\"The checklist of the John B. Elliott Bequest,\" Record of the Princeton University Art Museum 61 (2002): p. 49-99.
","citation":"\"The checklist of the John B. Elliott Bequest,\" Record of the Princeton University Art Museum 61 (2002): p. 49-99.
, p. 74","date":2002,"id":3025,"uri":"https://www.jstor.org/stable/3774767"},{"boilertext":"Wen C. Fong, Images of the mind: selections from the Edward L. Elliott family and John B. Elliott collections of Chinese calligraphy and painting at the Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1984).","citation":"Wen C. Fong, Images of the mind: selections from the Edward L. Elliott family and John B. Elliott collections of Chinese calligraphy and painting at the Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1984)., cat. no. 2\r\np. 84–91, 262–264","date":1984,"id":6467,"uri":"https://search.worldcat.org/title/770927319"}],"nowebuse":"False","periods":[{"id":12556,"period":"Northern Song dynasty","alphasort":"Northern Song","begindate":960,"enddate":1127,"displayperiod":"Northern Song dynasty, 960–1127","displaydate":"960–1127"}],"department":"Asian Art","attribute_groups":[{"id":2199319,"term":"Asian Art","termtype":"Collecting Area"},{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1000-1500","dateend":1099,"depicted":[],"titles":[],"hasimage":"true","creditlinerepro":"","objectnumber":"1998-51 a-c","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"One of the Four Masters of Song calligraphy, Mi Fu took pride in having mastered many earlier models, and he especially admired their unaffected spontaneity and expressiveness. Similar qualities enliven these letters that display brushwork differences reflecting the circumstances under which they were written. The calligraphy of Abundant Harvest, which recounts the artist’s good fortune during a time of peace and prosperity, was written at a leisurely pace, with smooth, elegant turns of the brush. In Escaping Summer Heat, Mi, using more angular brushwork with slightly misshapen characters, reported his satisfaction at spending summer in the cool mountains, while omitting mention of his refusal to collect taxes after a bad harvest. The impetuous, more cursive brushwork of Hasty Reply before Guests seems to reflect the artist’s unease about eluding a visit from a court official sent to investigate his management of district affairs.","remarks":"Asian rotation February 2019"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"The artist, collector, connoisseur, and scholar-official Mi Fu developed a personal, idiosyncratic form of running script. He also took pride in having mastered many earlier models, and admired the unaffected spontaneity of such Eastern Jin calligraphers as Wang Xizhi (303–361), whose brushwork seemed to reflect personal moods. Similar qualities enliven Mi’s Three Letters, written when he was serving as a local official. The letters display subtle contrasts of brushwork that correspond to the differing circumstances under which they were written. \r\nIn Abundant Harvest (illustrated here), Mi refers to his good fortune in holding office during a time of peace and prosperity; his calligraphy was written at a leisurely pace with smooth, elegant turns of the brush. Escaping Summer Heat reports his satisfaction at spending summer in the cool mountains, without mention of his refusal to collect taxes after a bad harvest; he employs more angular brushwork in characters that appear slightly misshapen. In Hasty Reply before Guests, Mi confesses that he is dodging a visit from a court official sent to investigate his management of district affairs, and his unease seems to be reflected in the impetuous, more cursive brushwork. ","remarks":null},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":" –1998 John B. Elliott (Princeton, NJ), by bequest to the Princeton University Art Museum, 1998.