poetic sentiment
summary
Li Bai has the highest achievements in Yuefu, Gexing and Jueju. His songs completely broke all the inherent forms of poetry creation, no one relied on them, and his brushwork was diverse, reaching the magical realm of unpredictability and swaying. Li Bai's quatrains are natural and lively, elegant and chic, and can express endless feelings in concise and lively language. Among the poets in the prosperous Tang Dynasty, Wang Wei and Meng Haoran were good at the Five Wonders, while Wang Changling and others wrote the Seven Wonders well. Li Bai is the only one who is good at both the Five Odds and the Seven Odds.
Li Bai's poems are magnificent and elegant, and his artistic achievements are extremely high. He eulogized the mountains, rivers and beautiful natural scenery of the motherland, with bold and unrestrained style, elegant and fresh, full of romantic spirit, and achieved the perfect unity of content and art, so he was called the "fallen fairy". His poems mainly described the mountains and rivers and expressed his inner feelings. Li Bai's poems have the artistic charm of "the pen is shaken by the wind and rain, and the poem makes the gods cry", which is also the most distinctive artistic feature in his poems. Li Bai's poems are full of self-expression and subjective lyricism, and the expression of feelings is overwhelming. He and Du Fu are called "Big Du Li" (Li Shangyin and Du Mu are called "Little Du Li").
In Li Bai's poems, imagination, exaggeration, metaphor, personification and other techniques are often used comprehensively to produce magical brilliance and magnificent artistic conception, which is the reason why Li Bai's romantic poems give people heroic and unrestrained, elegant and immortal.
Li Bai's poems and songs had a far-reaching influence on later generations. Han Yu, Meng Jiao and Li He in the middle Tang Dynasty, Su Shi, Lu You and Xin Qiji in the Song Dynasty, Gao Qi, Yang Shen and Gong Zizhen in the Ming and Qing Dynasties were all greatly influenced by Li Bai's poems.
style
Bold and unrestrained, fresh and elegant, rich in imagination, wonderful in artistic conception, wonderful in language, romantic and clear in artistic conception.
Li Bai lived in the prosperous Tang Dynasty. He has a heroic personality and loves the mountains and rivers of the motherland. He traveled all over the country and wrote many magnificent poems praising famous mountains and rivers. His poems are bold, fresh and elegant, with rich imagination, wonderful artistic conception and light language. People call him "Poet Fairy".
Li Bai's poems and songs not only have typical romantic spirit, but also have typical romantic artistic characteristics from the aspects of image shaping, material intake, genre selection and the application of various artistic techniques.
Li Bai successfully shaped himself in his poems, expressed himself strongly, and highlighted the unique personality of the lyric hero, so his poems have distinct romantic characteristics. He likes to express himself in a magnificent image, expressing his feelings in his poems without disguise or restraint. For power, he "holds a chrysanthemum and stirs two thousand stones" (one of the two songs "Send Cui Shiyu after Drunk"); Seeing the hard work of the working people, he was "heartbroken like rain". When the country was destroyed and the people perished, he vowed to cross the river to clear the Central Plains. Draw a sword and hit the front column, and the sad song is hard to recover "("South Ben Shu Huai "), so impassioned; When drinking heartily with friends, "two people fall in love, one cup after another." I'm drunk and want to sleep. The Ming Dynasty intends to hold the piano ("Mountain Lovers"), which is so naive and straightforward. In a word, his poems vividly show his bold character and bold image.
Boldness is the main feature of Li Bai's poems. In addition to the factors of ideological character and talent, the artistic expression and genre structure used in Li Bai's poems are also important reasons for his bold and elegant style. Being good at relying on imagination and being subjective and objective are the important characteristics of romantic artistic techniques in Li Bai's poems. Almost every article has imagination, and some even use a variety of imagination throughout. Realistic things, natural landscapes, myths and legends, historical allusions and dreamland have all become the media of his imagination. With the help of imagination, we often transcend time and space, interweave reality with dreams and fairyland, and interweave nature with human society to reproduce objective reality. The images in his works are not the direct reflection of objective reality, but the externalization of his inner subjective world, which is the truth of art.
One of the artistic techniques of romanticism in Li Bai's poems is to skillfully combine personification with metaphor, empathize with things and compare things with people.
