Cultural Relics Forbidden to Be Exhibited Abroad - Tiaoxi Poetry Volume

Mi Fu (1051-1107), originally named Fu, with the courtesy name Yuanzhang and the sobriquet of Lumen Jushi and Xiangyang Manshi. Later, he changed his name to Fu. He was from Taiyuan and later settled in Runzhou (now Zhenjiang, Jiangsu province). He once served as the Ministry of Rites and concurrently as a yuanwailang. Emperor Huizong of Song invited him to be the painting doctor at the court, and he was known as "Mi Nangong". Mi was skilled in calligraphy and painting, and had a keen eye for identifying works of art. He was also a dedicated collector and author of "Shushi", "Huashi", "Baozhang Daifanglu" and "Shanlin Collection". Although he excelled in both calligraphy and painting, his greatest achievements were in calligraphy. There are many extant examples of his calligraphy, including "Tiaoxi Poetry", "Shusu Tie", "Hongxian Poetry", "Duojing Lou Poetry" and "Empress Dowager Xiang's Elegy".

The full scroll of“Tiaoxi Poetry”consists of 35 lines and 394 characters. It is signed with a date of “the eighth day of the eighth month of the Yuanyou reigns”, indicating that it was created in the third year (1088) during the reign of Emperor Zhezong of the Song Dynasty. At that time, Mi Fu was 38 years old, and this work, along with his other representative work 'Shu Su Tie,' was created only 40 days earlier. It demonstrates his mature style in calligraphy and painting, and is a masterpiece of the literary style of the Song Dynasty. The opening line reads 'Playing with it in Tiaoxi and presenting it to my friends, wearing the robes of a man of letters in Xiangyang,' indicating that the poem was written by Mi Fu himself and consists of six poems.

This scroll is executed with a direct and concentrated pen, with thick and fine strokes, swift and unrestrained. Its expressive variations are particularly impressive, with changes between upright, slanting, hidden and exposed strokes. The transition between dots and strokes is smooth and natural, with fluctuations in strength and lightness. The structure is graceful, with a slightly recessed center and a balance maintained throughout. Long and short strokes are easily and freely drawn, showing a variety of changes in pitch. The script tilts slightly to the left, seeking balance amidst dynamics. The entire scroll exemplifies Mi Fu's middle-aged calligraphy style, with a more perfected layout and composition. Although there is no visual connection between the characters, the flow of lines is smooth and natural, like flowing clouds and water, with a harmonious balance between density and sparseness that is unparalleled. Wu Qizheng's "Book of Painting and Calligraphy" describes this scroll as "distinguished by its bold and unrestrained brushwork and graceful structure, echoing the style of Yan Zhenqing". This expresses the artistic characteristics of this calligraphic work, which is based on Yan Zhenqing's style, but also represents Mi Fu's unique creative expression.

At the end of this scroll, there is a postscript by his son Mi Youren: "On the right, poems by friends and others are presented, and the original works are recorded by Fu, and Mi Youren appraises them." The back paper has another postscript by Li Dongyang of the Ming Dynasty. The collection marks include Ruisi Dian Seal, Shaoxing, Baiji Seal, Xianyu, Luyou, Wang Sun of the Western Chu Dynasty, Shiqi Seal, Yang's Family Collection, Quanqing Treasures, Quanqing (half-printed) and Wulin Qianzi Zhangyu Appreciation Book. This post was collected in Shaoxing in the Southern Song Dynasty, and by Yang Shiqi, Lu Shuicun, Xiang Yuanbian, Liang Qingbiao and other collectors in the Ming Dynasty. Lu Shuicun re-mounted this post in 1516, and asked Li Dongyang to seal the script and write an inscription: "Mi Nan Gong Shi Han". Later, it was inscribed in Sanxi Hall in the Qing Dynasty. During the Republic of China, it was brought to Changchun by Puyi and appeared in the folk communities. When it was acquired by the Palace Museum in 1963, the words "Nian(念), Yang(养), Xin(心), Gong(功), Bu(不), Yan(yan)" were torn off, the words "Zai Jiu(载酒)" were half damaged, and the words "Qi(岂), Jue(觉), Ming(冥)" were slightly damaged. Li Dongyang's preface and Xiang Yuanbian's afterword were lost. The scroll was re-mounted by the Palace Museum, making up those damaged parts according to original photos.

"The Afterword to the Coral Book Network", "Notes on Painting and Calligraphy by the Yu Family", "The First Compilation of the Stone Canal Treasure Collection" and other books have records.