With his father and brother Su Zhe, he is also called "Three Sus".
When he was in Song Shenzong, he was highly valued. However, due to the struggle between the old and new parties, he was repeatedly relegated and became a local official in Hangzhou, Mizhou, Xuzhou and Huzhou. He was imprisoned for writing a poem "Visiting a State" and was demoted to Huangzhou after he was released from prison.
After several ups and downs, he was banished to Huizhou, Qiongzhou and Danzhou. Since then, he has lived a life of reading and painting.
The saying that people are honest, broad-minded and concerned about the country and the people is praised by the world.
Su Shi's calligraphy focuses on "meaning" and goes his own way.
Huang Tingjian, one of the "Four Bachelor of Sumen", said: "His calligraphy is very attractive ... until he drinks too much wine, he forgets himself and is clumsy, and his words are extremely thin ... As for the round rhyme of his pen, his articles are wonderful all over the world, and his loyalty runs through the sun and the moon, which is the first."
Charm can be said to be the biggest feature of his calligraphy.
Ming Dong Qichang even praised him for "making full use of the front, which is the Lanting of Po Gong".
Therefore, the beauty of Su's calligraphy is called "the beauty lies in the hidden front", "the ancient road is strong", "the body is strong and peaceful, the weather is graceful and abundant" and "the hidden skill is better than the clumsy", which is a great style, and its calligraphy theory implication is even more incisive, not only for the present world, but also for future generations.
Su Shi was a famous writer, painter and calligrapher in the Northern Song Dynasty.
Poetry is as famous as Huang Tingjian, and is called "Su Huang".
Ci is the originator of the uninhibited school, and it is also called "Su Xin" with Xin Qiji in the Southern Song Dynasty.
Prose is "one of the eight masters in Tang and Song Dynasties", and it is also called "Su San" with his father Su Xun and his brother Su Zhe.
You can draw bamboo and learn the same thing.
He is good at running script and regular script, and is also called "Song Sijia" with Huang Tingjian, Mi Fei and Cai Xiang.
This paper introduces his life and calligraphy achievements.
Su Shi was born in the fourth year of Jingshou (1037) and died in the first year of Jianzhong (11).
The word Zizhan, Ziping, and the word Zhong Ping, since the number Dongpo lay man.
Meishan, Meizhou (now Meishan, Sichuan) people.
He has received a good cultural education since he was a child. Because his father Su Xun is studying abroad, his mother Cheng teaches him to read and write.
Su Shi was clever and brilliant since he was a child, and he worked hard to help the world.
In the second year of Jiayou (1057), 22-year-old Su Shi was a scholar, and was later appointed as a judge of Dali, signed by Fengxiang House.
Yingzong Zhiping for two years (1065), in the history museum.
Shen Zongchao, who opposed Wang Anshi's new law, was appointed as the secretariat of Hangzhou and transferred to the secretariat of Mi, Xu and Hu.
In the second year of Yuanfeng (1079), Li Ding, an imperial envoy, and others accused Luo Zhi of "criticizing the current government affairs" in Su Shi's poems, and Su Shi was arrested and imprisoned.
This is the famous Wutai poetry case.
Due to many rescues and the intercession of Zongshen's mother, Su Shi was imprisoned for more than four months, then released from prison and demoted to assistant ambassador of Huangzhou Yingyong.
When Zhezong was in power, the old party abolished the new law. Su Shi was recalled to Beijing and moved to Zhongshu Sheren. Later, in addition to the Hanlin bachelor, he moved back to the Ministry of Rites and served as the Bachelor of Duanming Hall and the Hanlin Bachelor.
Because of disagreement with the ruling party, he thought that the new law should not be abolished, so he attacked the old party and made a statement about Hangzhou, Ying and Ding.
Later, I returned to Beijing, where I was the official minister.
Shao Shengyuan (1094) was relegated to Yingzhou, Huizhou, Qiongzhou and Danzhou (now Hainan Province).
He established Hui Zong, moved to Lianzhou and Yongzhou, returned to Yingzhou as a court minister, and put forward the view of Chengdu Jade Bureau.
