Selection of Mi Fu's Calligraphy

Author: Li Songchen
Publisher:
Publish Date: 2003-11-01
Features:
Mi Fu (1052—1107), originally named Mi, styled Yuanzhang, styled Xiangyang Manshi, Haiyue Wai Shi, and Lumen Jushi, was known as [Mi Nan Gong]. He was a Northern Song Dynasty calligrapher and painter. Born in Taiyuan (now Taiyuan, Shanxi), he later moved to Xiangyang (now Xiangyang, Hubei) and finally settled in Runzhou (now Zhenjiang, Jiangsu). He held positions such as Doctor of Painting and Calligraphy and Vice Minister of Rites. He was closely associated with Wang Anshi, Su Shi, Huang Tingjian, Li Gonglin, and Wang Shen, meeting with them in literary gatherings. He was skilled in poetry and prose, excelling in painting and calligraphy, with a wide collection of artworks and expertise in appraisal. He was deeply devoted to the art of painting and calligraphy, had a passion for collecting stones, and was known for his eccentric behavior, earning the nickname [Mi Dian]. His works, such as the lost Shanlin Ji and the surviving Baojin Yingguang Ji (a posthumously compiled collection), were renowned. His surviving works, including Painting History, Calligraphy History, Baozhang Dai Fang Lu, Haiyue Mingyan, and Yan Shi, are celebrated for their insightful appraisals and serve as important references for the study of Chinese art history.
Mi Fu extensively studied the works of his predecessors, particularly benefiting from Wang Xianzhi. Critics also suggest he drew inspiration from Emperor Taizong of Tang. His running script is particularly outstanding. Like Su Shi and Huang Tingjian, he innovated by breaking away from ancient conventions and creating his own style. He once described his calligraphic journey: [In my youth, I was unable to establish a family, and people called my calligraphy a collection of ancient styles, as I took the strengths of various masters and combined them. Later, as I grew older, I began to forge my own style, so that others could not trace its origins.] He was ranked alongside Su Shi, Huang Tingjian, and Cai Xiang as the [Four Masters of the Song Dynasty], and his influence surpassed that of Su, Huang, and Cai.
Su Shi, in Dongpo Ji, praised Mi Fu: [Mi Fu's calligraphy in seal script, regular script, running script, and cursive script is like a wind wall and cavalry, profound and forceful—his work should be ranked alongside Zhong Yao and Wang Xianzhi, not just as their equal but surpassing them.] Huang Tingjian, in Shan Gu Ti Ba, commented on Mi Fu: [I once remarked that Mi Yuanzhang's calligraphy is like an arrow shot from a strong bow across a thousand miles—the penwork of calligraphers reaches its peak here. Yet it resembles the style of Zhi Dun before he met Confucius.] Song Gaozong, in Hanmo Zhi, wrote: [Mi Fu has earned the reputation of being a master calligrapher, and he does not disappoint the world. While he is not particularly skilled in regular script, seal script, or clerical script, his running and cursive scripts are truly exceptional. He has collected the calligraphy of the Six Dynasties in his brush, so his work is profound and forceful, like riding a fine horse—his movements are effortless, requiring no reins, yet everything pleases the eye. However, those who imitate his style over the centuries have only grasped its outward appearance—his grand posture and lofty demeanor, yet they fail to delve into the essence of the Six Dynasties' subtle techniques, which naturally give his work an extraordinary spirit.]
Mi Fu left behind numerous calligraphic works, and this book selects his representative pieces, including Yanshan Ming, Hongxian Shi, Duojing Lou Shi, Shu Suo Tie, and Taoxi Shi Tie.