In literature, Su Shi's viewpoint comes down in one continuous line with Ouyang Xiu's, but he emphasizes the originality, expressiveness and artistic value of literature. His literary thoughts emphasize "doing something and not doing something", advocating nature, getting rid of bondage, and "innovating statutes and releasing wonderful ideas". In calligraphy, Su Shi was the first of the four great masters in the Song Dynasty. He not only has a distinctive style of calligraphy, but also has a far-reaching influence on calligraphy criticism in later generations, and he has also made great contributions to calligraphy theory. More importantly, he advocates a generation of artistic style, pays attention to the embodiment of self-spirit and emotional catharsis, pursues a highly liberalized creative state, and creates a new style of "Song People's Art".
Regarding the origin of Su Shi's calligraphy, Huang Tingjian once commented: "Dongpo Taoist learned Lanting in a few days, so his calligraphy posture is as charming as Xu Jihai, drunk and forgetful, and his words are as thin as Liu Cheng's. In middle age, I like to learn from Yan and Yang Fengzi. They get along well with each other. As for the rhyme of the pen, the beauty of the article lies in the world, and loyalty lies in the spirit of the sun and the moon. This kind of book should be the first. " This shows that Su Shi's calligraphy is deeply influenced by his predecessors. He studied the calligraphy of Li Yong, Xu Hao, Yan Xiqing and Liu Gongquan. Su Shi was deeply influenced by Yan Zhenqing's calligraphy in his middle age. He once said: "Poetry stops at Yan." Under the influence of Yan Zhenqing's innovative spirit of calligraphy, he tried to absorb the nutrients in Yan Shu, learned the wisdom of others, pursued innocence and simplicity in pen and ink, and paid more attention to emotional catharsis.
Su Shi's Fu on the Red Wall in Song Dynasty, silk edition, 24.57cm×25 1cm.
Judging from the shape of calligraphy, Su Shi's calligraphy has the following characteristics: first, it is full and fascinating; Second, the font is flat and sideways; The third is to use the technique of lying pen. The above three points constitute the unique style of Su Shi's calligraphy. Su Shi's calligraphy is good in all aspects, but it has the greatest influence on later generations, and it is his running script that best embodies the characteristics of Song people's "Shang Yi" calligraphy style. And his running script has made a qualitative leap in Huangzhou. Calligraphy in Huangzhou period is the most important turning point of Dongpo's transition to "Shang Yi" calligraphy style, and it is also the peak of his artistic creation. The famous works of this period include Du Fu's Alnus cremastogyne, Huangzhou Cold Food Post, Qianchibi Fu and so on. Among them, Huangzhou Cold Food Post is the most wonderful, and it is known as the "third running script in the world" after Wang Xizhi's Preface to Lanting and Yan Zhenqing's Sacrifice for Nephew. This post is heroic and supernatural, which makes Dongpo's resentful and depressed mood unrestrained in the state of unintentional Yoga Yu, and makes his brushwork surprisingly vertical and horizontal, just like a god. His stippling is firm and sure, calm and dignified, and his brushwork is slow but not dragging, which can make it astringent and smooth. The glyph is mostly horizontal, which has the feeling of "grinding a toad with stones". In terms of composition, the rhythm of the first few lines of small characters is gentle, and then the writing speed is accelerated, and the font gradually becomes larger, the line spacing is wide or narrow, and the word spacing is large or small. The last row of independent small characters echoes the beginning, and the ink is thick and radiant.
Su Shi's pursuit of calligraphy and strokes is vigorous and full of flesh and blood. He put forward in On Books: "A book must be one of God, Qi, bone, flesh and blood, not necessarily a book." Su Shi believes that the art of calligraphy must have spirit, strength, vitality, flesh and blood, and be full of pen and ink. Without one of these five things, it is not a successful calligraphy art. He puts "God" in the first place, that is, he puts the beauty of artistic conception above physical expression, which has a far-reaching influence on calligraphy criticism in later generations. At the same time, Su Shi is also skeptical about the ethos of writing books based on character formed in Wei and Jin Dynasties.
The book style of "respecting meaning" advocated by Su Shi had a great influence on the Song Dynasty and later generations. The calligraphy concept advocated by Su Shi has influenced a generation all over the world, and together with Huang Tingjian, Mi Fei and others, he raised the banner of "respecting meaning". Su Shi's calligraphy achievements have added a brilliant stroke to China's calligraphy.
