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This paper examines the perceptions of calligraphy and painting collecting in the Song Dynasty. In ancient China, calligraphy and painting were the preserve of the imperial family and aristocracy, and collecting them symbolized greed and luxury. Consequently, it was extremely rare for literati to have the opportunity to appreciate calligraphy. After the Song Dynasty, the appreciation and collection of artworks by literati became widely popular, symbolizing elegance. However, indulging in material possessions was considered immoral in Confucianism, and the desire for material things was seen as a psychological ailment, while they enjoyed calligraphy and painting, they also reflected upon and were cautious not to go to extremes. Mi-fu’s behavior was a departure from the mainstream perception of these literati. Mi-fu pursued his passion for calligraphy and painting without restraint, even resorting to tactics like creating forgeries and swapping them for authentic pieces. History of Calligraphy and History of Painting document Mi-fu’s experiences in appreciating and collecting calligraphy throughout his life. While for most literati during the Song Dynasty, calligraphy appreciation was a hobby outside of their primary pursuits, for Mi-fu, it was the centerpiece of his life. Mi-fu’s obsession and desire for calligraphy earned him the nickname ‘madman’, but surprisingly, he was not the subject of criticism and condemnation. His artistic vision was widely acknowledged as exceptional, and he maintained continuous interactions with prominent scholars, writers, and politicians of his time. This illustrates that while Song Dynasty literati were cautious about excesses in the pursuit of calligraphy, they also, to some extent, allowed for the appreciation of art and aesthetic value.