Another romantic artistic technique in Li Bai's poems is to grasp a certain feature of things and boldly imagine and exaggerate on the basis of real life. His exaggeration is not only strange in imagination, but also always combined with concrete things, so natural and unobtrusive; So bold, true and credible, it has played a role in highlighting the image and strengthening feelings. Sometimes he combines bold exaggeration with sharp contrast to enhance the artistic effect by increasing artistic contrast.
Li Bai's best genre is seven-character poems and quatrains. Li Bai's seven-character song also adopts the structure of opening, closing, jumping and swinging. The beginning of a poem is often abrupt, such as a sudden surge, while the middle image of the poem is abrupt, often omitting the transitional care, as if there is no trace to follow, and the end of the poem comes to an abrupt end at the emotional climax.
Li Bai's quatrains of five or seven words can better represent the fresh and lively style of his poems. For example, the beauty of "Come to Baidicheng early", "Farewell to Meng Haoran on the way to Yangzhou" and "Thinking of a Quiet Night" lies in "only looking at the prospect and oral language, but there are overtones and foreign flavors that keep people away." (On)
The language of Li Bai's poetry, some fresh as spoken language, some bold, informal and close to prose, is unified in the natural beauty of "clear water produces hibiscus, natural carving" This is related to his conscious pursuit of natural beauty. He inherited Chen Ziang's literary thought and took it as his duty to restore the tradition of poetry and Sao. He once said, "Since Liang Chen, Yan Bo has been extremely thin, and Shen Xiuwen still pays attention to temperament and must go back to the ancients, not me but who?" (Bai Meng's "Gao Yi") He advocates "halal" and satirizes the ugly girl who is "naive" and learns from Handan. The natural beauty of his poetic language is the result of his careful study of folk songs and his understanding of popular characteristics, which is clear as words, popular and vivid.
representative works
"Looking at Lushan Waterfall" will be filled with wine, and the road is difficult. In my dream, Tianmu Mountain will climb high, chivalrous, spring thinking and Qiu Ge.
Literary forms like Fu.
There is no unanimous conclusion as to whether Li Bai created ci, but there are about 20 works that have been handed down as Li Bai's ci, such as autumn wind ci, knot socks, Bodhisattva Man and Qin Yi E, and their authenticity and whether they can be classified as ci.
As far as its pioneering significance and artistic achievements are concerned, "Li Bai's Ci" enjoys a high position in the history of Ci. This position is just like the position of ancient Greek mythology in western art. As an unattainable norm, Li Bai's ci has become an eternal idol in people's hearts. Li Bai has made great contributions to the formation of the text mode and the creation mode of ci.
In fact, Li Bai will never be forgotten in all the anthologies and collections of Tang and Song Ci, or at least one sentence should be mentioned in the preface and postscript. As the first great poet in the history of literature, although the copyright of only a few poems is often questioned, no one has ever expressed any dissatisfaction or criticism to him. If the world's first poet is selected, Li Bai will undoubtedly be elected as the "King of Ci" by unanimous vote.
calligraphy
Shangjietie is a cursive script with four words and four lines written by Li Bai, and it is also the only authentic calligraphy handed down from generation to generation.
Li Bai's pillars on the balcony
Li Bai's pillars on the balcony
Paper, 28.5 cm long and 38. 1 cm wide. The cursive script has 5 lines and 25 words. The secretary uses the word "Taibai". Quoting the title of "Qinglian Han Yi" in the regular script of Emperor Li Hong, Emperor Gaozong of Qing Dynasty, the title of "Tang Li Taibai Shangjie" is engraved on the upper right of the text, and the title is Song Huizong Evonne Bojinshu. , Yan,, Du Ben, Ouyang Xuan,,, Qi Lu, Qing Ganlong and others wrote and watched. There are Zi Gu and Dong Zhai of Zhao in Song Dynasty, Chou He's book of Jia Sidao, Zhang Qian's private seal in Yuan Dynasty and Ouyang Xuan's seal in Ming Dynasty, as well as Xiang, He Qing Biao, An Qi, Qing Neifu and modern collection seal.
swordsmanship
Li Bai is not only brilliant in literary talent, but also brilliant in fencing. He is "fifteen good swordsmanship" and "swordsmanship self-study". Extraordinary achievements. Li Bai's poems, Pei Minzhi's swordsmanship and Zhang Xu's cursive script are collectively called the three wonders of the Tang Dynasty. Although Li Bai's swordsmanship was not included in the "Three Musts", his swordsmanship was second only to that of Pei Min, ranking second in the Tang Dynasty.
