A masterpiece of creative copying by Mi Fu

As a master of the Shangyi style of calligraphy in the Northern Song Dynasty, Mi Fu's calligraphy theory tended to worship the ancients. He regarded the Jin Dynasty as his homeland, pursued the ancient style and high rhyme, and advocated that "I am self-sufficient when my mind is full, and I use my pen to play empty". He incorporated his spiritual pursuit and aesthetic interest into his calligraphy works, expressing his personality to the fullest and creating a unique aesthetic effect. Against the background of the calligraphy style of the Song Dynasty, he pursued a "plain" and "innocent" calligraphy interest, expressing his emotions through pen and ink, and reflecting his personality cultivation and spiritual sustenance. Its influence has been admired and paid attention to by the world to this day.

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Wang Xianzhi's "December Post"

Today, feeling the artistic realm and spiritual connotation of Mi Jie's calligraphy works and reading its classic beauty can help us further improve our artistic literacy, technical level and expressive ability. Mi Jie's calligraphy pursues straightforwardness and naturalness, advocating the plain calligraphy style of the Wei and Jin Dynasties. For his calligraphy style, Wang Xianzhi had the most profound influence. His late work "Mid-Autumn Tie" reproduces for us the moving style of Wang Xianzhi's calligraphy. "Mid-Autumn Tie" can be said to be Mi Fu's masterpiece of creative copying of Wang Xianzhi's "December Tie". This work of Midai Jielin retains Wang Xianzhi's style of continuous brushstrokes, fire and ashes, and individual places highlight the writing personality of Midai. Through "Mid-Autumn Tie", we can feel the connection between Mi Jie and Wang Xianzhi's calligraphy.

The ink in "Mid-Autumn Tie" is clear and the ink color is rich in changes, which is of great appreciation and learning value. From it, we can not only get a glimpse of Wang Xianzhi's calligraphy, but also explore Mi Fu's calligraphy style. We can also carefully study Mi Fu's gains and losses in learning Wang Xianzhi by comparing it with Wang Xianzhi's "December Tie", and then explore the connection between the calligraphy artistic styles of Jin and Song people.

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"Mid-Autumn Tie" by Wang Xianzhi of Jin Dynasty


The Mid-Autumn Festival no longer misses each other, it is still very provincial, how can it be better than others, how can it be celebrated, and so on.

Collection of the Palace Museum, Beijing


"Mid-Autumn Tie" is an incomplete copy of "Baojin Zhai Fa Tie" and "December Cut Tie". The original post contains the six words "December Cut to No" before "Mid-Autumn Festival". The post was written on bamboo paper. This kind of paper was not available in the Eastern Jin Dynasty and did not appear until the Northern Song Dynasty. It can be seen from the writing brushes that the brushes used are soft and unintentional brushes, while the Jin Dynasty used hard-intentional brushes, which have poor water absorption. The lifting, pressing and turning of the brush are often not flexible and free, and there are often hairs, so the brush is so plump. It is impossible to write the effect of being round and mature, having coherent lines, flowing Qi, and being free and elegant.

Wu Sheng's "Da Guan Lu" of the Qing Dynasty says: "The calligraphy on this calligraphy is ancient and thick, and the black color is fresh and smooth, but it is as big as a fat maidservant. Although it is not a hook, it is probably imitated by people from the Song Dynasty." According to the research of contemporary calligraphy and painting connoisseurs, most people think it is from the Song Dynasty. Wherever Mi Fu comes, it is equally precious.

On the right of the text of the post, Qianlong imperial inscriptions "Mid-Autumn Festival post presented by the King of Jin" line.


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