It was not until six months before his death that he was pardoned. On the way back to the north, he died in Changzhou (now Jiangsu) at the age of 66.
Although Su Shi was politically opposed to Wang Anshi's political reform, he also had the requirements and specific actions to get rid of bad politics and seek welfare for the people, and made outstanding achievements during his tenure as a local official.
As a writer, he made outstanding contributions to the ancient prose innovation movement in the Northern Song Dynasty.
Su Shi's poems are all about work, especially seven words long, and even "words of ridicule can be recited in books."
Su Ci created the uninhibited school, broke through the content and style of love separation between men and women since the late Tang Dynasty and the Five Dynasties, and was another great innovation.
Su Shi also contributed to painting creation and theory.
He first used the name of "literati painting" and paid special attention to literati painting, which greatly promoted the development of literati painting.
Su Shi's multi-faceted cultural accomplishment and innovative spirit are also reflected in the art of calligraphy, and he has made outstanding achievements.
Su Shi dares to innovate.
"Tang people respect the law", but he thinks it is impossible to write and calligraphy.
He holds the pen sideways, using the flank, and is ridiculed, but the pen carries great strength and heroism.
He ignored the adage that "books are expensive and thin, hard edges are psychic" and used a fat and flat glyph to reveal Xiao's scattered spirit.
He showed his talent and knowledge in his calligraphy works, and his understanding of life philosophy and the triggering of individual emotions in his works.
Although Su Shi's talent is very high, the reason why he can form his own style, which is unique and unique depends on long-term perseverance and exploration.
As for the origin of Su Shi's calligraphy, Huang Tingjian once said: "Dongpo Taoist learned Lanting (referring to Wang Xizhi) for a few days, so his calligraphy style is as charming as Xu Jihai (Xu Hao), and he forgets his work when he is drunk, and his words are as thin and strong as Liu Chengxuan (Liu Gongquan).
When people reach middle age, they like to learn the books of Yan (Yan Zhenqing) and Yang Fengzi (Yang Ningshi), which are in tune with Li Yong.
As for rhyming with a pen, relying on the wonderful world of articles and loyalty to the sun and the moon, the good books of this dynasty should be the first.
"He added:" Dongpo copied Xu Huiji (Xu Hao) when he was young, and his pen was beautiful and charming; Middle-aged people like to write Yan Shangshu (Yan Zhenqing). If they really expect it, they want to be poor. In the evening, I like to learn from Li Beihai, which is as powerful as it is.
These two paragraphs basically summarize the changes and characteristics of Su Shi's calligraphy from early age to middle age until his later years.
Su Shi asked Jin people for advice.
Su Guo, the son of Su Shi, once said: "I am a gentleman first, and I am less happy with two books.
"From Su Shi's early works, such as Zhi Ping Tie, we can see that his posture is charming and romantic.
The richness and conciseness of Su Shi's cursive script are deeply influenced by Wang Xizhi and Wang Xianzhi, especially the reading skills and styles of the two rulers, which are also reflected in Su Shi's letters.
Su Shi sought a way out from the Jin people, and he had his own understanding and insight.
He once said in "After the Words Written in the Book": "If you give less, you will learn the book, and if you give less, you will take the pen from the back. No way. You know you will be famous when you grow up, but the servant doesn't think so.
Knowing books is not in the prison of pens. Haoran listens to the pen without losing his statutes.
"He believes that there is no fixed method for writing. The key is to make the pen smooth and vent the calligrapher's breath. The Jin Dynasty rhymes and is freehand.
According to this principle, he adopted the method of oblique principle, empty width and self-opening, and finally got the aesthetic essence of the calligraphers in Jin Dynasty: everything is free and lively, and the decoration is carved as much as possible.
Wang Sengqian in the Southern Dynasties also had a great influence on Su Shi.
Wang Sengqian, the grandson of four generations of Wang Xizhi, was a clean and honest official, and he wrote an extraordinary script. He had a lot of research on calligraphy theory, including writing fu, commenting on books, and praising his pen.
His running script is exquisite and rich, full of spirit and romantic spirit.