In painting, Su Shi is good at painting ink bamboo, and his paintings are as heavy as spirit. He advocated that painting should have feelings beyond painting, painting should have sustenance, and opposed similarity and procedural constraints. He advocated "the unity of poetry and painting, ingenious and fresh" and clearly put forward the concept of "literati painting", which laid a certain theoretical foundation for the future development of "literati painting".
Painting appreciation:
Dead wood and bamboo stone map
The picture of ancient wood and strange stones, also known as the picture of wood and stone, is the most credible one of Su Shi's existing paintings and the representative work of the literati's "ink play" in the Northern Song Dynasty. This picture has no paragraphs. According to the poems inscribed by Liu Liangzuo and Mi Fei and Su Shi's painting style recorded by Song people, it is recognized as Su Shi's work. The picture of dead wood and strange stones shows Su Shi's philosophy of life. There is a dead wood in the painting, and its posture is like a twisted and struggling body, showing infinite vitality and strong momentum. There is a strange stone under the tree, sharp and hard, but the stone tablet hovers like a whirlpool. Fiona Fang is both strange and ugly, and seems to be spinning rapidly, causing a sense of movement in the picture and showing the tenacious vitality of this stone.
It's strange to draw a strange stone on the left side of the picture. I can't understand its structure if I regard the arc of its stone covered with hooks as the texture of the stone. On the right is an old tree worn out by a stone. Its branches are dry, much like a group of antlers forked left and right, but there are also strange places, that is, the crooked tree body, which has turned around to the top like never before. Even Mimi feels "inexplicable, for no reason."
To be read Dongpo's poem on painting: "On the similarity of painting, there are children in the neighborhood." This just a little understand, originally Su Dongpo has no intention of realism. Thinking of his respected cousin Wen Tong, he drew an "S"-shaped "bamboo stick" to express his intention of struggling upward despite being crushed. So, is the trunk painted by Dongpo pinned up and turned up? Dongpo suffered many setbacks and blows in his life. Confucianism, Taoism and Buddhism have far-reaching influence, and he advocates "noble spirit", so it is reasonable to put something in the painting. From the pen and ink point of view, whether it is the texture of strange stones or the branches of ancient trees, they are all based on a center with profound skills, and the lines are beautifully curved, which is obviously the fashion of the Northern Song Dynasty.
It was rare to choose ancient wood and strange stones as the theme at that time, and its intention seemed to carry forward the realm of "literati painting" advocated by him. As far as the influence of "simplicity" and "quaint and secluded" is concerned, in the Yuan Dynasty, dead wood and bamboo stones became a hot topic among scholars like ink bamboo painting. On both sides of this painting, there are 12 seals: the seal of Yong Bao, the master of both civil and military skills, the son of the prince, the authentic identification of Shuangguitang, the appropriate amount of Zhai, the innocent heirloom, the right hand, the seal of the painting of Zongdao and so on. And there are three words that are difficult to distinguish.
Zhu Mo Map by Su Shi in Song Dynasty, 42cm×46cm.
Su Shi's Immortal Vertical Axis Ink Silk Edition of Dianthus caryophyllus
The whole picture of Dianthus takes a bamboo as the protagonist, from the ground to the top, highlighting its towering. There are some small bamboos beside them. The front leaves are thick ink waves, and the back leaves are light ink, with distinct layers and appropriate density. Behind the bamboo stands a strange stone. The shape of the stone is written in freehand brushwork and then rendered in light ink. The body feeling of the stone is painted in Yin and Yang, which fully embodies Su Shi's painting style: attaching importance to the shape, advocating the feeling outside the painting, painting on the basis of sustenance, and opposing similarity and procedural constraints. There are many inscriptions in the picture, all from the hands of famous artists in past dynasties, which shows that Su Shi's paintings are deeply recognized and loved by future generations.
Su Shi's Xiaoxiang Bamboo Stone Map
"Xiaoxiang Bamboo Stone Map" is 28 cm long and 105.6 cm wide, in silk. The picture itself has an inscription by Yang Yuanxiang in central Hunan, followed by 26 inscriptions by Ye Zhuo, Qian Fu and Deng Yuanming. There are more than 3,000 words of inscriptions, which began in the reign of Xu Jia of Hui Yuan Zongyuan Series (1334) and ended in the reign of Jiajing Xinyou of Ming Shizong (156 1). "Xiaoxiang Bamboo Stone Map" is unique in composition, unique in originality, long in scroll composition and high in artistic generalization, which makes the picture full of tension and makes people read thousands of miles in a "narrow frame". This is a model of China literati painting with bamboo stone as its spiritual feeling.
Su Shi has few paintings and many calligraphy works. In the future, Su Shi's calligraphy works will be specially arranged for everyone to appreciate and learn.
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