As painting inscriptions, most of them should describe the image of the picture, describe the process of the painter's painting, and explain the collectors' painting experience. In short, appreciation and examination are the main contents. However, Su Shi's "Bamboo Rhyme in Writing" is not an ordinary painting poem. It is actually a commemorative article, expressing the memory and mourning for a poet and a painter and his friends and relatives. Therefore, it is necessary to break the conventional way of writing inscriptions in ordinary paintings. What the author wants to remember and mourn is not ordinary friends and relatives, but friends and relatives of a poet and painter. Moreover, this kind of mourning and mourning is caused by painting the deceased's "Yan Gu Yan Zhu", so the best mourning and mourning is to fully point out and affirm the outstanding creation and achievements of the deceased in art. At the beginning of this paper, Wen Tong's artistic view of painting bamboo is also introduced.
Wen Tong advocates that before painting bamboo, we must have a thorough and detailed observation and understanding of bamboo, and then after repeated brewing and conception, we can form a mature and complete image of bamboo in our minds, and then constantly wave our hands to create a picture of bamboo. This process from life experience to artistic creation, that is, the process of thinking in images, is in line with the law of artistic creation.
The article is really a discussion and puts forward a wonderful idea of painting bamboo. That's how the idiom "have answers" comes from. But the discussion should not be played too much, otherwise it will be divorced from the theme of remembering and mourning the dead. So the following immediately pointed out: "and can be taught to do so." Wen Tong, the author of Yan Gu Yan Zhu, was mourned. It was Wen Tong who told Su Shi this way. Su Shi is also a poet and painter. He and Wen Tong have established a profound friendship, not only because they are friends and relatives, but also because they share the same political inclination and artistic hobbies. They write articles to answer questions, sing with poems, and draw with bamboo. Wen Tong's thought of painting bamboo is actually Su Shi's thought. Su Shi once described the process of painting after drinking at a friend's house in the poem Guo Zui Painting Bamboo Cliff. At the same time, he thinks that writing poems is as urgent as chasing fugitives, and it is a bit slow to describe the scenery in front of him quickly. Once the scenery disappears, it is impossible to draw it. This is like a bamboo painting, which is like a rabbit falling. It must be good at capturing images and displaying them in time. In fact, the principle of painting and poetry is the same, emphasizing the vividness of images rather than pursuing the form of external bodies. As we said before, Su Shi also pointed out in the poem "Drawing Branches in the Master Book of King Yanling" that painting pays attention to the shape, which is equal to the common sense of children. If you still ask to write poetry, then this person must not understand poetry. The goulafa method of painting bamboo, "step by step, leaves are tired", is to try to be like, and the ink painting method advocates "planning" and then-waving, which is to try to be like and express the expression of bamboo through the complete image of bamboo.
Su Shi is very modest. He said that Wen Tong told him these artistic opinions. Moreover, Su Shi also talked about the relationship between reality and artistic practice, and mentioned the general epistemological principle to emphasize the importance of practice. This is the supplement and deepening of the above discussion about "having an answer", and it is also the heartfelt words of an artist who has deep attainments in poetry, ci, prose, calligraphy and painting. Su Shi pointed out from his own point of view that because he didn't learn, his heart and hands were different. The implication is that while affirming Wen Tong's artistic theory, he further affirmed his "mastery" in artistic practice, so he is handy and fluent. The article always revolves around the theme of remembering and mourning Wen Tong. So here's a quote from others praising Wen Tong to prove it. "It is a legacy, saying,' I am a mechanic, I am a cow solver, and the health care person takes it; The wheel is flat, so is the wheel, and the reader is with it. Now that the owner entrusts it to Sizhu, isn't it evil to give it a proper way? ""Ziyou is the word of Su Shi's younger brother Su Zhe.
Zhu Mo Fu is Su Zhe's Fu for Wen Tong's Zhu Mo Tu. With the tone of "guest" in Fu, this paper gives two examples of superb ancient skills to illustrate Wen Tong's skill of painting ink and bamboo, and shows that he understands the universal laws of things. In this "Zhu Mo Fu", Su Zhe made Wen a skillful craftsman and a round flat wheel. He believes that Wen Tong has a superb talent for painting bamboo, but painting bamboo is only a kind of sustenance. He is actually a person who understands and grasps the laws of things. Su Shi quoted Su Zhe's words to recognize the agility and elegance of Wen Tong's bamboo painting from the height of "Tao", rather than staying in the painting skills themselves. But Su Shi also pointed out: "Ziyou never painted. Therefore, it just gets its meaning. If you give it, you will not only get what you want, but also get it. " Because Su Zhe can't draw, he can only make comments in a general sense. Su Shi himself is a painter. In addition to understanding that Wentong is a "Taoist" person by painting bamboo, we can also master Wentong's method of painting bamboo. Here, the previous discussion about painting bamboo is summed up with the word "legal".
In the first paragraph of the article, Wen Tong's thought and practice of painting bamboo were highly praised. In the second paragraph of the article, the author tells about the correspondence and poetry exchanges between Wen Tong and the writer about painting bamboo, and then gives high praise to Wen Tong's painting and painting morality, and falls into the category of "Yan Gu Yan Zhu".