Wang Sengqian, a scholar of Su Shi, was mentioned in the postscript of Zhi Ping Tie by Wang Yideng in the Ming Dynasty: "Su Wenzhong's calligraphy came from Wang Sengqian, and he admired the small county posts in Jiang Ying. Who said that he could not learn from it! This book traces all kinds of monks and goddesses.
"Today, Hou Jingchang still believes that Su Shuyuan came from Wang Sengqian and Xu Jihai, and later participated in" Oriental Painting Praise ",and made a change by catching up with Zhong You and became more profound.
Tang Xian is another source of Su Shi's calligraphy.
He respects Yan Zhenqing the most and is deeply influenced by Yan Zhenqing. He often compares himself to Yan Lugong.
Huang Tingjian once commented: "We should learn from others and learn from each other. Both men and women are great men.
Su Shi first admired Yan Shu's spirit of political reform, which was consistent with his own creative spirit.
He also loves Yan Shu's heroic spirit, plump and charming brushwork, dignified and heavy knot and energetic composition, all of which are carefully selected.
In the Qing Dynasty, Liang (Shan County) said in the book review post: "Dongpo's book circle is famous for its beauty, and its turning point is ups and downs. The realistic version of Guifeng and the ancient book iron have a turning point.
Wang Shizhen in the Ming Dynasty also said: Wen Zhong's Book of Breaking the Nest originated from Duke Lu, but it was slightly closer to the monument.
His son Sue said a long time ago, "Did my former husband call himself a book? It is characterized by the greatest strength, which emanates from the chest, but it should be done by hand. Therefore, I don't see its charm, but stop at Zhang Fu, if there is a color that cannot be committed.
Teenagers like the books of "Two Kings", but they also like the night Yan Plain, so there are two schools.
From these comments, we can see that Yan Zhenqing and his books have influenced Su Shi's calligraphy in many ways.
However, Su Shi's makeover, coupled with his own casting, can compete with it.
The calligraphy of Xu Hao, Yang Ningshi and Li Yong is also the origin of Su Shi's calligraphy.
Xu Hao, whose name is Ji Hai, is an official of Prince Shao Shi. He is also known as Xu Huiji.
The emperor's imperial edicts are numerous.
Su Shi once wrote a poem: "Xu Shi and his son are also beautiful, and the words are hidden."
"Visible Su Shi has a good research on Xu Shu, and some words written in early and middle age are close to Xu Hao's style.
Wu Dexuan, a Qing Dynasty man, said in "On the Book of the First Floor": "Dongpo is in Shao Shi (referring to Xu Hao), which is similar in spirit but not in form. Judging from its brushwork, it is almost the same.
However, Su Guo said, "I don't know the common people, so it is foolish to learn from Xu Hao.
"Su Zhixue's words may be just one aspect.
Yang Ningshi was admired by the Song people, and Su Shi imitated Yang Shu's attitude, making him a hero with ups and downs and making him feel quaint.
Su Wu said to himself: The rest of the book is a bit like Yang Fengzi.
"Li Yong, also known as Li Beihai, marked by running script, is bold, elegant and changeable.
What is the paper money of Dongzhou Caotang in Qing Dynasty? It says: The swaying anecdote of monument and Ren monument, the simplicity of Duanzhou stone chamber, the grandeur of Lushan temple monument, the solemnity of Li Xiu monument, the beauty of Luzhengdao monument and the quietness of Lingyan temple monument.
Therefore, Su Shi's style of learning Li Yong and books is varied.
Su Shi took Liu Gongquan as an example and commented that "Liu's calligraphy is based on its beauty, but it can create new ideas, and its words are not empty words" (after Six Books by Bookstore).
Su Shi not only learns from the famous artists of the previous generation, but also pays attention to contemporary calligraphers.
He worships Ouyang Xiu very much and is very insightful. He once said: "Ouyang Gong's words are dangerous and powerful, and the font is novel and beautiful, and it is a family of its own.
""Wen Zhong uses a sharp pen to dry ink, and writes wide words, which are beautiful and infinitely moist.
