 | This article has multiple issues. Please helpimprove it or discuss these issues on thetalk page.(Learn how and when to remove these messages) (Learn how and when to remove this message)
|
| 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 | ||||||||||||||||
| |||||||||||||||||
| Korean name | |||||||||||||||||
| Hangul | 미불 | ||||||||||||||||
| |||||||||||||||||
| Japanese name | |||||||||||||||||
| Hiragana | べいふつ | ||||||||||||||||
| |||||||||||||||||
Mi Fu (Chinese: 米芾; 1051–1107)[1] was aChinese painter, poet,calligrapher, and art theorist of the earlySong dynasty. Born inTaiyuan, he was known for hislandscape painting technique, later referred to as "Mi Dots", which involved the use of broad, wet ink dots applied with a flat brush. Mi Fu's poetry was influenced byLi Bai, while his calligraphy drew inspiration fromWang Xizhi.[2]
Mi Fu is regarded by art historians as one of the four most influential calligraphers of the Song Dynasty,[3] along withSu Shi,Huang Tingjian, andCai Xiang. His major works includeZhang Jiming Tie (張季明帖),Li Taishi Tie (李太師帖),Zijin Yan Tie (紫金研帖), andDanmo Qiushan Shitie (淡墨秋山詩帖). Among these,Shu Su Tie (蜀素帖), also known asNigu Shitie (擬古詩帖), is considered an example ofrunning 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.[4]
Beyond his artistic achievements, Mi Fu was also known for hiseccentric personality and meticulous nature.[4]
Some historical sources trace Mi Fu’s ancestry to "Mi Xin", aLater Zhou andEarly Song Dynasty general associated with theKumo Xi, a tribe believed to have descended from theXianbei.[5][6] Some scholars suggest his family may have had distantSogdian heritage. The surname "Mi" may have Sogdian origins, coinciding with a period when Sogdian merchants and settlers formed communities withinChina.[7][8]
Mi Fu showed an early interest in arts and letters. His mother worked as amidwife and later as awet nurse, looking afterEmperor 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 ofKaifeng, inHenan province. In 1103, he was appointed Doctor of Philosophy and served briefly as the Military Governor ofWuwei inAnhui 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) onMount Huaguo (花果山) inJiangsu 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]
Mi Fu’s views, which at times diverged from official opinion, are documented in his writings. His notes on painting and calligraphy are regarded by art historians as valuable sources of insight into Song dynasty aesthetics.[13]
Mi Fu is often associated with theSouthern School of landscape painting, though the extent of his direct contributions remains a subject of debate. Several works are attributed to him, although some scholars question their authenticity. While his involvement in landscape painting is recognised, Mi Fu is chiefly remembered for his calligraphy and his influence as an art critic and writer.[14]
For Mi Fu, writing and calligraphy were closely associated with the composition of poetry and sketching. He believed that mental alertness for these activities was best attained through the enjoyment of wine.Su Shi admired Mi Fu, describing his brushwork as being “like a sharp sword or a bow capable of shooting an arrow a thousand [units distance].[15]
Mi Fu’sHuashi (“History of Painting”) provides guidance on the proper methods for collecting, preserving, cleaning, and mounting paintings.[16]
Mi Fu (1052-1107), a Northerner by birth (and of Sogdian heritage) developed a passionate attachment to
{{cite book}}: CS1 maint: multiple names: authors list (link)An eccentric character, Mi Fu reputedly was descended from Sogdian ancestry
| International | |
|---|---|
| National | |
| Academics | |
| Artists | |
| People | |
| Other | |
