What are Su Shi's calligraphy aesthetic thoughts and creative thoughts?

Abstract: As the first of the "four great calligraphers in Song Dynasty", Su Shi made great achievements. The core idea of his calligraphy aesthetics is nature. In the construction of his calligraphy aesthetic thought, the connotation of "nature" is constantly enriched and its extension is constantly expanded, including the ontological categories such as origin and end, Tao and art, character and calligraphy, unintentional Yoga Yu in the theory of creation, adaptive realm in the theory of style, and natural plainness. His calligraphy achievement is the concrete embodiment of his calligraphy aesthetic thought. Keywords: nature; Su Shi; Calligraphy Aesthetics Su Shi's calligraphy was unique when the two queens were crowned separately. Its words are full and round, ups and downs. "Being childlike" [1](P42), he said: "Therefore, a servant's book is like Cai, and he is slightly proud of Yang Fengzi, which is even more eloquent." [2](P2 179) This shows that his calligraphy style and artistic achievements are different under different creative states and creative moods. The essence of "Hokkekyo" is that all beings can become Buddhas. Su Shi uses this metaphor to describe that he can write at will, and every word will get positive results. Only when he is free can he enter the book and truly show his personality and spirit. What he called "freedom" has at least two meanings: one is the free and adaptive creative state he pursues; Secondly, it refers to the natural rhyme of Xiao San reflected in the works, "natural arts and sciences, rich posture" ("Teacher Xie's Book"). This is the consistent aesthetic pursuit of Su Shi's literary and artistic creation and the core of his calligraphy aesthetic thought. In ancient China, "nature" was originally a philosophical concept, with a very wide coverage and a very large space for understanding and application. Its most common and general meaning is "man does nothing", which is regarded as the basic law of the operation of everything in the world. China's view of literature and art in ancient times emphasized the fundamental principle of "Emotion is in China, and form is outside". The relative category of artist's "inside" and art's "outside" is the logical starting point to understand China's aesthetic pursuit of advocating nature in ancient times. Accompanied by the extension of the relationship between "inner" and "outer", Su Shi's calligraphy aesthetic thought expands the related categories such as essence and purpose, Tao and art, character and calligraphy, thus forming a logical system with the basic connotation of letting nature take its course without affectation and continuous extension in meaning. The integrity of Su Shi's calligraphy aesthetic ideology is formed in the process of constantly enriching connotation and expanding extension. An Art China/Compared with nature, calligraphy art is "what people do". At the same time, like other art forms, calligraphy has certain rules and regulations. Therefore, Su Shi repeatedly emphasized in his Book Theory that learning books should "know its source and end", build nature and know its reason. He said: "When commenting on recent books, I put Mo Jun first, but it is almost impossible to talk with people who don't know. Calligraphy should be written in small print. Is it right or wrong, but it's called line grass? Mo Jun is twenty-nine years old, but the law is like this. I know its origin and end. " [2] (P 2182) What is "Ben" and what is "End"? He said: "Calligraphy is prepared in official books and overflows in cursive script. It failed to correct the book, was feasible and careless, and did not know Zhuang language yet. There is no way. " [2](P2 185) There is a close relationship between the front, the line and the grass. Su Shi believes that books should be the foundation, not books. Abandon the book and join the cursive script, then abandon the book and pursue the end. He also used the relationship between standing, walking and walking to compare the relationship between true (correct) books, running scripts and cursive scripts, and further explained the relationship between them. "Really live, walk and grass, really stand, walk and grass, no one can walk without standing." [2](P2206) These are all natural laws of calligraphy, which shows that learning books should follow this natural principle. Su Shi's theoretical exposition on calligraphy is the consistent embodiment of his literary thought. When he talked about literature and art, he repeatedly mentioned "shaping with things", which means that things that exist objectively should be written as they are, and different things should be written in different ways. Therefore, although everything in the world is ever-changing, it has its own characteristics and laws, and the development of things has certain rules. He said: "The only believer in the world is water. You can infer the size of the river and the depth of the ocean. Just because it is not self-shaped, but because things are shaped, it is ever-changing and inevitable. " [2] (p1) Calligraphy is the same. Although ever-changing, but there are inevitable reasons. On the basis of emphasizing "knowing the whole story", Su Shi also pointed out that only by knowing its statutes and understanding its meaning can there be new ideas. He believes that "knowing a book is not the strength of a pen, but listening without losing its statutes" [2](P2 180), the style of calligraphy has its statutes, and the statutes of calligraphy, including