Later generations look at it, such as seeing its eyebrows round, plump, like a leaf.
"He also praised Cai Xiang for saying that ... Cai Shucai is talented, knowledgeable, knowledgeable and abnormal, so he is the first in this dynasty.
At that time, Li Jianzhong, Song Xuanxian and others, who were highly respected by the world, were somewhat derogatory, saying "Song and Han customs" and "Yun Ge customs".
Su Shi's analysis of Cai's calligraphy pattern is also his own way of learning calligraphy.
Su Shi's own situation: "A servant's book is like Cai.
"Others, such as Wang Anshi, Huang Tingjian, Mi Fei, Qin Guan, etc. Su Shi had a discussion and exchange with them on calligraphy.
Especially for Mi Fei and Huang Tingjian, he commented: "The running script of Mi Fei and the grass of the princes also have high rhyme. Although the ancients did not catch it, they will be handed down to the world. "
Huang Tingjian comes from Su Shi's family. They are bosom friends. They often discuss calligraphy. On one occasion, Su Shi said, "Lu Zhi's words are clear, but his brushwork is sometimes too thin, just like a snake hanging from a treetop.
"Huang Tingjian said:" The word' male' dare not be lightly discussed, and it is shallow, like crushing a toad with a stone.
"Two people laugh, think each other's" disease "in the depths.
Su Shi drew nutrition from the previous generation and contemporary calligraphers, and all the ups and downs in his life influenced and promoted the growth of his calligraphy, and finally reached the realm of self-reliance.
Huang Tingjian once commented on his life experience: "Dongpo's early intentions are precise, not as natural as the boss.
Pengcheng was still fake before, and after Huangzhou, the brushwork was extremely powerful, and it was easy to distinguish between true and false.
It can be seen that the waves of Su Shi's life have changed to Huangzhou; Su Shi's calligraphy art has also changed in Huangzhou.
The deeper his experience, the more his calligraphy skills surpass himself.
After arriving in Danzhou, he made another change. For example, Yuan's Postscript of Su Shi's Nine Debates said: "Mr. Dongpo ... came back from Danzhou at the age of 20, and his handwriting is like ancient stones, like angry dragons and monsters fighting people, which is beyond the reach of calligraphers."
"In Su Shi's place, calligraphy, like his literary achievements, has become more and more brilliant with the passage of life and the deepening of experience, leading to a wonderful realm.
Inscription: put wonderful reasons outside the unruly.
Compared with the Tang Dynasty, the stele study in the Song Dynasty was dwarfed, and the brilliance of the stele study in the Tang Dynasty gradually declined in the Song Dynasty.
However, in the Song Dynasty, some calligraphers followed their predecessors with extraordinary skills, such as Cai Xiang's calligraphy tablet and Su Shi's.
Modern Hou Jingchang said: "When Cai Shu became famous, it was the day when Yan Shu flourished in the Song Dynasty.
However, there were very few calligraphers at that time, only Cai Nengzhi.
Dongpo can inherit the legacy of Tang stele, which shows his profound calligraphy skill.
""Except Cai Xiang, Dongpo has an ear.
"("collecting calligraphy? On Su Huangmi's Calligraphy Art) Although the inscriptions on Su Shi's books were destroyed by the complicated political struggle in the Northern Song Dynasty, there are still rubbings circulating, which shows Su Shi's achievements in epigraphy.
Post: Infinite shaft is fresh
Liu Xizai Art Outline? The outline of the book says, "People who read books are nothing more than watching them walk on the grass.
Dongpo talked about vivid charm and said, "If you sit with clothes on, you will never see the sky.
""Zhuangzi? Lieyu Kou says, "If you are drunk, just watch with wine.
"All this meaning also.
Although Su Shi showed his charm and artistic personality in the official book inscriptions, his charm was conveyed more incisively and vividly in the cursive script, which reflected his creativity.
Moral: It's no different from free travel.
Su Shi is also an outstanding art critic, who has a profound and unique exposition on literature, painting and calligraphy.
Through the evolution of calligraphy and poetry, he discovered the characteristics, transition and communication between Wei, Jin and Tang Dynasties.
