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The Shu Su Tie is a silk scroll with ink and calligraphy, and it also imitates ancient poems. It contains eight poems and essays about travel and farewell. It has been collected by many famous artists including Xiang Yuanbian and Dong Qichang.

Mi Fu said that he first learned calligraphy by collecting ancient characters, learning from many masters, and then integrating them to form his own style. So, let's take a look at what elements of famous calligraphy are included in "Shu Su Tie".

Mi Fu's great achievements were due to his reading, copying ancient calligraphy and diligent thinking. He was particularly good at copying ancient calligraphy.

"I first learned Yan when I was seven or eight years old. My characters were as large as a piece of paper, but I couldn't write on paper. I saw Liu and admired his tightness, so I learned Liu's Diamond Sutra. After a while, I realized that it came from Ouyang Xiu, so I learned from him. After a while, it was like the arrangement of printing plates, so I admired Zhu and studied the longest. I also admired Duan Ji's plump and beautiful turns, and all eight sides were complete. After a while, I felt that Duan Quanyi's Lanting was extended, so I looked at Fa Calligraphy and entered the plain Wei and Jin dynasties. I abandoned Zhong Fang and followed Shi Yi Guan, such as Liu Kuan Stele. I prefer Ju Chu and Shi Gu Wen in seal script. I also realized that bamboo slips are written with bamboo leaves and lacquer, and the inscriptions on tripods are wonderful and ancient. His wall calligraphy is mainly from Shen Chuanshi, who writes small characters but not large ones."

His "Haiyue Famous Sayings" says:

"When I was young, I was unable to establish a family. People called my calligraphy a collection of ancient characters. I took the best parts of various styles and combined them into one. When I was old, I established my own family. When people saw it, they didn't know which one was the origin."

From his autobiography, we can see that he learned from a wide range of sources. He initially studied Yan Zhenqing, then Liu Gongquan, and later Ouyang Xun, and after that Chu Suiliang, and he persisted in doing so for a long time. He also learned from Li Beihai and Shen Chuanshi, and finally learned from the Wei and Jin dynasties and returned to the Two Wangs.

Dong Qichang said in Rongtai Collection: "Mi Yuanzhang was criticized by Qian Mu's father for 'collecting ancient characters', saying that he must have momentum, and since then he has made great progress. I can also copy the ancient methods, but I think it is not born from momentum, so I don't do it." Mi Fu avoided the arrangement and patchwork of collecting ancient characters because he had momentum. Dong Qichang quoted this story of Mi Fu's calligraphy many times in his works, and especially emphasized that "it is not born from momentum, so I don't do it."

Mi Fu emphasized that the strokes should be retracted at the end. The purpose of retracting is to connect to the next stroke, so it can be seen as the beginning of the next stroke. Following this retraction, the starting point of the next stroke naturally has a reverse entry, which can be seen as the continuation of the previous stroke. Emphasizing reverse entry and retraction is actually emphasizing the continuity of stroke writing and the sense of momentum.

There are three types of reverse entry and recovery in the dots and strokes of "Shu Su Tie". One type is exposed tip, where the tip of the brush is exposed at the beginning and end of the dot and stroke. This type of exposed tip of the brush connects the previous and the next strokes, connecting the end of the previous stroke and starting the stroke of this stroke. The large angle turn in the middle makes the stroke line produce an arc, and makes the exposed tip of the brush slightly lean to one side of the line, so it is also called side tip. "Side to get beauty", "having a tip to show its spirit", the side tip has a heroic charm.

The other type is to hide the tip of the brush, which is the opposite of showing the tip of the brush. The tip of the brush is wrapped inside the dots and strokes, "the tip of the brush is hidden and the trace is hidden", "the beginning and end of the dots and strokes do not allow for the tip of the brush to be sharp". This kind of "hiding the tip of the brush inside" has a thick, implicit, round and rich aesthetic effect.

