Mi Fu

Mi Fu (Chinese: 米芾; 1051–1107)^[1] was a Chinese painter, poet, calligrapher, and art theorist during the Early Song Dynasty. Born in Taiyuan, he was known for his misty landscape paintings, which consisted of broad, wet ink dots applied with a flat brush. This technique, later known as the "Mi Fu Style", significantly influenced Chinese painting. His poetry and calligraphy were inspired by Li Bai and Wang Xizhi, respectively.^[2]

In this Chinese name, the family name is Mi.

Mi Fu
Mi Fu as depicted in a 1107 painting by Chao Buzhi
Chinese name
Chinese	米芾
Traditional Chinese	米芾
Simplified Chinese	米芾
Transcriptions Standard Mandarin Hanyu Pinyin Mǐ Fú Wade–Giles Mi Fu Yue: Cantonese Jyutping Mei5 Fat1 Middle Chinese Middle Chinese MieiB Pjwǝt
Korean name
Hangul	미불
Transcriptions McCune–Reischauer Mi Bul
Japanese name
Hiragana	べいふつ
Transcriptions Romanization Bei Futsu

Mi Fu is considered one of the four most influential calligraphers of the Song dynasty, 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 an important work in running script calligraphy. Mi Fu described his calligraphy as "a collection of ancient characters", indicating his style was rooted in tradition; yet he developed distinctive features. His artistic style was also adopted by his son, Mi Youren, who became known for interpreting his father's techniques, particularly the use of large, wet ink dots, known as "Mi Dots".^[3]

Beyond his artistic achievements, Mi Fu was reportedly known for his eccentricity and meticulous attitude.^[3]

Biography

Mountains and Pines in Spring (detail), National Palace Museum (Taipei)

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.^[4][5] Some scholars suggest his family may have had distant Sogdian heritage, though this is debated. The surname "Mi" may have Sogdian origins, coinciding with a period when Sogdian merchants and settlers formed communities within China.^[6][7]

Mi Fu showed an early interest in arts and letters and was considered a fast learner. His mother worked as a midwife and later as a wet-nurse, looking after Emperor Shenzong.^[8] This connection led Mi Fu to spend part of his early life in the royal court.^[9]

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.^[8]

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.^[8]

Mi Fu collected old writings and paintings as his family wealth diminished.^{[citation needed]} His collection grew in value, partly through inheritance. His collection was arranged in two parts: one kept secret and shown only to a select few, and another one to guests.^{[citation needed]}

In his later years, Mi Fu became fond of the Helin Temple (鶴林寺) on Mount Huanghe (黃鶴山) in Jiangsu and requested to be buried at its gate. Although the temple is gone, his grave remains.^[10]

Mi Fu had five sons, of whom only two survived infancy and eight daughters.^[8] His elder son, Mi Youren, was also a Chinese calligrapher.

Historical background

Mi Fu Memorial Temple in Xiangyang

Mi Fu often expressed his views, even when they differed from prevailing beliefs or official opinions. His notes on painting and calligraphy are considered valuable by art historians.^[11]

Art

Calligraphy by Mi Fu, ink on paper, collection of the Tokyo National Museum

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.^[12]

For Mi Fu writing or calligraphy was connected with composing poetry or 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.^[13]

Poems in Wuzi's Boat (Part), ink on paper, private collection in New York

Mi Fu's book Huashi ("History of Painting") contains hints as to the proper way of collecting, preserving, cleaning, and mounting pictures.^[14]

See also

• Poetry portal

• Chinese art
• Chinese painting
• Culture of the Song dynasty
• History of Chinese art