According to the "A Brief History of Chinese Art" compiled by the Academy of Fine Arts, the following points can be known about Mi Fu:
First, about Mi Fu's inheritance.
Mainly the two kings, especially the king Xianzhi.
Compare "Mid-Autumn Festival" and "Zhang Jiming" to fully understand. Some people even say that the "Mid-Autumn Festival" is a fake of Mi Fu.
Second, about the characteristics of Mi Fu calligraphy.
1. Penmanship. I understand it as "brushing words", the pen does not leave the paper, or the pen is broken, and is deeply influenced by Wang Xianzhi's "one-stroke book". Speed determines the brushwork, for example, the form of "three points of water" on the left side of the word "river" is generated by speed.
A combination of central strikers. Deeply influenced by the "two kings", it is different from Yan Zhenqing.
Attacking from all sides". We have heard this a lot, but its meaning is not very clear, here is a plagiarism of Mr. Chen Zhongkang's statement.
The general pedestrian pen by the left direction is smoother, according to the direction of the right line of the pen will feel awkward, but for Mi Fu is not a problem, this is the "eight-sided front", that is to say, Mi Fu can be in any direction of the front.
For example, the small tip of the upper right corner of the word "make", and the small tip of the lower right corner of the word "also" to the upper left, are not written like this according to general habits, but out of the need to write quickly, such a front is produced, which is the "eight-sided front".
2. The knots are scattered, especially the characteristics of low left and high right are more obvious, so I will not give examples here.
3. The chapter is sparse and dense, and there are no more examples.
Third, Mi Fu's representative work.
1, "Shu Su Ti".
2. "Tiaoxi Poems".
I feel that "Tiaoxi Poems" is more free-spirited, of course, for me, I prefer Mi Fu's codex.