Mi Fei wrote in "On Cursive Calligraphy": Cursive calligraphy is inferior if it doesn't enter the Jin Dynasty, and it's strange if it is vulgar and confuses the ancient law, which makes people know it. Huai Su is less dull and slightly natural, and the times are pressing, so it cannot be lofty. Gao Xian can be suspended in a restaurant. Matt is particularly disgusting. From this passage of Mi Fei's book theory, it can be said that Mi Fei regards "promoting personality" as his lifelong goal of calligraphy. When did Mi Fei begin to pay attention to the calligraphy of Jin people? At least until he was thirty-two, he didn't care too much. The evidence is that when Yuan Feng was thirty-two years old in the Northern Song Dynasty, Mi Fei "visited Dongpo of Huanggang, inherited the theory, and began to specialize in Jin people". Later, Jin's personality was regarded as his lifelong pursuit of calligraphy. We can also know from a book he wrote, in which he said: Yu, when I first wrote the wall and Yan, the words were as big as one when I was seven or eight years old. It can be concluded from the Preface to Lanting Collection that before Mi Fei entered the Jin Dynasty, he studied all the Tang people, and most of them used regular script. However, his running script has not yet taken shape. At this time, he had a gift for calligraphy but no knowledge of calligraphy, so he gathered many characteristics of calligraphy in the Tang Dynasty: the danger of European calligraphy, the picky of Liu calligraphy, the prosperity of Yan calligraphy and the spread of Shu calligraphy. He skillfully absorbed various styles in his own writing, and at the same time coincided with the trend of the times, becoming a generation of "antique collection", but his writing habits became his "entrance"
Mi Fei said in "The Famous Words of the Sea and the Moon": I failed to get married when I was strong. People called me a collection of ancient Chinese characters, which covered all the strengths and was always formed. Because I am old, I have become a family, and people have seen it. I don't know what my ancestor is ... In fact, it is because he hides his calligraphy thoughts. Dongpo commented on him: I am calm and happy. Huang Tingjian commented on him: like a sword. Miffy claims: brush words. It is said that Mifei's handwriting is fast, strong and exciting. However, due to excessive bluffing, man-made and extremely unpleasant aspects appear from time to time. For example, dragging feet, the vertical hook is pushed too far to the left, and the upper right shoulder is stiff. As Huang Tingjian pointed out: However, this is also like the fashion when Zhong You didn't see Confucius. Pointed out that his book was reckless and sloppy. Xiang Mu said: The arrogance of rice is also short. These are also the reasons why he failed to achieve the goal of "plain in Jin and Wei Dynasties", so sometimes he issued: Everything is a play, and I don't want my poor work, which means that I am self-sufficient and write empty plays. This is a contradictory psychological interpretation that his inner pursuit and external calligraphy performance cannot be unified.
"Wash away the bad letters of the two kings, and it will last forever" is the most famous sentence of Mi Fei's comment on previous calligraphy, but how to treat this sentence? Because of his vigorous and unrestrained writing habits, Mi Fei had a special liking for calligraphy after studying Jin people, and achieved certain results. However, Mi Fei admired Wang Xizhi's calligraphy more, was completely convinced and devoted himself to it. I spent all my money on the Lue Wang Post. Sometimes when Wang Xizhi's calligraphy is gone, there are many stories of extortion. He wrote a postscript to Wang Xizhi's running script: broad front, wanton thickness, like a cloud, strange and polymorphic. Postscript "Lanting": clean and vigorous, with delicate turning and full preparation. Mi Fei has more than a dozen poems about books, four of which are about Wang Xizhi's poem "Smoke is light and thick, like a wanderer, and ten thousand ancient poems are called heavenly chapters"-praising Lue Wang's post and "Zhang Yiyuan, don't lose it"-the postscript Lanting. Xuanhe Pu Shu said that he learned from books to learn from others ... and named it Baojinzhai. He once said that Lue Wang Post was the first postal service in the world. Preface to Lanting Collection is: Heaven helps to keep it as an eternal law. And there is a poem that praises myself: I am a ghost with semantic skills. In fact, when Mi Fei was a beginner in the Jin Dynasty, he mainly studied Preface to Wang Shengjiao. After one year's education in Huanggang, Mr. Shen Peng collated and compared the book "Longjing Fiona Fang Anji" and thought that they were very similar. Just as he never got rid of the study of the Tang Dynasty before he became powerful, the shadow of the Preface to the King's Set has always been with him. In Qing Dynasty, Wang Shu said in the postscript "Shu Su Tie": The holy religion has its own courtyard, so there are people who have no praise in Song Dynasty. But Su and Mi often use brushwork in the dark, and Mi Lao is more than others, which he never mentioned in his life. As the saying goes, "Yuanyang embroidery teaches itself, and it doesn't care about the golden degree". This solid pen is from the holy religion. I will write it next time and sign it quietly, especially for future generations not to be bullied by the ancients for thousands of years. This passage clearly tells Shu Sutie that it is a study of the Preface to Kings. Although he has gained something in form and writing, Mi Fei's brushstrokes and anger in his previous books are still revealed from time to time. Sometimes, in order to store some, I hesitate to use a pen, and some use a pen to delay. Mi Fei and Wang Xizhi never talked about people, except the secrets, because they made great progress after learning Jin people, but they never achieved "Jin people's personality".
Several of Mi Fei's masterpieces have a tendency to depict excessively, but his handwriting is based on potential, so he can turn to himself uncritically. Mi Fei in his later years seems to understand this truth. "The old man is at a loss, and the angel is the same in his later years." His writing style is more restrained than that of middle-aged people, and he has a dull interest in Jin and Wei Dynasties. "I have a family since I was a child." Mi Fei said that "Taizong could not learn the right army, so he cursed Amethyst", but he studied Wang Xizhi hard and failed to achieve the goal of "entering the Jin personality", and cursed the "two kings" in his later years.