the layout and structure of various fonts, can be found regularly. The art of calligraphy is to conceive layout on the basis of statutes, seek change and change, and break through innovation. He pointed out that all kinds of books have contradictions and difficulties, so "what is expensive in the world must be difficult." Real books are hard to fly, cursive scripts are hard to correct, big characters are hard to be dense and seamless, and small characters are hard to be generous and redundant "[2](P2 195), and these contradictions and difficulties can only be solved within the scope of mastering statutes. He also said that "if things are logical, they will be inappropriate" [2](P2 18 1), and he believed that everything has some * * * nature. If you "understand what they mean" and find the law of homosexuality, you will be handy everywhere. Only by knowing the statutes and understanding the meaning of statutes can we "innovate in statutes and put wonderful reasons outside the bold". At this time, even if all the old laws are used, we can create new ideas and seek transformation, because their meaning has escaped from the ink. This novel and ingenious theory has always been emphasized in Su Shi's literary creation theory and practice. He advocated that "Gong Yan is as thin as an autumn eagle because of reform and innovation" [3](P37 1). "Evaluating Lu Gong's poems has the same effect as Du Zimei's poems. After it was published, all the predecessors abandoned it. [2](P2 189) He praised Liu Gongquan and said, "Liu's calligraphy is beautiful, but it can be innovative, not empty talk." [2](P2206) Although Ouyang Xiu is not famous for his calligraphy, Su Shi said: "Ouyang Gong's calligraphy is bold and unconstrained, and his font is unique. But Gong Mo is a treasure on earth, not a special painter. " [2](P2 197) On his own calligraphy, he said: "Although my calligraphy is not very good, I can create new ideas without practicing the ancients, and I am eager for quick success." [2](P2 183) (I suspect that "fast" is a "tactical" mistake. Su Shi also believes that calligraphy, like other art forms, should not only pay attention to things, grasp statutes, but also have enough cultivation. Practice makes perfect after long-term observation and practice. All excellent literary forms are the dynamic reflection of the creator's innate temperament, wisdom, acquired experience, education, hard work and other factors. Artistic creation must have creative requirements and impulses, so it is "full, but visible to the outside world", while artistic creation must have profound skill and superb attainments, so it is "self-consistent without bothering to break the rope", so as to be "refined and sparse", "natural in arts and sciences, with a gesture", so Su Shi emphasized "both technical and advanced". He said: "If you don't write cursive script recently, it will have the flavor of the Eastern Jin Dynasty and add beauty to poetry. Knowing that this person can't be idle, he has all kinds of skills. If you can't improve your skills, you can't. If you swim less, the technology can be advanced. " [2](P2 194) "Skill" is an external skill, while "Tao" is an internal thought and character. Art and technology (craft) are inseparable, but "the beauty of art and craft technology usually seem to be in conflict, and there is a distinction between elegance and vulgarity, because art is usually considered to have a soul, beauty and nature." "The craft machine is artificial and vulgar. But the beauty of art is also artificial and unnatural. " "However, all beautiful art makes people feel' natural'." [4](P 105) So "the word art is technology, reaching the highest level of technology" [5](P 1 10). The spiritual connotation of calligraphy is equivalent to poetry, prose, painting and other artistic forms, which should be a combination of "skill" and "art", and "Tao has art" is a combination of ideology and artistry. In Su Shi's exposition, "technique" and "art" are a concept, and the application of this concept in calligraphy more clearly highlights the importance of technique. However, Su Shi thought it was wrong to pursue only technical progress without ideological progress, so he said, "Be flexible, cultivate one's morality and keep one's word" [2](P2 176). He attaches importance to the influence of a person's knowledge, cultivation, thoughts and feelings on his works. He will "learn from the atmosphere of the article, be depressed with Sandy, and stay between pen and ink", so the style of perilla is actually. He warned people that art is ultimately not only a matter of skill, but also a matter of artistic style. He combined life, art and practice in book theory. To achieve "two advances in technology and Taoism", one is to be proficient in physics, and the other is to have the ability to express physics artistically. The so-called physics refers to the internal laws of the occurrence, development and change of objective things. Only by combining with reason can we draw the beauty of things and get the truth of things. If you want to know physics well, you must go through long-term careful observation and experience. "As for rocks, bamboos, water waves and smoke clouds, although impermanent, they have common sense", and those who have no deep understanding "may be able to do their best, but as for their reason, they cannot be distinguished unless they are superior" [2](P367). Su Shi talks about literature and painting bamboo, and thinks that "harmony can reach the dead wood of bamboo and stone, which is true." ......