According to statistics, the word * * * appeared 107 times in Li Bai's Poems of the Whole Tang Dynasty, except for "Jiange" which appeared three times as a place name, "Sword Wall" which appeared 1 time, and "Sword" which appeared as a weapon 103 times. Sword with 1 time, Wu Gou with 1 time, Wu Hong with 1 time, Zhan Lu with 1 time, and Mo Xie with 1 time. In total, the word * * * appeared 1 18 times (including Frost and Snow in Wu Gou, Sword in Idle Zhanlu, Sword Flower Hà Thu Unpacking, My Wife's Evil Sword and My Family's Green Ping Sword/times respectively), with a distribution of 65,438 times.
Taoist classics
Li Bai enjoys the moon
Li Bai enjoys the moon
Since childhood, Li Bai often went to Daitian to talk to Taoist priests about Taoism. Later, he lived in seclusion with a hermit named Dong Yanzi in Minshan and studied hard. They keep many exotic birds and work as animal keepers in the mountains where they live. These beautiful and docile birds are used to breeding and fly regularly for food, as if they can understand human language. As soon as they heard the cry, they flew down the steps from all directions and even pecked at the grain in people's hands without fear. This incident was passed down as an anecdote, and finally Mianzhou secretariat personally went up the mountain to watch birds eat. Seeing that they could direct the movement of birds, the secretariat decided that they had Taoism, so he wanted to recommend them to take the Taoist exam. However, both of them politely refused. Zhao Kun, a famous strategist at that time, was also Li Bai's teacher. He wrote ten volumes of long and short classics in the fourth year of Kaiyuan (7 16). Li Bai was only fifteen years old. Zhao Kun's strategic works, which studied the similarities and differences of the Six Classics, analyzed the situation in the world, emphasized the way of rise and fall, and managed chaos, aroused Li Bai's great interest. He is bent on making contributions in the future and likes to talk about the way of Wang Ba, which is also influenced by this book.
In the prosperous Tang Dynasty, the national strength was strong, and many scholars were eager to make contributions. Li Bai prides himself on being an unrivaled talent, boasting of the achievement of "strengthening his wisdom, assisting his wishes, making the Atlantic region big and the sea and county clear", and unswervingly pursuing the ideal of "laughing for profit" and "finally enjoying the country" all his life. He compared himself with Dapeng, Tianma and Xiong Jian: "Dapeng rises with the wind one day and soars in Wan Li. If the wind stops, it can still lift away the raging water. " ("Li Shangyong"). He hopes to be a wise monarch like Jiang Shang and restore the Han Dynasty like Zhuge Liang. Yin's "Reading Zhuge Wuhou Biography", Dong's "Wandering Songs" and "Difficult to Go" (Part II) all reflect his thoughts.
He felt that relying on his own talents, he could "go out safely and make friends with the princes, be defeated and escape from the bird's nest" ("Preface to Sending Swallow Garden to Play the Hidden Fairy City Mountain"). He cast a strong contempt for those powerful people who enjoy high positions and high salaries by virtue of family relations, showing a proud and unyielding character. He despised the feudal hierarchy, was unwilling to flatter, and disdained to rise and fall with customs. The darkness of reality disillusioned his ideal, and he was suffocated by the shackles of feudal ethical hierarchy. He longed for the freedom and liberation of his personality, so he adopted a wild and uninhibited attitude towards life to get rid of the shackles and strive for freedom. Its manifestation is binge drinking and singing, seeking immortality and learning Taoism. But wine can't relieve worries, and the immortal is more ethereal, so he praised the beautiful nature as the ideal sustenance and the embodiment of freedom "according to the unchangeable habit of my life" (Lushan Ballad). Mount Emei, Huashan, Lushan, Taishan, Huangshan, etc. It is majestic in his works, full of clouds and streams; The rushing Yellow River and the surging Yangtze River swept away everything in the works, showing the poet's unruly character and strong desire to break through the fetters.
