Mi Fu

Some historical sources trace Mi Fu’s ancestry to "Mi Xin", a Later Zhou and Early Song Dynasty general associated with the Kumo Xi, a tribe believed to have descended from the Xianbei.^[5][6] Some scholars suggest his family may have had distant Sogdian heritage. The surname "Mi" may have Sogdian origins, coinciding with a period when Sogdian merchants and settlers formed communities within China.^[7][8]

Mi Fu showed an early interest in arts and letters. His mother worked as a midwife and later as a wet nurse, looking after Emperor Shenzong.^[9] This connection led Mi Fu to spend part of his early life in the royal court.^[10]

He began his civil service career as a Reviser of Books in the imperial library. He then served in three posts outside the capital of Kaifeng, in Henan province. In 1103, he was appointed Doctor of Philosophy and served briefly as the Military Governor of Wuwei in Anhui province.^[9]

In 1104, he returned to the capital to serve as Professor of Painting and Calligraphy, and later Secretary to the Board of Rites. His final post was as Military Governor of Huaiyang.^[9]

Mi Fu collected old writings and paintings as his family wealth diminished.^[11] His collection grew in value, partly through inheritance. It was divided into two parts: one kept secret and shown only to a select few, and another displayed to guests.^{[citation needed]}

In his later years, Mi Fu became fond of the Helin Temple (鶴林寺) on Mount Huaguo (花果山) in Jiangsu and requested to be buried at its gate. Although the temple no longer exists, his grave remains.^[12]

Mi Fu had five sons, of whom only two survived infancy, and eight daughters.^[9] His eldest son, Mi Youren, also became a Chinese artist.^[13]

• 
  Mountains and Pines in Spring (detail), National Palace Museum (Taipei)
• 
  Mi Fu Memorial Temple in Xiangyang
• 
  Calligraphy by Mi Fu, ink on paper, collection of the Tokyo National Museum
• 
  Poems in Wuzi's Boat (Part), ink on paper, private collection in New York

Mi Fu’s views, which at times diverged from official opinion, are documented in his writings. His notes on painting and calligraphy are regarded by art historians as valuable sources of insight into Song dynasty aesthetics.^[14]

Mi Fu is often associated with the Southern School of landscape painting, though the extent of his direct contributions remains a subject of debate. While several works are attributed to him, some scholars question their authenticity. Although his involvement in landscape painting is recognized, Mi Fu is chiefly remembered for his calligraphy and his influence as an art critic and writer.^[15]

For Mi Fu, writing and calligraphy were closely associated with the composition of poetry and sketching. He believed that mental alertness for these activities was best attained through the enjoyment of wine. Su Shi admired Mi Fu, describing his brush as being like a sharp sword handled skillfully or a bow capable of shooting an arrow a thousand li.^[16]

Mi Fu’s Huashi (“History of Painting”) provides guidance on the proper methods for collecting, preserving, cleaning, and mounting paintings.^[17]

• Chinese art
• Chinese painting
• Culture of the Song dynasty
• History of Chinese art