How is Su Dongpo's calligraphy level?

On the Characteristics of Su Shi's Calligraphy Su Shi (1037 ~ 1 1 year) was a famous writer, painter and calligrapher in the Song Dynasty (Northern Song Dynasty). He, his father, Su Xun, and his younger brother, Su Zhe, are famous for their literature, and they are called "Su San" in the world. In addition, Su Shi, Han Yu and Liu Zongyuan in the Tang Dynasty were called "the eight great masters in Tang and Song Dynasties" together with Ouyang Xiu, Su Xun, Su Zhe, Wang Anshi and Ceng Gong in the Song Dynasty. Su Shi is also good at calligraphy and regular script. Together with Huang Tingjian, Mi Fei and Cai Xiang, he is known as the calligrapher who can best represent the achievements of calligraphy in the Song Dynasty, and is collectively called "Song Sijia". Huangzhou cold food poem post is the most wonderful masterpiece of Su Shi's existing works, and is praised as "the third running script in the world" by later generations. Huang Tingjian said in Valley Collection: "Those who are good at books in this dynasty should take (Su) as the first." There are many people who study Su Shi's poems, essays and even his life stories. The writer's great aura is so dazzling that people can't see its brilliance as a calligrapher. Su Shi's calligraphy is not studied much today. I take the liberty of trying. First, Su Shi's calligraphy features 1, rich in pen and 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. Of course, rings are fat or thin, and everyone has different preferences. Some people fall in love with Su Shi's calligraphy at first sight, while others have a bad first impression of Su Shi's calligraphy. Zhao Mengfu commented on Su Shi's calligraphy, such as "It's terrible that a black bear is in power". Huang Tingjian also thinks that Su Shi's calligraphy uses too much ink. For this reason, in Su Shi's calligraphy, it is rare to see the dry pen flying white, but the words are rich in meaning. All Su Shi's works have this feature. Such as "debating teacher posts" and "posting with Chief Executive Dong". . 2. The knot is flat. Contrary to the slender shape of the fist, Su Shi's calligraphy is mostly flat. This feature is prominently reflected in his works, such as Fu on the Red Wall and Fu on Dongting Spring. 3, horizontal light vertical weight. This fully shows that Su Shi's calligraphy is obviously influenced by Yan Ti. This calligraphy feature is particularly evident in his work Future Tense and Xi Ci. 4. Stroke stretching. Those who have studied Huang Tingjian's calligraphy have a deep understanding of the extension of his calligraphy. Huang Tingjian was a student of Su Shi and was called one of the "Four Bachelor of Su Men". They have a deep personal relationship, and many anecdotes of Su Shi are related to Huang Tingjian. So Su Shi's calligraphy should have an influence on Huang Tingjian. Where is this influence reflected? Studying Su Shi's calligraphy and Huang Tingjian's calligraphy, it is not difficult to find that there is a * * * similarity in writing and even in writing, that is, they are both very stretched. 5, the weight is scattered. Scattered weight mainly refers to Su Shi's calligraphy, 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. 6. The size varies greatly. The weight of the pen and the size of the font are almost a major feature of many famous calligraphy. But in the same work, Su Shi's calligraphy is unique because of the disparity in font size. For example, the word "crying and painting poor" in the cold food post. The proportion of these three words is greater than the proportion of five words in the previous line. This disparity in font size gives people a strong visual impact and actually expresses a strong emotion in the writing process at that time. This situation is also reflected in Wuchang Xishan poetry posts. 7. 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 or affectation. Coupled with the rich and colorful words, a gentle and virtuous lady doesn't feel strange, but suddenly feels close and warm. In junior high school on 13, the school issued a copybook for middle school students, with some famous works attached for local appreciation. There are several lines of Su Shi's Red Cliff Fu. Among many famous works, Du Sushi's works give me such a unique feeling. Remember "there are few stars on the moon, and birds fly south." Isn't this a poem by Cao Mengde? " Those charming, naive, gentle and simple sentences left a deep impression on me, but I can't remember the works of others in the appendix. Second, the source of Su Shi's calligraphy Su Shi himself said that "my book was impossible"; There is another cloud: "Be innovative, not practicing the ancients." Su Shi claimed that his calligraphy was impossible. In fact, he didn't throw away these laws. He also pays attention to methods, but that method is different