Su Dongpo's calligraphy is excellent, and the representative works of regular script are "Red Cliff Fu" and "Hou Red Cliff Fu". There are dozens of calligraphy works, such as Debater's Post, Chief Post with Dong, Wuchang Xishan Poetry Post, Scholar's Appreciation Post, Crossing the Sea Post and Rubus Post. His running script works are as still as water, as fast as lightning, or as naive and changeable, forming a profound, vigorous, simple and agile artistic style, which seems sweet and moist without lack of interest, charming and strange, unpretentious and profound, straightforward, easy to grasp and unrestrained. Huang Tingjian said, "Taoist Dongpo seldom learns Lanting every day, so his books are as charming as Xu Jihai. When you are drunk, you forget to work, and your words are as thin as Liu Cheng hanging himself. In middle age, I like to learn from Yan and Yang Fengzi. They get along well with each other. As for the roundness of the pen, the victory of meaning depends on the wonderful world of the article and the loyalty of the sun and the moon. The good book in this dynasty should be the first. " After careful study, his calligraphy art has the following characteristics:
1, full with pen and full with ink.
Su Shi's calligraphy always gives people the feeling of fullness. Thin golden body is famous for its thinness, while Su Shi's calligraphy is fat and beautiful. One of the main characteristics of his calligraphy techniques is that he uses a full pen, which is mainly manifested in the following aspects: first, Dongpo's calligraphy is generally good at horizontal painting, especially long horizontal painting, seeking its bones and muscles instead of its flesh; Basically, the pens for vertical painting are laid much and heavily, so the visual effect of horizontal density and vertical thinning is formed as a whole. The second is to leave the fat thick and stretch it left and right. In skimming, short skimming is thicker, long skimming is heavier in starting or closing the pen, and the writing speed is slower, especially on the single word as the main pen. The third is to turn it into nature, leaving no trace. Dongpo's character-turning pen generally has two characteristics. One is that the pen is round, the front is fresh and cut, there is no cliff, and the axe is blunt; Make good use of the Tibetan front, and most of the turning pens are deeply hidden in the strokes, leaving no trace. The third is to use black thick ink. Dongpo's handwriting was black at first, and it is said that Su Mo is often used, which is black and shiny. Zhao Mengfu commented on Su Shi's calligraphy, such as "The black bear is in power, so terrible"; Dongpo's ink is still dark and thick. Looking at Dongpo's posts, there are very few flying white dry pens, and more ink is injected, which is hearty.
2, the knot is patchy.
Contrary to the slender European style, the knots in Su Shi's calligraphy are mostly flat. This feature is highlighted in his running script and other works. Most calligraphers who run scripts are either upright or reclusive. Before Su Shi, few people had a flat structure except Li Shu and Wei Bei. Its characteristics are: taking the horizontal trend, it is required that the horizontal drawing is longer, the vertical drawing is shorter and the skimming is longer when processing. In terms of pen use, all vertical pens are generally heavy to start and close, and there are many hidden fronts. It seems that although the strokes are short, they are short and powerful, the font is steady and dignified, and the words are rich. Generally speaking, horizontal strokes are more exposed, combined with other strokes, unique and beautiful, and rich in color.
3, the weight is good.
Especially in running script, there is often a sense of rhythm between words, which leads to the scattered distribution of fonts. For example, the phrase "the sunset is low in the yellow dust" in Wuchang Xishan poem post is pieced together by one big and one small. Sometimes a few words are heavy and a few words are light, and the combination of light and heavy also gives people a strong sense of rhythm. For example, in Answering Qian Mu's Poems, it is said that "with your witticism, you can't write spring scenery, but you can't care about the organ". The word "lend you" is heavy, and the word "wonderful" is light; The word "spring in language" is heavy, while the word "forbearance" is light; The word "Gu Feng" is heavy, the word "Qin Bucheng" is light, and the word "Nong" is heavy.
Four, around.
This refers to the horizontal layout of Dongpo's writing style and word potential, either taking the left potential or the right potential, changing back and forth, ups and downs, like a tiger leaping over a stream, or an antelope pedaling, playing with each other, things scurrying around and scattered. This is particularly prominent in Li Taibai's Poems of Fairy Tales. The word potential of this work is horizontal, and the trend change is obvious from the beginning. For example, in the first sentence, the word "Chao" looks in all directions, the word "Pi" looks in all directions, the word "Dream" looks in all directions, and the word "Ze" looks in all directions. In the second half of this volume, this trend change is even more exaggerated and obvious. Shi Yisheng, a famous poet in Song and Jin Dynasties, said: "Praise Taibai has no poems in the world, and hope Dongpo has no words in the world."
5, charming and naive.
Huang Tingjian said in "The Book of the Prince of Jingdao" that "Han Lin Su Zizhan's calligraphy is beautiful, although he uses too much ink, but his rhyme is more than enough". This charming charm makes people feel natural, frank and even naive, without any madness and affectation. Coupled with the rich and colorful words, a gentle and virtuous lady doesn't feel strange, but suddenly feels close and warm. This feature is related to its profound humanistic cultivation and the characteristics of the times of calligraphy in Song Dynasty. At that time, all the literati used calligraphy and painting as the carrier to express their feelings and pursued the expression of their own temperament, while Su Shi was regarded as the leader of "respecting meaning". Knowing this, we can understand why Su Shi's works are mainly letters and impromptu poems, and rarely deliberately copy the poems of predecessors and others. It is precisely because of this that the calligraphy he left further verified his calligraphy view, that is, "Dont Ask For Help can write and lift it, and Dont Ask For Help can sell it because it is sold in Dont Ask For Help." This is also an important feature that can best reflect Dongpo's artistic feature of "unable to express ideas in words".