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Mi Fu
Chinese artist (1051–1107) From Wikipedia, the free encyclopedia
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Mi Fu (Chinese: 米芾; 1051–1107)[1] was a Chinese painter, poet, calligrapher, and art theorist of the early Song dynasty. Born in Taiyuan, he was known for his landscape paintings technique, which involved the use of broad, wet ink dots applied with a flat brush- a style that later was referred to as the Mi Fu style. This technique was later adopted by other Chinese painters. Mi Fu's poetry was influenced by the poet Li Bai, while his calligraphy drew inspiration from the renowned calligrapher Wang Xizhi.[2]
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Mi Fu is regarded by art historians as one of the four most influential calligraphers of the Song Dynasty,[3] along with Su Shi, Huang Tingjian, and Cai Xiang. His major works include Zhang Jiming Tie (張季明帖), Li Taishi Tie (李太師帖), Zijin Yan Tie (紫金研帖), and Danmo Qiushan Shitie (淡墨秋山詩帖). Among these, Shu Su Tie (蜀素帖), also known as Nigu Shitie (擬古詩帖), is considered an example of running script calligraphy. Mi Fu described his calligraphy as "a collection of ancient characters," reflecting its roots in traditional styles; however, he also introduced innovative elements that departed from convention. His artistic style was later adopted and interpreted by his son, Mi Youren, who became known for continuing his father's techniques, particularly the use of large, wet ink dots- later referred to as "Mi Dots".[4]
Beyond his artistic achievements, Mi Fu was also known for his eccentric personality and meticulous nature.[4]
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Biography
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Some historical sources trace Mi Fu's ancestry to "Mi Xin", a Later Zhou and Early Song Dynasty general associated with the Kumo Xi, a tribe believed to have descended from the Xianbei.[5][6] Some scholars suggest his family may have had distant Sogdian heritage. The surname "Mi" may have Sogdian origins, coinciding with a period when Sogdian merchants and settlers formed communities within China.[7][8]
Mi Fu showed an early interest in arts and letters. His mother worked as a midwife and later as a wet nurse, looking after Emperor Shenzong.[9] This connection led Mi Fu to spend part of his early life in the royal court.[10]
He began his civil service career as a Reviser of Books in the imperial library. He then served in three posts outside the capital of Kaifeng, in Henan province. In 1103, he was appointed Doctor of Philosophy and served briefly as the Military Governor of Wuwei in Anhui province.[9]
In 1104, he returned to the capital to serve as Professor of Painting and Calligraphy, and later Secretary to the Board of Rites. His final post was as Military Governor of Huaiyang.[9]
Mi Fu collected old writings and paintings as his family wealth diminished.[citation needed] His collection grew in value, partly through inheritance. It was divided into two parts: one kept secret and shown only to a select few, and another displayed to guests.[citation needed]
In his later years, Mi Fu became fond of the Helin Temple (鶴林寺) on Mount Huaguo (花果山) in Jiangsu and requested to be buried at its gate. Although the temple no longer exists, his grave remains.[11]
Mi Fu had five sons, of whom only two survived infancy, and eight daughters.[9] His eldest son, Mi Youren, also became a Chinese artist.[12]
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Historical background
Mi Fu's views, sometimes differing from official opinions, are documented in his writings,[9] His notes on painting and calligraphy are considered valuable by art historians.[13]
Art
Mi Fu is associated with the Southern School of landscape painting, though the extent of his direct contributions remains debated. Several paintings are attributed to him, but some scholars question their authenticity. While his contributions to landscape painting are noted, Mi Fu is primarily remembered for his calligraphy and influence as an art critic and writer.[14]
For Mi Fu, writing and calligraphy were connected with composing poetry and sketching. He believed an alertness of mind for these activities was best achieved through the enjoyment of wine. Su Shi admired Mi Fu and wrote that his brush was like a sharp sword or a bow that could shoot an arrow a thousand li.[15]
Mi Fu's book Huashi ("History of Painting") contains hints as to the proper way of collecting, preserving, cleaning, and mounting pictures.[16]
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General references
External links
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