from that of the Tang Dynasty. Just because Su Shi said he didn't practice the ancients doesn't mean he didn't learn from them. At least, his calligraphy was influenced by Yan Zhenqing. The color body is characterized by horizontal light and vertical heavy, and the head of the silkworm dovetail nail is hooked. However, Su Shi did not accept all the orders, but absorbed its characteristics of horizontal lightness and vertical weight. In fact, he also admired Yan Zhenqing. In his overall evaluation of China's traditional culture, he said: "Poetry is great, literature is great in North Korea, calligraphy is great in beauty, and painting is great in Wu Daozi, but the changes of ancient and modern times can achieve everything in the world." . It means that he thinks that Du Fu's poems, Han Yu's writings, Yan Zhenqing's calligraphy and Wu Daozi's paintings are all perfect and can reach their level, so everything in the world can stop here. Su Shi has obviously studied many famous artists. Some people say that he studied under the famous artists of Jin, Tang and Five Dynasties, and became a family by worshipping Wang Sengqian, Li Yong, Xu Hao, Yan Zhenqing and Yang Ningshi. Su Shi's calligraphy draws nutrition from Yan Zhenqing's calligraphy, as mentioned earlier. As for what nutrition his calligraphy has learned from Wang Sengqian, Li Yong, Xu Hao and Yang Ningshi, the author has not made a comparison, so I dare not talk nonsense. Third, the reasons for the formation of Su Shi's calligraphy style Throughout the ages, countless people have studied ancient calligraphy. Because everyone's preferences are different, it is inevitable that when they are converted into their own words, they will have their own personal colors and form their own calligraphy style. Su Shi's calligraphy, of course, absorbed nutrition from the ancients, but after all, his calligraphy is still self-contained. Where did this style come from? In my opinion, if we want to study Su Shi's calligraphy style, we must study Su Shi. The so-called word is as its name implies. Fundamentally speaking, what kind of people you want to be, what kind of words you want to write. Of course, we can also study his people and even his mood when writing a book from his words. 1, Su Shi's calligraphy style is related to his profound humanistic accomplishment. Su Shi was one of the eight great poets in Tang and Song Dynasties. As a generation of great writers, poems and songs are well written, well written and well painted. Especially in Ci, he liberated Ci from the vassal position of poetry and created the bold school, which made Song Ci, Tang Poetry and Yuan Qu rank as the three peaks in the history of China literature. His paintings created the theoretical basis of freehand brushwork. It should be said that, as an encyclopedic figure, Su Shi is the only one among the eight masters in Tang and Song Dynasties. In the history of China, it is hard to find another person who can compare with him. In Misha's post, Su Shi sighed after seeing Misha's words: "I will never stop writing poetry and calligraphy." On the other hand, Su Shi once spoke highly of his poems and calligraphy. Talented people think highly of their poetry and calligraphy, and naturally they are a little arrogant. On the positive side, the higher the knowledge, the higher the knowledge, and the higher the taste and realm, so painting and calligraphy are nothing. In Su Shi's eyes, writing, writing and drawing are just expressive things, just seeking nature. Because of this, Su Shi "can write in Dont Ask For Help, be good at painting and selling in Dont Ask For Help, and write to my liking, because it is sold in Dont Ask For Help, so it is natural." "You ask me how to write my truth, and it is appropriate for you to say it well." "Everything is pleasing to people, not enough to move people, such as painting and calligraphy." It reveals that Su Shi, as a scholar-bureaucrat, takes calligraphy and painting as the carrier to express his feelings and pursues the expression of his own temperament. Some people classify it as "Shangyi". Moreover, it is different from calligraphy before the Tang Dynasty, that is, it pays attention to statutes. He also regarded Su Shi as the leader of "Shang Yi". In this regard, the author does not agree. As we all know, in ancient times, the brush was the main writing tool, and writing or calligraphy was actually the carrier of expressing feelings. This is the case with Xu Lanting, and so is the manuscript of Sacrificing a Nephew. Why should we say that calligraphy before the Tang Dynasty was "respecting the law" and it became "respecting the will" after Su Shi in the Song Dynasty? I think not, just because Su Shi is not only a great writer, but also a great calligrapher. Standing at his height, he spoke openly about the characteristics of calligraphy for the first time. It is not that calligraphy "respecting meaning" began with Su Shi. The reason why Su Shi's calligraphy is simple, heavy, peaceful, tall and straight, dignified and beautiful, without affectation and unrestrained, is unique in the book world. In a way, I think it has something to do with his profound humanistic cultivation. Because only he really understands that calligraphy should be a tool to express emotions. 