This is Li Bai's angry struggle against society and an important embodiment of his rebellious spirit. He opposed Xuanzong's exultation, his belligerence and his exposure that he was not one of his own, which led to the sacrifice of the people's soldiers in vain. Because of Xuanzong's arrogance, the eunuch's power was very hot ... Through the analysis of the political platform and the field observation in Youyan, Li Bai was sensitive to poets, and he and Du Fu were the first poets to reveal the disaster at that time. When the "An Shi Rebellion" broke out, his patriotic enthusiasm was sublimated and he got rid of the contradiction of using Tibetan resources. His rebellious character and spirit have profound patriotic connotation, social significance and characteristics of the times. The third, fifteenth, twenty-fourth and thirty-ninth editions of Antique have profoundly exposed and strongly criticized the social reality.
He has both lofty and vulgar side. His ideal and freedom can only be found in the mountains, in the fairyland and in his hometown where he is drunk and dreaming. Therefore, in his poems such as Into the Wine, Songs on the River, Songs of Xiangyang, etc., the thoughts of dreaming life, eating, drinking, enjoying everything and escaping from reality are revealed, which is also the representative of upright and arrogant literati in feudal society.
Su Shi
Literary achievements
curie
Su Shi has made extraordinary achievements in the creation of ci. As far as the development of a style itself is concerned, the historical contribution of Su Ci has surpassed that of Su Wen and Su Shi. After Liu Yong, Su Shi carried out a comprehensive reform of ci style, and finally broke through the traditional pattern of "Ke Yan", improved the literary status of ci, changed ci from an accessory of music to an independent lyric style, and fundamentally changed the development direction of ci history.
The transformation of Su Shi's ci is based on his concept of ci and his creative idea of "being unique".
Ci has been regarded as "Tao" since the late Tang Dynasty and the Five Dynasties. Liu Yong devoted his life to the creation of ci, which promoted the development of ci style, but failed to improve the literary status of ci. This task needs Su Shi to complete. Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry is homologous, and the word "is the seedling of poetry". Although there are external differences between poems and words, their artistic essence and expressive function should be the same. So he often compares poetry with poetry. Because he raised the word to the same position as the poem from the stylistic concept, it provided a theoretical basis for the word to move closer to the poetic style and realize the mutual exchange and infiltration between the word and the poem.
Portrait of Su Shi
Portrait of Su Shi
In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi also put forward the creative proposition that ci should be "one family". The theory of "being a family" here is put forward according to the different "lasting appeal" of Liu Yong's ci, and its connotation includes: pursuing magnificent style and broad artistic conception, ci should conform to people's quality, and ci should express its true temperament and unique life feelings like writing poems. Because only in this way can we "write like a man" in the creation of Ci (Answer to Zhang Wenqian's immortal book). Su Shi always pays equal attention to integrity in his articles, but he opposes conformity in literature, so he is not satisfied with Qin Guan's "learning Liu Qi's words" and lacks "integrity".
Expanding the expressive function of ci and opening up the realm of poetry is the main direction of Su Shi's ci style reform. He extended the traditional expression of women's gentleness to the expression of men's pride, and extended the traditional expression of love to the expression of temperament, so that words can fully express the author's temperament embrace and personality like poetry. Su Shi let ambitious people full of enterprising spirit, lofty ideals and passion into the world of ci, changed the original feminine artistic conception of ci, and set a precedent for new poets in the Southern Song Dynasty.
Su Like's poems and Su Shi's poems often express his thoughts on life. This rational thinking on the fate of life has enhanced the philosophical meaning of ci. Although Su Shi deeply felt that life was like a dream, he did not deny life because of it, but tried to pursue self-detachment, and always maintained a tenacious optimistic belief and a detached attitude towards life.
Su Ci fully shows the author's mental journey from positive to contradictory depression, striving to get rid of self-adaptation and constant pursuit, and his wild, romantic, affectionate and thoughtful personality temperament. After Liu Yong and Ouyang Xiu, Su Shi further made the lyric characters and creative subjects in his poems move from separation to unity.
Su Ci not only expanded the inner world, but also expanded the outer world. The life scenes expressed by literati ci in the late Tang Dynasty and the Five Dynasties are very narrow, mainly confined to the enclosed colorful buildings, embroidered households and pavilions and courtyards. After entering the Song Dynasty, Liu Yong began to extend his ci realm to natural spaces such as Duyi Town, Qianliguan River and Weicun Hill, while approaching the daily life environment of officialdom. Su Shi not only described the author's daily communication, leisure reading, farming, hunting, sightseeing and other life scenes, but also further demonstrated the magnificent scenery of nature.
