Translation of the given content to English: "Mi Fu Thao Xi Poem" - Composed under the order to worship the Central Mountain

Author: Xinglin Editor
Publisher:
Publishing Date: 2006-01-01
Features: Mi Fu was an outstanding calligrapher, painter, and antiquities appraiser of the Song Dynasty. He was also one of the "Four Great Calligraphers of the Song." His calligraphy style traced its origins to the Jin and Tang dynasties. The Xuanhe Shubao Chang states: "Mi Fu's calligraphy learned from Cao Zhi, seal script from Shi Zhu, and clerical script from Shi Yi Gong." While the Tiantan Qinglu says he learned from Yan Zhenqing. Generally, Mi Fu's running script and cursive script were rooted in the "Two Wangs" (Wang Xizhi and Wang Xianzhi), drawing from the strengths of ancient masters to form his unique style. Mi Fu's calligraphy received high praise from his contemporaries and later generations. One of the "Four Great Calligraphers of the Song" remarked: "His running script and cursive script are like towering sails and galloping horses, profound and decisive, worthy to stand alongside Zhong Yao and Wang Xizhi—far surpassing them." Sun Ji further praised: "He was a unrestrained and extraordinary figure in the south, fond of eccentric and astonishing actions, so his calligraphy is also like him—transcendent and untainted by the old ways, always creating new ideas within the rules and breaking free from the confines of brushwork. Truly a miracle of his generation." Given his temperament, Mi Fu likely preferred running script and cursive script, as evidenced by his eagerness to learn from masters like Zhou Yue and Su Shunqin at the age of ten. Works such as Ruxi Poetry and Homage to Mount Zhongyue are preserved in the Palace Museum. Ruxi Poetry was written in the Wuchen year (1088) of the Song Dynasty, with rich brushwork, neither too thin nor too thick. The structure often leans to one side, seeking balance in the midst of tension, while the layout is full of variation, natural and spontaneous—a masterpiece from Mi Fu's middle years.
Mi Fu (1051–1107), styled Yuanzhang, was also known as the Shangyang Manshi, Haiyue Wai Shi, and Lumen Jushi. His ancestral home was Taiyuan, Shanxi, but he later settled in Zhenjiang, Jiangsu. Due to his eccentric personality and behavior—such as calling stones "brothers" and worshipping them—people called him "Mi Dian." Emperor Huizong appointed him as a professor of calligraphy and painting, earning the title "Mi Nan Guan." Mi Fu was skilled in poetry, calligraphy, painting, and appraising, embodying the roles of calligrapher, appraiser, and collector. He was one of the "Four Great Calligraphers of the Song" (Su Shi, Mi Fu, Huang Tingjian, and Cai Jing) and the most outstanding among them. His calligraphy was both unrestrained and disciplined. The Song Shi·Wenyuan Zhuan states: "Mi Fu was exceptionally skilled in calligraphy, profound and soaring, capturing the essence of Wang Xianzhi." Mi Fu dedicated his life to calligraphy, achieving great success. He claimed his works were "collections of ancient scripts," demonstrating a deep understanding of the brushwork, layout, and artistic spirit of ancient masters, which also reflects his rigorous training in tradition.
Mi Fu avoided political turmoil and lived a relatively stable life, later becoming a professor of calligraphy and painting. He had access to the imperial library, familiar with the stories and achievements of past generations. He had a solid foundation in Tang-style calligraphy, having diligently studied Yan Zhenqing, Liu Gongquan, Ou Yangxi, and Chu Suiliang in his youth. When Su Shi was exiled to Huangzhou, Mi Fu sought his guidance, and Su Shi advised him to study the Jin dynasty. Starting in 1082, Mi Fu immersed himself in Jin-style calligraphy, seeking inspiration from ancient masters and even naming his study "Baojin Zhai." The Mid-Autumn attributed to Wang Xianzhi, said to be a copy by Mi Fu, is renowned for its exquisite form and spirit.
Mi Fu learned from numerous masters throughout his life. In his late years, he wrote in his Autobiography: "When I first began, I learned to write on walls. At the age of seven or eight, I wrote large characters, but they were clumsy. Seeing Liu Gongquan's tight structure, I studied his Diamond Sutra. After a while, I realized it derived from Ou Yangxi, so I studied him. After a while, it felt like printing, so I admired Chu Suiliang and studied his style. After a while, I admired the richness and beauty of Duan Ji's turns and angles, which were complete in all directions. After a while, I noticed that Duan Ji's Lanting was lush and expansive, so I studied all the model scripts, embracing the simplicity of the Jin and Wei dynasties, abandoning Zhong Yao and Wang Xizhi to follow Shi Yi Gong, as seen in the Liu Kuan Stele. For seal script, I loved Zuchu and the Shigudwen. I also realized that bamboo slips were written with bamboo brushes and lacquer, and that bronze inscriptions were marvelous and ancient."
Mi Fu gained fame for his calligraphy, and his success came entirely from diligent practice. He practiced calligraphy every day without fail, as historical records show: "If he went a day without writing, he felt his thoughts grew sluggish, as if the ancient masters had never ceased writing for even a moment." "Zhi Yong's inkstone became like a mortar before he could reach Wang Xizhi (Wang Xizhi); only by piercing through it could he reach Zhong Yao and Su Jing. May you always strive as Zhi Yong does." His son Mi Youren even said he never forgot to write even on New Year's Day (as cited in Sun Zubai's Mi Fu and Mi Youren).
Mi Fu approached calligraphy with great seriousness, saying: "When I wrote Haihai Poetry, I wrote it three or four times, and only a couple of characters pleased me. Trusting in calligraphy is indeed a difficult task" (as recorded in Fan Mingta's Biography of Mi Shangyang). Even for a poem, he wrote it three or four times before being satisfied with only a couple of characters. The hardships and joys of this process could only be understood by those deeply involved, revealing the rigor of his creative attitude.
Given his temperament, Mi Fu likely preferred running script and cursive script, as evidenced by his eagerness to learn from masters like Zhou Yue and Su Shunqin at the age of ten. Works such as Taoxi Poetry and Homage to Mount Zhongyue are preserved in the Palace Museum. Taoxi Poetry was written in the Wuchen year (1088) of the Song Dynasty, with rich brushwork, neither too thin nor too thick. The structure often leans to one side, seeking balance in the midst of tension, while the layout is full of variation, natural and spontaneous—a masterpiece from Mi Fu's middle years.