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. Because of this, the calligraphy he left further verified his calligraphy view, that is, "it is natural because it is not sold." Of course, this view may not be entirely Su Shi's. Some people say that the calligraphy of literati in Song Dynasty is a general trend. At that time, the development trend of calligraphy was that the literati's mentality was elegant and elegant, and the bureaucratic posture was solemn and solemn. He also said that Su Shi tended to be a scholar-bureaucrat, and used this as an argument for "respecting the will". I thought Su Shi was a scholar, but since he was 2 1 year old, he has been an official. Despite his bumpy career, he has always been a bureaucrat. So, where does his book style develop? Some people say Su Shi, Huang Tingjian, etc. In front of calligraphy, it shows a typical scholar-bureaucrat mentality. In order to better express their feelings and better shape their morale with their all-round artistic talents, the knowledgeable scholar-bureaucrat class tries to get rid of using calligraphy. Su Shi's remarks such as "I didn't want Yoga Yu to be good at the beginning of this book", "This book is beyond my intention", "Pointing painting is unreliable" and "I don't care about the beauty of the wall" prove that Su Shi belongs to the atmosphere of advocating personal interests. This view is not entirely correct. Su Shi is a combination of literati and bureaucrats. For him, learning and being an official are integrated, and there is no clear boundary between them, so there is no choice between the two trends. He has always insisted on natural expression. It is easy to understand that there are two trends. This is common sense, because of etiquette, it is not convenient to write at will, so the ink left behind is solemn. The most typical is Cai Xiang's Xie Yu Ji Shu, which is respectfully written. Even for Su Shi, the post is a social reply, so it is more formal, and Fu on the red wall is not chic enough. Can this be used to identify the solemnity of Su Shi's calligraphy style tending to bureaucratic situation? Of course not. Isn't it ridiculous that later generations drew two trends in the book world of the Song Dynasty? 2. Su Shi's writing style is related to his untimely personality. The unique style of Su Shi's calligraphy is related to his personal character. What is Su Shi's most prominent personality? Inappropriate In an article introducing Su Shi's three wives, one paragraph reads: Su Shi's third wife is Wang Chaoyun, his concubine, twenty-six years younger than Su Shi. When Su Shi was in the most difficult time, Wang Chaoyun always accompanied him. Wang Chaoyun is Su Shi's confidante, and Su Shi wrote the most poems to Wang Chaoyun, calling her "Vimo Goddess". Unfortunately, Chao Yun died eleven years after he was rehabilitated, that is, before Su Shi. After Chao Yun's death, Su Shi has been widowed and never remarried. In accordance with Chaoyun's wishes, Su Shi buried his dead wife in the pine forest under the Great Sage Tower of Qi Temple at the southern foot of Gushan Mountain in Huizhou West Lake, and built six pavilions beside the tomb as a memorial. The couplet written is "out of date, only Chaoyun can know me; A person plays the old tune and misses you every time it rains. " There is a famous allusion in this couplet: "Dongpo retired from the DPRK for one day and ate." Gu walked slowly and said to his servant, "What is the way of your generation?" A maid suddenly said,' It's all articles', but Poe disagreed. Another person said,' full of knowledge'. Porter didn't expect when it would be. Say to the cloud,' the bachelor's belly is out of date. Poe burst out laughing. "It is precisely because Su Shi's untimely life has led to ups and downs in life and frustration in officialdom. First, Wang Anshi's political reform, Su Shi opposed the political reform, so he was not allowed to be in the court; When the new party forces fell, Sima Guang and others who opposed the political reform came to power, Su Shi was recalled for reuse. Su Shi did not like the emerging forces desperately suppressing Wang Anshi's group figures, abolishing the new law and opposing the new party again. At this point, it was neither tolerated by the new party nor forgiven by the old party, and then it was transferred and released. The new party came to power again and was demoted. Su Shi's anachronism is reflected