Su Shi used his own creative practice to show that there was nothing to write about and no intention to enter. Ci, like poetry, has the function of fully expressing social life and real life. Because Su Shi expanded the expressive function of Ci, enriched the emotional connotation of Ci, expanded the temporal and spatial scenes of Ci, improved the artistic taste of Ci, and introduced Ci into the literary hall in an upright manner, which made Ci rise from a "path" to a lyric style with the same status as poetry.
"Poetry as Ci" is Su Shi's main weapon to change the style of Ci. The so-called "taking poetry as a word" is to transplant the expression of poetry into words. The success of Su Ci lies in two aspects: preface and postscript and allusion.
Portrait of Su Shi
Portrait of Su Shi
With the title and word order, it is not only convenient to explain the writing time, place and source of words, but also enrich and deepen the aesthetic connotation of words. The extensive use of allusions in Ci also began with Su Shi. The use of allusions in ci is not only an alternative and centralized narrative way, but also a tortuous and profound lyric way. Su Ci used a lot of prefaces, postscripts and allusions, which enriched and developed the expressive techniques of Ci, and had a great influence on the development of Ci in later generations.
Su Shi's "Poetry as Ci" is essentially to break through the restriction and bondage of music on Ci, and make Ci become an independent lyric style from the accessory of music. Su Shi writes ci mainly for people to see, while Dont Ask For Help sings, so he pays attention to the freedom of expressing emotions, although he also abides by the rhythm of ci without being bound by it. For this reason, Su Shi wrote his lyrics with great composure, even though he occasionally disagreed with the musical norms. It is the poems that make Su Ci show rich passion, rich imagination and changeable and colorful language style. Although most of Su Shi's existing 362 poems are still close to the traditional graceful and feminine style, there are also a considerable number of works that reflect the bold and unconstrained new style, such as the famous Mink Head (when is the bright moon)
Su Shi was a key figure in the change of ci style in Song Dynasty. Wang Zhuo's "Bi Ji Man Zhi" Volume 2 said: "Mr. Dongpo is not addicted to temperament, and occasionally writes songs. He points out that all the way up, the world will be new, and the eyes and ears will be new, which will make the author know and find new things." Strengthening the literariness of ci and weakening the dependence of ci on music are "all the way up" pointed out by Su Shi for later poets. Later poets and Xin poets further developed along this road. [23]
poetry
Su Shi's views on society and thoughts on life are undisguised in his literary works, among which poetry is the most hearty. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent. Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. What is more valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied a deeper critical consciousness.
Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, ordinary life content and natural scenery contain profound truth, such as Xilin Wall Topic and Mianchi Nostalgia. In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere.
Deep life thinking makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity, of course, contain pain, resentment and depression, but Su Shi shows more contempt for suffering and transcendence of pain.
Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating artistic norms. Moreover, the expressive force of Su Shi's poems is amazing, and there is almost no theme that Su Shi's poems can't contain.
The late Northern Song Dynasty, represented by Yuan You's poetry circle, was the heyday of Song poetry. The creation of Wang Anshi, Su Shi, Huang Tingjian and Chen Shidao pushed the art of Song poetry to a peak. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to the status of a statue in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharp and blunt and boring. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty. [23]
essay
Su Shi's literary thought pays equal attention to literature and Taoism. He praised Han Yu and Ouyang Xiu for their contributions to ancient Chinese prose from two aspects: literature and Taoism. However, Su Shi's views on literature and Taoism were very unique in the Northern Song Dynasty. First of all, Su Shi thinks that article art has independent value, such as "pure gold and beautiful jade". Article is not only a tool to carry Tao, but also an advanced form of human spiritual activities. Secondly, the "Tao" in Su Shi's mind is not limited to Confucianism, but refers to the law of things in general. Therefore, Su Shi advocates that articles should be as natural as the objective world, with a natural attitude. He advocated the diversity and vividness of artistic style, and opposed the unification of literary style, believing that it would make the literary world as barren as "yellow hair and white reed".