For example, "Poems of the Later Huang Zisi" says: "The taste of books is the trace of Zhong (,) and Wang (), which is simple and far-reaching, and the beauty is beyond the strokes.
By the time of (Zhenqing) and Liu (Gongquan), ancient and modern brushwork had been published. With the change of calligraphy, the world suddenly became a master, while Zhong and Wang Zhifa benefited little.
As for poetry, the same is true.
Su (Wu) and Li (Ling) are natural, Cao (Zhi) and Liu (Zhen) are complacent, and Tao (Tao Yuanming) and Xie (Lingyun) are detached.
Li Taibai and Du Zimei, with a peerless attitude, have crossed over a hundred generations, and all ancient and modern poets have been abolished; However, since the Wei and Jin Dynasties, it has been extremely dusty and rarely declined.
After Li and Du, the poet continued to write. Although there was a long rhythm between them, he didn't understand it.
Only Wei and Liu Zongyuan sent their hair to Jane and Luobo, which is beyond my son's reach.
"Because of the prosperity of Yan and Liu Tizhi, loyalty and Wang Zhifa declined; Due to the rise of Li and Du, the ancient poetry of the Six Dynasties declined.
It can be seen that poetry and calligraphy are interlinked.
There are many secrets in Su Shi's view of poetry, calligraphy and painting.
This paper focuses on the "moral" theory in Su Shi's book theory.
From this, we can see the depth of his understanding of contemporary calligraphy style and past calligraphy history.
Su Shi said in the poem "On Two Rhymes": "Although I am not good at writing, Xiao Shu is nothing like me.
If you can understand it, you cannot learn it.
"There is also a poem in" Stone Drunken Ink Hall ":"Talking about pleasure is no different from leisure.
..... I can't make this book, and I'd love it.
"These comments on books with poems are flashing with the wisdom of calligraphy.
Song people regard calligraphy art as a great pleasure in life, which is used for freehand brushwork, enjoyment and leisure, regardless of work and rest, and the freedom to express the spirit in freehand brushwork.
Su Shi believes that it is a great pleasure in life to spend a lot of time in an environment with bright windows and good pen, ink, paper and inkstone.
Ouyang Xiu once said that calligraphy was "happy", and Su Shi also regarded calligraphy as just for comfort and meaning: "I was happy for a while, had a heart-to-heart talk, and forgot my old age, but I was still virtuous in Bo Ben.
He learned from his writing that "having fun is happiness" and "it is no different from a leisurely trip".
This is a kind of Masayuki who gets the soul, adjusts the color and rhythm of life and expresses the author's will, so he enjoys it.
Calligraphy is not only a kind of morality, but also a new idea.
Su Shi explained to himself: "Although my book is not very good, I am eager for quick success without practicing the ancients and creating new ideas.
"Innovation is a kind of self-expression; Not practicing the ancients is an ingenious creation.
Su Shi's calligraphy is really a pursuit of self-spirit, which shows its innocence.
Song people were interested in music, which was inspired by Su Shi, and influenced by Huang Tingjian's opposition to "vulgarity" and Mi Fei's emphasis on "genuine interest".
And those who are consistent, that is, do not be a "slave book", go beyond the secular, and let calligraphy freely express its spirit and interest!
Su Shi believes that innovation comes from reform, so he praises Yan Zhenqing: "Gong Yan's reform comes from innovation, and it is as skinny as an autumn eagle.
"("Sun Xin's old begging for ink and wonderful pavilion poems ").
Su Shi is eclectic, learning from others' strengths, seeking change and casting change, and has formed a unique style.
His "reformed" view of calligraphy was criticized by some people at that time, saying that "Dongpo's pen does not conform to the ancient law."
Huang Tingjian asked, "Nowadays, laymen like to satirize Dongpo, and he presents books with Hanlin rope and ink ruler. Do you know the meaning of law? " Both Huang Tingjian and Mi Fei got useful enlightenment from Su Shi's view of political reform.
Calligraphy seeks meaning, don't worry about clumsiness.
