Northern Song Dynasty Mi Fu's "Shusu"

Author: Hu Qibin
Publisher:
Publish Date: 2004-12-01
Features: Running script is a style that combines dynamism and stillness. Its strokes, radicals, and structures follow certain norms, yet are not confined by them, exhibiting distinctive characteristics of variation. Therefore, running script can be appreciated by both the refined and the popular, perfectly blending practicality and artistry, and is deeply loved by people. Many have written running script throughout history, leaving behind numerous running script relics with diverse styles, providing ample material for later generations to study and choose from. However, some running script anthologies have limited word counts, and some rubbings are blurred and unclear, making them unsuitable for beginners. Based on this consideration, this set of "Tutorials for Practicing Running Script by Famous Masters Throughout History" selects three works: Wang Xizhi's Preface to the Orchid Pavilion from the Eastern Jin Dynasty, Huai Ren's Collection of Wang Xizhi's Holy Teachings from the Tang Dynasty, and Mi Fu's Seeds of Shu on Silk from the Song Dynasty. This tutorial focuses on techniques, covering aspects such as strokes, radicals, structures, and layout of running script. Its features are twofold: first, enhancing editorial content. From the development and argumentation of the topic, the outline, the selection of authors, the choice of script versions, and the design of the cover and layout, the editorial team is fully involved and actively seeks expert advice, striving to present high-quality content to readers. Second, improving writing quality. This tutorial emphasizes making basic techniques comprehensive, microscopic, specific, and highly operational. The selected examples are highly targeted, and the accompanying explanations are concise yet to the point. Seeds of Shu on Silk is Mi Fu's representative work. Written on silk, which has low water absorption, and with Mi Fu's rapid brushwork, the lines appear naturally dry and thirsty, perfectly embodying the essence of Mi Fu's brushwork. When practicing this script, the ink should be dry rather than wet, the brushstroke should be swift yet with a sense of resistance, and all pointed endings should carry the meaning of a returning brush, achieving the effect of short strokes with long intent.