in his calligraphy, which has formed some unique characteristics: others use moderate ink, but he uses strong ink; Others write, he seeks peace; Other people's handwriting size is symmetrical, but his handwriting size is quite different; Others emphasize the strictness and seriousness of laws, and he emphasizes randomness and naturalness; Others pursue gorgeous fashion, and he pursues simplicity and rudeness. Others say that Su Shi's brush is also different. His pen holding technique is similar to that of modern people. In this regard, there is no research. He is so different. Yes, in his character, there are both "the river does not return, the waves are exhausted, and the eternal romantic figures"; There are also "dreams come at night and suddenly return to my hometown." Xiao Xuan window, get dressed. No words care for each other, only a thousand lines of tears; There are both the pride of "the old man talking about juvenile madness, holding the sky in the left and pulling the yellow in the right, wearing a golden hat and mink fur and riding a thousand rolls of flat hills" and the embarrassment of "cooking cold dishes in the air and burning reeds in the kitchen"; I hated this body for a long time, but I didn't. When can I forget the camp? The night was calm and the lines were flat. The boat left, leaving the river and the sea, and spent the rest of their lives. There is another swan song: "My heart is like gray wood, and my body seems to be not tied to a boat. I ask your occupation, Huangzhou Huizhou Danzhou ". And these, with his calligraphy, are not in the same strain? 3. Su Shi's writing style is related to his bumpy life experience. Huang Tingjian commented on Su Shi's calligraphy, "In his early years, he used a pen skillfully, which was not as natural as the boss"; Another cloud said, "When I arrived in Huangzhou, my pen was very strong." However, in his later years, Su Shi was influenced by overseas storms. In addition, his knowledge, mind and knowledge are outstanding everywhere, and his life has been ups and downs. His calligraphy style is ups and downs and boundless. You can imagine that he is a person by looking at his calligraphy. In other words, Su Shi's calligraphy is different in early age, middle age and old age. The fundamental reason for this difference is that his life experience has changed too much. In other words, Su Shi's calligraphy style is closely related to his life experience. Su Shi's life is a bumpy one. This can be seen from his chronicle. 1036 Su Shi was born; 1054 Marry Wang Fu; 1057 Zhongshi Stone; Mother's funeral; Filial piety (1057.4-1059.6); 1059 family to Kyoto; 106 1 was the judge of Fengxiang; 1064 worked in the history museum (the first year of Yingzong Zhiping-four years (1064-1068)); 1065 wife's funeral; 1066 father's funeral; Filial piety for three years (1066.4-1068.7); 1068 marry Wang Runzhi; 1069 back to Beijing; Work as a history museum; 107 1 any supervision; As a judge in Hangzhou; 1074 ren mizhou satrap; 1076 was appointed as Xuzhou satrap. During this period, there was no ups and downs in official career, but it was not reused. It's just that relatives have passed away one after another and suffered some emotional blows. Since 1079 was appointed as the satrap of Huzhou, Su Shi began the first trough in his life. I stayed in prison for more than 100 days and almost lost my life. 1080 exiled to huangzhou; 1084 to Changzhou. At this time, the new party of the imperial court collapsed, and Su Shi's career turned around again. 1085 to Dengzhou; Ren Dengzhou satrap; To Kyoto; Ren Zhongshu Scheeren; 1086 made an imperial edict with the knowledge of Hanlin bachelor; 1089 was appointed as the satrap of Hangzhou and commander of the western Zhejiang military region; 109 1 is the official minister; Go to Kyoto. But kyou-kan was not good, so he was invited outside. Ren Yingzhou satrap; 1092 as Yangzhou satrap; Department of War History; History of rites. 1093 wife's funeral; The queen mother died; The new party is back in power. Su Shi's career turmoil has resurfaced. He began to be marginalized. First, adjust the county magistrate; 1094 began to be demoted to Huizhou; Exile in Huizhou; 1097 to Hainan; Exile in Danzhou, Hainan. It has been11kloc-0/year since someone remembered him again in the imperial court. He began to return to the north; Go to Changzhou; He died soon. His life is so ups and downs, countdown. Only after experiencing the baptism of these storms will there be all kinds of passionate poems and calligraphy, either sad or safe or happy. This emotion changes with the fluctuation of life, not only in his poems, but also in his calligraphy. Only through these experiences can we see life so thoroughly, embody it in articles, and write it so boldly and profoundly; Embodied in calligraphy, it can be so rich and ups and downs, innocent and vast!