Su Shi once said: "Beauty is beauty, why not oval?" Su Shi's calligraphy was careless and clumsy, and he was also satirized by some literati at that time, or his books were often sick, "When a' brother' was sick, he lay on his wrist while writing, and he showed his left side and did his right side", and so on.
Huang Tingjian also argued: "Here we can see that he is peeping at the leopard in a tube and doesn't know the gist.
I didn't know that Xi Zi was holding his heart and raising his eyebrows. Although he is ill, he is very independent.
"However, I felt the harmonious heartbeat of the sacred unicorn, and Huang Tingjian was deeply aware of the wonderful truth of Su Shi's calligraphy.
Since calligraphy seeks meaning, there is no need to be melodramatic.
Su Shi said, "At the beginning of the book, I didn't say that Yoga Yu was Jia Er.
"(On Books) Calligraphy works are confessions of self-mind, so why should they be affected? Strive for its "good" if the temperature doesn't rise, and "good" won't come; When the melon is ripe, Jia comes uninvited.
He advocates that "Haoran listens to what the pen does without losing the statutes, so as to gain it" (on the book).
There is a noble spirit in your chest, so you can send it to your chest. If you answer with your hand, you can listen to what this pen is doing. It is like a spring, which gushes out indiscriminately and gurgles on the flat ground. Although it is not difficult to travel thousands of miles a day.
And its twists and turns with rocks, with the shape of things without knowing.
It is known that "what you do often stops at what you can't stop."
Of course, Su Shi pointed out that "keeping the statutes" is dialectical, and the main statutes are that "a book must have God, Qi, bone, flesh and blood, so it is not a book" (On Books).
If it can be transformed into a spirit, then it is not Yoga Yu's original intention that law and meaning can be mutually complementary, mutually beneficial and self-reliant.
This is the case with Su Shi's calligraphy skills, regardless of size, vertical and horizontal, and conception, but they are all satisfactory and have reached a natural state.
Calligraphy not only seeks meaning, but also takes the sage as an example.
Su Shi wrote in the poem "Wang Tie": "I am drunk, I am bald, chasing the world and calling myself a calligrapher.
Have you ever dreamed about the king and the clock, pretending to be blind and deaf?
As the city advocates wiping green and red, demons sing and dance to dazzle children.
Mrs Xie Jia is rich and elegant, but she also has her own shortcomings.
Tianmen swings and jumps, and birds sweep out of the forest.
The cursive script I gave you will continue, and I won't worry.
Su Shi pointed out here that Zhang Xu and Huai Su pursued secular interests and deceived the world.
He appreciated the charm of Xiao San's calligraphy of Zhong and Wang, and praised (his wife's) calligraphy for its elegance, elegance, detachment and wind in the forest.
He praised Wang Xianzhi for having two short lines and twelve characters in the quatrains in The Book of Prince Jing Tie in Liu Jingwen, which read "Thirty thousand signs of barometric wild marquis" (wild marquis refers to Li Mi in Tang Dynasty).
In this criticism and praise, it is revealed that Su Shi's aesthetic ideal of calligraphy is based on the calligraphy style of Jin people.
"It is not enough to write back to a mountain, but it will take a long time to read.
"("Liu Er's nephew begging for books ") He thinks that the art of calligraphy cannot rely on the hard work of bald pens, and high-grade calligraphy needs a high degree of cultural accomplishment.
Reading thousands of books, with profound knowledge and mutual infiltration of knowledge and art, can make people understand the spirit, make hands and eyes extraordinary and innovative.
These two poems have profound implications and are resistant to the human body.
Su Shi's theory of "meaning" was further developed by Huang Tingjian and Mi Fei, which condensed the thought of "respecting meaning" in calligraphy aesthetics in Song Dynasty.
Huang Tingjian said: "Planning with others is a self-contained family, which is realistic.
"("Give Several Books of the Right Army to Autumn Fourteenth ") Mi Fei said in the Book History:" What you want is drama, don't ask clumsy workers.
I am self-sufficient and my pen is empty.
"This is a game attitude towards calligraphy.
