"Shu Su Ti" is Mi Fu's proud work. Mi Fu self-signed in the Song Dynasty Yuan You three years (1088), a total of eight poems, five words four, seven words four. The original work has a total of 71 lines, 556 words, on silk, about 27 in length8 cm, about 270 wide8 cm, now in the "National Palace Museum" in Taipei.
Shu Su Ti can be regarded as Mi Fu's masterpiece of the book. According to his self-description, "Yu Yu is a young man, seven or eight years old." The word is large, and the writing is not simple. Seeing the willow and admiring the knot, it is to learn the willow "Diamond Sutra". For a long time, I know that I am from Europe, and I learn from Europe. For a long time, such as the printing plate arrangement. It is Mu Chu who has been learning for the longest time. It can be known that he was the most diligent in employing Tang people in his early years.
Song Dynasty Yuanfeng five years (1082), Mi Fu in Huangzhou to pay homage to Su Shi, Su persuasion of the Jin, become the key to Mi Fu's calligraphy leap.
It can be seen from "Shu Su Ti" that during this period, he has completed the leap from "collecting ancient characters" to becoming a family of his own. The whole text is indulgent, flying and sprinkling, because the texture of the material is thicker, plus Mi Fu "brush" word, the line of the pen vibrates quickly, so the whole article is thirsty for pen. The agitated and high-spirited rhythm it shows is very different from the peace and simplicity of the Jin people's books.
Shu Su post with a rich pen, eight sides of the front, compared with the previous generation of books, this post size is larger, the number of words is more, the first four poems with the pen is thick, the glyph is large, with the pen thick and happy. As shown in the figure, the words "green", "plate", "brocade" and so on.
Mi Fu calligraphy by the Jin penmanship influenced heavier, the pen and the "Orchid Pavilion Preface" similar, more "S" shaped pen, such as the word "leaf". After the flank enters the paper, it is adjusted to the center of the pen, which has both vigor and heaviness, and there are more dot paintings on the side, and the style is vibrant, which shows the meaning of the word "brush". The lifting and pressing action between dots and between words is obvious, and the contrast between light and heavy is strong. The middle palace of the single-word knot is tightened, the dot painting is opened, and the sides are slightly restrained; The words are relatively independent, and there is little connection between the words, but the words are closely connected, and the whole text is completed in one go. The glyphs are mostly low on the left and high on the right, showing a posture of tilting to the left, and the central axis swings easily, and the rules are sparse.
The last four poems have significantly smaller glyphs and thinner lines, but the contrast between thickness and thickness has not diminished at all, and the pen is obviously richer than the first half, and more flexible than the first half. The direction of the brush is often changed, so that the twists and turns increase, and the dot painting strength increases. The knot can also break the convention, with different lengths and flattens. As the text becomes smaller, the chapter layout becomes significantly denser, and the pen tip is quickly flipped, so that the ink color is dry and smooth, and the flying white appears from time to time, and the expression is natural.
Throughout this work, the chapter of the whole work is bounded by vertical grids, and the line spacing does not change much, but due to the change in the size of the text before and after the work, the chapter appears to be loose and tight, and the connection is natural.
Shu Su Ti is Mi Fu's representative work in middle age, flexible with a pen, knotted side changeable. In the process of studying, the pen should be flexible and sharp from all sides; The pen should be decisive and clear; The pen should not be confined to the center of the pen, but can be flipped left and right, through the back of the paper. In addition, the posture of the dot painting, pitching and back, should also be explained in place.
Attention should be paid to the changes in glyphs and the arrangement of chapters. The first half of the work is relatively peaceful, while the second half is full of ups and downs. When studying, the pen should be calm, the pen should be decisive, and the smooth and vivid gestures should be naturally integrated with the chapter.
The brush should not be too large, the pen should be round and elastic, and the dotted lines should be fast, solid and elastic. The paper should be as close as possible to smooth materials such as silk, and the effect of writing the word "brush" should be written.
When you study can refer to Mi Fu's other book works, such as "Tiaoxi poems", its pen, chapter and "Shu Su Ti" have a lot of differences, compared to copy is conducive to further understanding and grasp the characteristics of Mi Fu book.