A Collection of Masterpieces and Lost Works of Mi Fu's Calligraphy

Author: Ma Xiujuan, Editor-in-Chief
Publisher:
Publishing Date: 2005-06-01
Features:
Cai Shu (1051-1107), styled Yuanzhang, was known as Xiangyang Manshi, Haiyue Wai Shi, and Lumen Jushi. His ancestral home was Taiyuan, Shanxi, and he later settled in Zhenjiang, Jiangsu. Due to his eccentric personality and erratic behavior—such as referring to stones as "brothers" and worshipping them—people called him "Mi Dian." Emperor Huizong appointed him as a doctoral scholar in painting and calligraphy, earning the nickname "Mi Nan Guan." Mi Fu was skilled in poetry, calligraphy, painting, and art appreciation, embodying the roles of painter, appraiser, and collector. He was one of the "Four Calligraphers of the Song Dynasty" (Su, Mi, Huang, and Cai) and was considered the most outstanding among them. His calligraphic style was unrestrained and dynamic yet strictly adhered to the rules. The Song Shi·Wenyuan Zhuan said: "Mi Fu was exceptionally talented in calligraphy, his brushwork was profound and soaring, capturing the essence of Wang Xianzhi's style." Mi Fu dedicated his life to calligraphy, achieving great success. He claimed his works were "collections of ancient characters," demonstrating a deep understanding of the techniques, composition, and artistic spirit of ancient masters. This also showed the great effort he put into traditional calligraphy. Uninvolved in political turmoil, Mi Fu lived a relatively stable life and later became a doctoral scholar in painting and calligraphy, immersing himself in the imperial collection of books and familiar with the stories and achievements of past generations. In his youth, he diligently studied Tang-style calligraphy by Yan, Liu, Ou, and Chu, laying a solid foundation. When Su Shi was exiled to Huangzhou, Mi Fu visited him to seek guidance. Su Shi advised him to study the calligraphy of the Jin Dynasty. Starting in 1082 (the fifth year of the Yuanfeng era), Mi Fu devoted himself to studying the Jin Dynasty, aiming to emulate its calligraphic style. He sought out many Jin Dynasty calligraphic manuscripts and even named his study "Baojin Zhai." The surviving Midnight Poem by Wang Xianzhi, it is said, was a copy by Mi Fu, capturing both form and spirit with remarkable skill. Throughout his life, Mi Fu learned from numerous masters. In his later years, he wrote in his Self-Description: "When I first began learning, I started by writing on walls. At the age of seven or eight, I wrote large characters, but they were not well-formed. Seeing Liu's tight and structured calligraphy, I learned the Diamond Sutra by Liu. After a while, I realized it derived from Ou, so I studied Ou. After a while, it felt like printing boards, so I admired Chu and studied him for a long time. I also observed Duan's rounded and beautiful turns, which were perfect in all directions. After a while, I noticed that Duan's Lanting was full of ink and spread out, so I studied all the calligraphic manuscripts, entering the plain style of the Jin and Wei dynasties, abandoning Zhong and Fang to follow Shi and Yu, such as the Stele of Liu Kuan. For seal script, I loved Zu Chu and the Stone Drum Inscriptions. I also realized that bamboo slips were written with brushes and lacquer, and bronze inscriptions were wonderful and ancient."
Mi Fu became famous for his calligraphy, and his achievements were entirely the result of hard practice. He practiced calligraphy every day without interruption. Historical records state: "If he did not write for a day, he felt his thoughts were sluggish, as if the ancient masters had never stopped writing for even a moment." "Zhi Yong's inkstone became like a mortar, and only then could he reach Wang Xingzhi. If he could pierce through it, he could reach Zhong and Su as well. May you always strive for this, Zhi Yong." His son, Mi Youren, said that even on the first day of the lunar New Year, he never forgot to write. (According to Sun Zubai's Mi Fu and Mi Youren). Mi Fu took his calligraphy very seriously, saying: "When I wrote the Poem of the Sea and Mountains, I wrote it three or four times, and only a couple of characters were satisfactory. Trusting in calligraphy is indeed a difficult thing" (from Ming Fan Mingta's Biography of Mi Shangyang). Even for a poem, he wrote it three or four times and was only satisfied with a couple of characters. The hardships of this process could only be understood by those who practiced it themselves, showing his rigorous attitude toward creation. Among the "Four Calligraphers of the Song," Mi Fu ranked after Su Shi and Huang Tingjian but before Cai Xiang. However, if we disregard Su Shi's status as a literary master and Huang Tingjian's influence as the leader of the Jiangxi Poetry School, Mi Fu's traditional foundation in calligraphy was far deeper, especially in running script, surpassing both. In the Ming Dynasty, Dong Qichang wrote in from the Studio of Painting and Chan: "I once commented on Mi's calligraphy, thinking that in the Song Dynasty, he ultimately surpassed Su Shi. Even Mi Dian's calligraphy, which he inherited from Ran Jing, underwent a transformation in his later years, becoming as extraordinary as ice colder than water." When the emperor asked about calligraphy, Mi Fu claimed he wrote "brushed characters," ostensibly humble but actually hitting the essence. "Brushed characters" reflected his swift and vigorous brushwork, fully expressing himself. His calligraphic works, whether large poems or small letters and inscriptions, were characterized by their unrestrained and dynamic, yet fresh and vigorous style. From the nearly sixty surviving calligraphic works by Mi Fu, the word "brushed" vividly captures the spirit of his calligraphy. No wonder Su Shi said: "Mi's calligraphy transcends the divine." He also said: "Throughout his life, Mi Fu's seal script, clerical script, regular script, running script, and cursive script were like towering sails and galloping horses—profound, forceful, and unrestrained. They should stand side by side with Zhong and Wang. Not only do they not fall short, but they surpass them."
Mi Fu's influence in calligraphy was profound, especially in the late Ming Dynasty, when many scholars studied his style, including masters like Wen Zhengming, Zhu Yunming, Chen Chun, Xu Wei, Wang Jiesi, and Fu Shan, who all drew inspiration from Mi Fu. This influence continues to this day. Beyond his exceptional calligraphy, Mi Fu also wrote extensively on calligraphy, including Shu Shi, Haiyue Mingyan, Bao Zhang Dai Fang Lu, and Pingshutie, demonstrating his exceptional courage and precise appreciation. He often criticized andated predecessors but never blindly followed ancient words, earning respect from calligraphers of all generations. However, he also spoke excessively, mocking Yan and Liu,ating Xu and Su, and being overly critical.
The main surviving calligraphic works of Mi Fu include the Poem of the Tea Stream, Seu Sung, Record of the Round and Square Studio, and Ode to the Heavenly Horse, with an abundance of letters and small works. Mi Fu was skilled in ink and wash landscape painting, known as "Mi-style Cloud Mountains," but no actual paintings by Mi Fu exist today. The only one that can be seen is the Corals Brush Stand, which depicts a coral brush stand with the characters "Golden Seat" inscribed on the left and adorned with Mi dots and inscriptions, showcasing Mi-style landscape. Mi Fu used painting to express calligraphy, adding a unique touch.