At the beginning of the second paragraph of the article, I said that Wen Tong didn't pay much attention to his bamboo paintings at the beginning. When people asked, they agreed to paint it. Later, more and more people from all directions stepped on their feet and asked to paint. Wen Tong was bored and threw silk on the ground, saying that they were used to make socks, which showed extreme contempt. Scholars and bureaucrats regard him as a talk. Su Shi borrowed the painter's "visit" to write and paint bamboo, which was loved and valuable by people. Wen Tong painted bamboo "hit the floor, who was reviled", and Wen Tong refused to pretend to be a painter, painting bamboo for secular entertainment, seeking fame and reputation. Wentong refused to draw bamboo for people easily, but joked with Su Shi and invited people to find Su Shi to draw bamboo. In this way, the materials of silk and socks are concentrated in Su Shi. Of course, this is a joke, but we can see the close relationship between Wentong and Su Shi, and it also shows that Su Shi and Wentong's skills in painting ink bamboo are indeed "in line with their methods". Su Shi's brief quotations from two poems attached to Wen Tong's letter fully confirmed this point. Goose creek silk is the silk produced by Goose Creek. Goose Creek is located in Yanting County, Sichuan Province. The silk produced here is white, even and meticulous, which is very suitable for painting. Sweep means writing. Cold bamboo shoots refer to long bamboo branches that do not wither in winter.
These two poems reflect Wen Tong's painting method of ink-wash bamboo slips: bamboo is "swept away with one stroke" and painted on a short silk, but it has the potential to reach the sky, which is called "ten thousand feet long". At the end of the article is the painting "Yan Gu Yan Zhu" by Dianshan Mountain. The two poets are also friends and relatives of painters and painters. In fact, they are talking about the art of painting bamboo tacitly for 250 silks. "I plan to sweep a piece of silk ten thousand feet long from Goose Creek" and "There are Qian Qian bamboos in the world, and the moon shadow is long". Their spiritual essence is completely consistent, which is manifested in the relationship between the source and flow of life and creation. Artistic beauty is different from natural beauty, and poets and painters refine, condense, exaggerate and render realistic and objective things in their works. This is the case with the painting Bamboo in the Valley. The so-called "this bamboo is several feet long, but it has a potential of 10,000 feet."
Because when it comes to the valley, it is natural to explain this place. But Su Shi did not introduce it in isolation, but described an interesting and elegant thing about Wen Tong. Wentong likes to plant flowers and trees and build gardens and pavilions in Yangzhou. He once wrote 30 poems entitled "Miscellaneous Notes on Life in the Garden Pool", describing various landscapes. Su Shi also reversed the poems one by one, namely "Thirty Poems of Yangzhou" and "Poems of Su Shi" were "Thirty Poems of Garden Pond in Yangzhou", among which the 24th poem entitled "Yun Dan Valley" was the poem quoted here. The poem describes Wen Tong's love for mountains and bamboo, and he likes to eat bamboo shoots. Hanchuan refers to Yangzhou, because Yangzhou is in the upper reaches of Hanshui River. Hey, this is a bamboo shell. Bamboo is a dragon grandson, so bamboo shoots are called dragons. Wei refers to Weishui, Shaanxi. Historical Records Biography of Borrowing and Breeding once recorded "a thousand acres of bamboo in Weichuan", and the people there were therefore very rich, equivalent to "dry households". Here, "Weibin Ganmu" is borrowed to show that Yangzhou is rich in bamboo. The whole poem means that there are so many tall bamboos in Yangzhou that they are like weeds everywhere. When the axe catches bamboo shoots, it will cut them off. Presumably, the satrap was poor and greedy, and he ate thousands of acres of bamboo forests on the edge of Wei River. This is also a joke, so Wen Tong opened the envelope and finished reading the poem. At that time, he was having dinner and burning bamboo shoots with his wife in Yumou Valley. He couldn't help laughing, and the rice in his mouth spilled all over the table. This brief description is very vivid, which not only depicts Wen Tong's open-minded and bright ideological character, but also shows the close relationship between Su Shi and him, but more importantly, it highlights Wen Tong's moral character. The "poverty" of eating bamboo shoots in Zhizhou is about being honest and clean, taking his wife to cook at night, and it is unrestrained, while "A thousand acres in Weibin's chest" takes care of the previous argument that "painting bamboo must be in the chest first", and writes his own theory of painting bamboo through interesting and elegant things with humorous style.
In the second paragraph of the article, I wrote the title of "Bamboo in the Valley". The reason for writing this article is explained at the end of the third paragraph below. In October of the first year of Yuanfeng (1078), Wen Tong was appointed as the well-known Huzhou, where he was now located in Xing Wu County, Zhejiang Province. Wen Tong went to Huzhou to take office. In the second year of Yuanfeng (1079), he died in Wanqiu Post, Zhou Chen, on the 20th of the first month. On July 7th this year, after Wen Tong, he was appointed as Su Shi, who is well-known in Huzhou. When he was drying his paintings, he couldn't help crying when he saw the book Yan Gu Yan Zhu that Wen Tong gave him. He put down the picture scroll and wrote this commemorative article. "Yesterday, Cao Mengde's official memorial to the bridge contained the words" abdominal pain after passing by ",but it was also included in the words that can be laughed off, so that you can see and be close to each other." Cao Mengde, namely Cao Cao. Gong Qiao refers to Qiao Xuan. When Cao Cao was young, Qiao Xuan gave him a lot of encouragement and help. Later, their friendship deepened. It is agreed that no matter who dies, the living will pass by the cemetery without paying homage to chicken wine, and the car will have a stomachache after three steps. This is just a joke, but it shows the unusual relationship between the two. Su Shi quoted this allusion to illustrate his "joke" with Wen in this article, and also to show their "intimacy". Then, the author's deep yearning and deep mourning for the deceased is fully manifested.