Su Shi was a famous writer, calligrapher and painter in the Northern Song Dynasty.
Su Shi (January 8, 1037 - August 24, 1101), also known as Zizhan and Hezhong, was also known as Dongpo layman, and was known as Su Dongpo and Su Xian in the world. Han nationality, a native of Meishan, Meizhou (now part of Meishan City, Sichuan Province) in the Northern Song Dynasty. His ancestral home is Luancheng, Hebei Province. He is a famous writer, calligrapher and painter in the Northern Song Dynasty.
In the second year of Jiayou's reign (1057), Su Shi became a Jinshi. During the reign of Emperor Shenzong of the Song Dynasty, he served in Fengxiang, Hangzhou, Mizhou, Xuzhou, Huzhou and other places. In the third year of Yuanfeng (1080), he was framed for the "Wutai Poetry Case" and was demoted to Huangzhou as deputy envoy of Tuanlian. After Zhezong of the Song Dynasty came to the throne, he served as a bachelor of Hanlin, a bachelor of imperial examination, and a minister of the Ministry of Rites. He also went to Hangzhou, Yingzhou, Yangzhou, Dingzhou and other places. In his later years, he was demoted to Huizhou and Danzhou because of the new party's rule. Emperor Huizong of the Song Dynasty was pardoned and returned to the north, but died of illness in Changzhou on the way. During the reign of Emperor Gaozong of the Song Dynasty, he was posthumously given the title of Grand Master, with the posthumous title "Wenzhong".
Literary achievements:
Su Shi made extraordinary achievements in the creation of Ci. In terms of the development of a literary style itself, Su Shi’s historical contribution exceeded that of Su Wen and Su Shi. Following Liu Yong, Su Shi carried out a comprehensive reform of the style of Ci, finally breaking through the traditional pattern of Ci being "Yanke", improving the literary status of Ci, and transforming Ci from an accessory to music into an independent lyric poem. Style, fundamentally changed the development direction of Ci history.
Su Shi's transformation of Ci is based on his concept of Ci poetry integrating poetry and his creative idea of ??"being a family of his own".
Since the late Tang Dynasty and the Five Dynasties, Ci has been regarded as a "little way". Although Liu Yong dedicated his life to writing Ci and promoted the development of Ci style, he failed to improve the literary status of Ci. This task needs to be completed by Su Shi. Su Shi first theoretically dispelled the concept that poetry is superior and Ci is inferior. He believed that poetry and poetry have the same origin and belong to one body, and words are "the descendants of poetry." Although poetry and words have differences in external form, their artistic essence and expressive functions should be consistent. Therefore, he often compares poetry with poetry. Since he elevates poetry to the same status as poetry from a stylistic perspective, this provides a theoretical basis for poetry to move closer to the poetic style and achieve mutual communication and penetration between poetry and poetry.
In order to make the aesthetic taste of poetry truly keep pace with poetry, Su Shi also put forward the creative idea that poetry must "be of the same family". The theory of "we are one family" here is put forward in view of the "flavor" that is different from Liu Yong's poetry. Its connotations include: pursuing a magnificent style and broad artistic conception, the quality of poetry should be consistent with the character of the lyrics, and the lyrics should be consistent with the character of the person. It should be like writing poetry to express one's true temperament and unique life feelings. Because only in this way can "the writing be like the person he is" ("Reply to Zhang Wenqian County Prime Minister"), and be unique in the creation of lyrics. Su Shi always attached great importance to the integrity of his articles, but opposed following others' footsteps in literature. Therefore, he was dissatisfied with Qin Guan's lack of "character" for "learning from Liu Qi's lyrics".
Expanding the expressive function of words and opening up the context of words are the main directions of Su Shi's reform of word style. He expanded the traditional feminine tender words to masculine heroic words, and expanded the traditional love words to express temperament, so that the words can fully express the author's temperament, embrace and temperament like poetry. Personality personality. Su Shi allowed a benevolent person full of enterprising spirit, lofty ideals, passion and vitality to enter the world of poetry, changing the original soft sentiment of poetry, and ushering in the Xin School of poetry in the Southern Song Dynasty.
Like Su’s poems, Su’s poems often express thoughts about life. This kind of rational thinking about the destiny of life enhances the philosophical connotation of the words. Although Su Shi deeply felt that life was like a dream, he did not deny life because of this. Instead, he strived for self-detachment and always maintained a tenacious and optimistic belief and a detached and adaptable attitude towards life.
Su's poems relatively completely show the author's mental journey from positivity to contradiction and depression, his constant pursuit of transcendence and self-adaptation, and his wildly romantic, sentimental and thoughtful personality. Following Liu Yong and Ouyang Xiu, Su Shi further moved the lyrical characters in his lyrics from separation to unity.
Su Ci not only expands to the inner world, but also to the external world. The life scenes expressed in the literati's poems of the late Tang and Five Dynasties were very narrow, mainly confined to closed painting buildings, embroidered houses, pavilions and courtyards.
They use artistic appeal to enhance logical persuasion, so they are more beautiful than historical treatises and political treatises.
Su Shi's narrative travel articles perfectly combine the three functions of narrative, lyricism and discussion.
Since Su Shi's compositions are based on the principle of "expressive words", he does what he does when he should do it, and he stops when he should stop. There are very few nonsense words and sentences, which is most prominent in his note-taking sketches. For example, "Record of Chengtian Night Tour" has only more than 80 words in total, but its artistic conception is transcendent and its charm is meaningful. It is a masterpiece among the sketches of the Song Dynasty.
Su Shi's Ci Fu and Si Liu also achieved high achievements. His poems and poems inherited the tradition of Ouyang Xiu, but incorporated more of the sparse and scattered atmosphere of ancient Chinese prose, and absorbed the lyrical meaning of poetry. As a result, he was better than his predecessors and created "Red Cliff Fu" and "Later Red Cliff Fu". Such a famous article. "Red Cliff Fu" follows the traditional pattern of question and answer between the subject and the guest, and suppresses the guest and reveals the subject. It expresses his own philosophy of life and also describes the beautiful scenery of the Yangtze River on a moonlit night. The whole text uses a combination of parallel and prose, with both scenes and scenes, making it a beautiful prose poem.
Su Shi also embodied the flowing style even in No. 46 Middle School. The imperial poems he drafted when he was serving in the Hanlin Academy were rich and powerful, rarely seen in Taige texts. The confession he wrote after being demoted is even more heartfelt and touching. It is a rare work of character among the four or six bodies.
Su Shi's prose was as famous as Ouyang Xiu and Wang Anshi in the Song Dynasty, but from a literary perspective alone, Su Wen was undoubtedly the most accomplished among Song writers.