It is under the guidance of this unique literary thought that Su Shi's prose presents rich and colorful artistic characteristics. He absorbed artistic nutrition extensively from his previous works, the most important source of which was the heroic momentum of Mencius and strategists in the Warring States period, Zhuangzi's rich associations and natural and unrestrained writing. Su Shi is really expressive, and there is almost nothing objective or inner feelings that his works can't express. Su Wen's style changes freely with different objects and is as natural and smooth as running water. Han Yu's ancient prose relies on eloquence, layout and momentum to achieve the same goal, while Su Wen relies on a contented and thoughtful way. Su Wen is full of energy, but his language is simple and natural, which is one of the characteristics that Wen Song is different from Tang Wen.
Dongpotou
Dongpotou
Su Shi is good at writing argumentative essays. His historical essays written in his early years have a strong habit of strategists, sometimes pretending to be amazing and unreasonable. For example, On Jia Yi accused Jia Yi of not knowing how to make friends with ministers in order to win the trust of the court, and On Fan Zeng suggested that Fan Zeng should be the righteous emperor who killed Xiang Yu. But there are also many original opinions, such as "On Hou", which advocates that the old man was a hermit in Qin Dynasty, and humiliation is to cultivate his perseverance; On Wang Ping criticizes Zhou Pingwang's blunder in avoiding bandits and moving the capital, which is novel, profound and enlightening. These historical theories are good at randomness, amazing in writing, showing a high degree of argumentation skills, and became the model essays for scholars at that time, so they spread widely. Su Shi's political essays in his early years also had similar stylistic features, but with the deepening of his experience, the habits of strategists gradually weakened. For example, some memorials written by Yuan You are purposeful in content and calm in words, which are close to the styles of Jia Yi and Lu Zhi.
Although the historical and political theories show Su Shi's extraordinary talent, essays, letters, prefaces and postscripts can better reflect Su Shi's literary achievements. These articles are also good at renovation, but the form is more lively and the discussion is more vivid, often mixed with narration and lyricism. They strengthen logical persuasion with artistic appeal, so they are more beautiful than historical and political theories.
Su Shi's narrative notes wandering prose, narrative, lyricism and discussion are well combined.
Because Su Shi's composition is based on the principle of "what he says must be done", he should do what he should do, stop when he should, and say few words and sentences, which is most prominent in his notes and essays. For example, the full text of Night Travels in the Sky is only over 80 words, but its artistic conception is detached and its charm is meaningful. It is a wonderful work in the Song Dynasty.
Su Shi and Si Liu also made great achievements in their ci and fu. His Ci and Fu inherited Ouyang Xiu's tradition, but it was more integrated with ancient prose and absorbed the lyrical meaning of poetry, which made Zhao You better than Lan, and created famous works such as Fu on the Red Wall and Fu on the Back Red Wall. Red Cliff Fu follows the traditional question-and-answer mode of subject and object, restrains the object, extends the subject, expresses its own philosophy of life, and describes the beautiful scenery of the Yangtze River on a moonlit night. It is a beautiful prose poem, which is full of prose and scenes.
Su Shi's flowing style is even reflected in forty-six. When he was in imperial academy, the composition of imperial edict was rich and magnificent, which was rare among Taige figures. After he was demoted, the expression he wrote was even more real and touching, which was a rare temperament work in CET-4 and CET-6.
Su Shi's prose is as famous as Ouyang Xiu and Wang Anshi in the Song Dynasty, but from the literary point of view, Su Wen is undoubtedly the most accomplished one in Song Wenzhong. [23]
achievements of art
calligraphy
Su Shi is good at writing running script and regular script, and he is also called "Song Sijia" with Huang Tingjian, Mi Fei and Cai Xiang. He studied with famous artists in Jin, Tang and Five Dynasties, and integrated the creative styles of Wang Sengqian, Xu Hao, Li Yong, Yan Zhenqing and Yang Ningshi into his family. He once claimed: "I can't create ideas in books" and "I am innovative and don't practice the ancients". Huang Tingjian called him: "In the early years, the pen was refined and not as natural as the boss." This shows that Su Shi's life is full of ups and downs, which led to the ups and downs of his calligraphy style. The existing works include Red Cliff Fu, Huangzhou Cold Food Poetry and Yellow River Sacrifice. [25]
draw
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". His works include Atlas of Ancient Trees and Strange Stones and Atlas of Xiaoxiang Bamboo Stones. [25]
Postscript of Huangzhou Cold Food Poetry Post
Postscript of Huangzhou Cold Food Poetry Post