In addition to revealing the tip of the brush and hiding the tip of the brush, there is also a relatively rare form, in which the brush is started vertically for horizontal strokes and horizontally for vertical strokes. The brush is moved decisively, without any drag. The dotting and stroke effect is heavier than revealing the tip of the brush, and more refreshing than hiding the tip of the brush. It is in between the two, with a unique kind of vigor.

The content of calligraphy art is expressed through various contrast relationships, such as the weight, speed, thickness, and roundness of the strokes, the size of the structure, the density, virtuality, and reality of the composition, and the dryness, wetness, thickness, and lightness of the ink. All contrast relationships can be attributed to the difference between strong and weak rhythms according to the degree of contrast. Mi Fu was frustrated all his life and was a lunatic. He used calligraphy to express his emotions, and of course he preferred strong rhythms, exaggerating various contrast relationships and widening their contrast. This is especially true of "Shu Su Tie" which was written after he became crazy. Especially in the use of the brush, there are great ups and downs, making the strokes thick or thin, with a great difference in thickness.

Mi Fu was most influenced by Chu Suiliang in his calligraphy studies, and Chu Suiliang’s calligraphy emphasized the deformation of continuous writing. The Shu Su Tie pays special attention to the deformation of dots and strokes when emphasizing continuous writing.

The material of "Shu Su Tie" is also quite special. It is made of fine silk selected from Shu, and there are black silk bars on it. Because of its rough texture and not easy to absorb ink, it is extremely difficult to write. In the post, you can see many dry brushes and flying white. Not only does it not feel floating, but it appears condensed and stable, and there is a black and white contrast, virtual and real coexistence, and unique meaning. From the perspective of its structure and composition, there is a tendency to tilt; the line spacing and character spacing have changes in width and tightness, which increases the sense of fluidity and is also quite interesting.

He broke the balanced layout of Wang's character, added his own slanting and dangerous style, and created a new rule of word formation. Huang Tingjian commented that Mi Fu's calligraphy is "like a sharp sword cutting through an enemy formation, or a strong crossbow traveling a thousand miles, which can penetrate everything. The brushwork of calligraphers is also limited to this." Compared with the other three calligraphers in the Song Dynasty, Mi Fu's brushwork is more varied.

In the process of copying this post, you should choose a brush with good elasticity. The starting and ending of the stroke should be crisp and clear, without dragging and dragging. There should be some concealment and exposure at the beginning of the stroke, and there should be many pauses and pressures at the turning point. At the end of the stroke, the tip of the brush should be all the way to the tip of the brush, and it should not be lifted casually. For example, when writing two points upward from the side, after the tip of the brush enters the paper, spread the brush hairs, and then lift the brush, and the tip of the brush is raised from the middle abdomen to lead to the next stroke. The horizontal strokes have different postures, some are top-heavy and some are top-light and heavy, and some are heavy in the middle and empty at both ends; the multiple horizontal strokes stacked on one another are facing each other and facing each other. The left-falling strokes are often heavy at the beginning and light at the end, and the middle section is round and full. The biggest feature of the vertical strokes is that they are tilted and changeable, and they often have a tilted state. When the vertical hook stroke ends, it is often pushed flat to the left and then lifted upward, or brought out to the lower right corner, writing a slanted and stretched vertical stroke. The right-falling strokes are long or short, and there are some that are closed and some that are released. When it comes to ink color, you should also pay attention to the combination of thick and thin, dry and wet.

Mi Fu himself said: "Learning calligraphy is about playing with the brush, which means holding the brush lightly, naturally making the hand empty, and the strokes swift and natural, which are unexpected. The second thing is to master the brush, which means the bones, tendons, skin, fat, and spirit are all intact, just like a good scholar." We can understand his meaning through his words and works.

Mi Fu's calligraphy and painting have had a great influence on Chinese history, and he has made outstanding contributions to China's art. In particular, his calligraphy has influenced many people of his time and later generations, including his sons Mi Youren and Wu Ju in the Song Dynasty, Wang Duo in the late Ming and early Qing dynasties, and Lin Sanzhi in modern times. All of them were influenced by him, and their styles are diverse. Today, Mi Fu is worth studying and learning.

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