米芾诗
Poems of Mi Fu
- 水调歌头 中秋 - River Melody Sung in My Head, at moonviewing festival
- 中秋登楼望月 - Moonviewing Festival, Climb Tower, Gaze Longingly at Moon
- 蝶恋花 海岱楼玩月作 - Butterflies Love Flowers, written on Haidai Tower to amuse the moon
- 满庭芳 咏茶 - The Fragrance that Fills the Room, chanted over tea
- 望海楼 - Water-Gazing Tower
- 浪淘沙 - Wave Beats the Shore
- 西江月 - West River Moon
- 减字木兰花 - Fewer Words on Magnolia Blossoms
- 减字木兰花 - Fewer Words on Magnolia Blossoms (2)
- 诉衷情 - Self-Recriminations
- 点绛唇 - A Touch of Red Lips
- 阮郎归 - Officer Ruan's Leavetaking
- 菩萨蛮 - Bodhisattva Barbarians
- 渔家傲 - The Proud Usurper
- 丑奴儿 - December's Slave
- 鹧鸪天 - Partridge Day
- 鹧鸪天 - Partridge Day (2)
- 诉衷情 - Self-Recriminations (2)
废话
Mi Fu (米芾|米黻), 1051–1107, was a Chinese painter, poet, and calligrapher born during the Song Dynasty. He was strong-minded and peculiar. He was peculiar in the way he dressed, in the cumpulsive way he washed his face everywhere he went, in declaring that one of the big rocks in his garden was his brother, in the way he collected art and calligraphy. As a collector, he was always trading old for new, saying,
"When a man of today obtains such an old sample it seems to him as important as his life, which is ridiculous. It is in accordance with human nature, that things which satisfy the eye, when seen for a long time become boring; therefore they should be exchanged for fresh examples, which then appear doubly satisfying. This is the intelligent way of using pictures.”
For Mi Fu, calligraphy was intimately connected with the composing of poetry or painting. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine. Through this he reached a state of excitement rather than drunkenness. His friend, Su Shi wrote that Mi Fu's "brush is like a sharp sword handled skillfully in fight or a bow which could shoot the arrow a thousand li, piercing anything that might be in its way.“
Mi Fu's manner of painting was also peculiar. He took to painting late in life. It is said that he always painted on paper which had not been prepared with gum or alum, never on silk or on the wall. He did not necessarily use the brush in painting with ink; sometimes he used paper sticks or sugar cane from which the juice had been extracted, or a calyx of the lotus. Of painting, he wrote:
“The study of Buddhist paintings implies moral guidance; they are of a superior kind. Then follow the landscapes, then pictures of bamboo, trees, walls and stones, and then come pictures of flowers and grass. As to pictures of men and women, birds and animals, they are for the amusement of the gentry and do not belong to the class of pure art treasures.”
The result of all these strong-minded peculiarities was that Mi Fu is esteemed as a painter, poet, and calligrapher. He substantially changed the path of painting landscapes and of calligraphy through his independence.
Poetry translated from 4 - 18 December 2015