Viewing entertainment from calligraphy can be said to be a new understanding of traditional calligraphy.
In Song Dynasty, calligraphers focused on ideas, got rid of the shackles of Tang laws and pursued the true interest of Jin books.
However, the charm and interest of Jin people's calligraphy were closely related to politics, economy and culture at that time.
With different times, environments, social consciousness and fashions, it is impossible for Song people to return to the Jin Dynasty to advocate metaphysics and speak freely, and it is impossible to downplay divinity like Jin calligraphy.
Therefore, it is also the pursuit of true interest. Song people are different from Jin people.
Song people's calligraphy is unrestrained and uninhibited, and they get their meaning in frankness; Jin people's calligraphy is fresh, lively and natural.
Zhu said that calligraphers in the Song Dynasty, "As for Huang and Mi, a hundred flowers blossom" (Collected Works of Zhu Zi).
Zong Baihua, a modern man, also said: "The calligraphy of Su, Huang, Mi, Cai and others also tries to catch up with the style of Ren Xiaosan."
But it is always too artificial and exaggerated, and there is no nature of Jin people.
"("Shi Shuo Xin Yu Jin Ren Mei Lun ") Although Song people did not reach the charm of Jin people, they were different from Tang people in style and created a new realm of calligraphy, which was closely related to Su Shi's calligraphy concept and practice.
The first of the four families, romantic one hundred generations
Who ranks first in Song Sijia? Ancient calligraphers have different comments.
On the whole, Su Shi should be ranked first.
The main point here is that Su Shi played a key role in the creation and formation of calligraphy style in Song Dynasty.
In practice, due to his advocacy, the inscriptions in the Song Dynasty formed a new look different from that in the Tang Dynasty, and created a unique style of cursive script in the Song Dynasty in terms of post-study.
Theoretically, due to the influence of his fable theory, the concept of attaching importance to meaning penetrated into the hearts of calligraphers and became a direction of creative thinking.
In society, due to his special status and appeal, his calligraphy characteristics and calligraphy thoughts have influenced a large number of people and a generation of calligraphy styles.
As Yang Shoujing said: "Su Dongpo's book is naturally the first in the Song Dynasty, which has been circulated many times and is also well-known; When the second queen was crowned alone, it was a special moment.
"("Learn from you ")
In the Song Dynasty, many people studied Su Shu.
Su Zhe's ci is just like his brother's, and Gu Zhuo is full of energy, especially in his later years. The brushwork of the second son is similar to Weng's.
Huang Tingjian, under the leadership of Su Shi, first learned Su characters, and then got married.
Another example is Zhou Bangyan, Li Gang and Lu You. , everyone is mechanical Su Shu.
Scholars in Song Dynasty were proud of Su Shi's calligraphy.
Huang Tingjian once said: "Dongpo lay man is very willing to write, but he can't ask for it.
Beggars for books should be severely reprimanded, otherwise they will not agree at all.
In the lock test in Yuan You, I saw every time that the paper on the box was neither thin nor thick, and it was full of books.
Sex is like wine, only four or five people are drunk, lying down without politely declining, snoring like thunder, waking up less, and writing like rain.
Although the ridicule is meaningful, it is really a fairy.
Huang Tingjian recorded a story in "The Monument and Postscript to the Valley": Dongpo fled south. The discussant should pay attention to the fact that besides what he wrote, his stone carvings were often destroyed.
Xuzhou Huanglou, Dongpo, Zi Fu, Po.
The defenders could not bear to be destroyed and threw themselves into the moat of Shicheng. The first floor was named "Looking at the Wind".
In the last few years of Xuanhe, it is forbidden to relax a little. Once, you traveled to store Dongpo's articles.
People can't bear to destroy the monument written by Su Shi. Those who receive words make a fortune! After the Song Dynasty, many people studied Su Shu.
Wu Kuan, Tang Yin in Ming Dynasty and Zhang Zhidong in Qing Dynasty were all good at learning Su Shu, and countless people drew nutrition and inspiration from Su Shu.
Su Shi's book has been handed down from generation to generation, and it has a long history!