When bamboo first grows, it is only an inch old, and its leaves are full of knots. From the belly of a snake to the point of pulling out a sword for ten fathoms, this is what we are born with. Today's painters are working on it step by step, and the leaves are tired. Is there any bamboo anymore? Therefore, when painting bamboo, you must first have the bamboo in your chest, hold the brush and look at it carefully. When you see what you want to paint, get up quickly and follow it, pick up the brush straightly, and chase what you see. Like a rabbit rising and a falcon falling, it will pass away after a short period of time. . You can teach me this. I can't do it, but my mind knows why it is. Since the husband knows the reason in his mind, but it cannot be the case, the inside and outside are not consistent, the mind and the hand are not corresponding, and it is a fault of not learning. Therefore, anyone who sees it but is not familiar with it knows how to understand it at ordinary times, but suddenly loses it when things happen. Ziyou wrote "Mozhu Fu" and left it as follows: "Paoding is the one who cooks the cattle, and those who maintain health take it; Lun Bian, the one who cooks the wheel, and those who read it take it. Today, Master, I entrust it to this bamboo." "Yes, but it is wrong to think that there is a way." Ziyou has never painted, so he just got the meaning. If you give it, how can you only get its meaning and its method?
With the painted bamboo, it is not precious at first. People from all over the world, holding silk ribbons and silk ribbons to invite him, would tiptoe at each other's door. Those who were disgusted with him threw themselves to the ground and scolded him: "I will think of you as a sock!" The scholar-bureaucrats passed this on and thought it was true. Ji Yuke returned from Yangzhou, while the rest was in Xuzhou. Yu Ke left a message and said: "Jinyu scholar-bureaucrats, my Mozhu sect is near Pengcheng, you can go and ask for it. The stocking material should be collected from you." At the end of the book, he wrote a poem, which is abbreviated: "I plan to make a piece of goose The silk from the stream is thousands of feet long. I said to Yu Ke: "The bamboo is ten thousand feet long. I need to use two hundred and fifty pieces of silk. I know that I am tired of writing and inkstones. I just want to get this silk." Yu Ke can't do it! Answer, then he said: "My words are false, are there thousands of feet of bamboo in the world?" Yu therefore answered the truth and replied to his poem: "There are also thousands of feet of bamboo in the world, and the shadows in the sky are long when the moon falls." He said ridiculously. "Su Zi argued, but with two hundred and fifty bolts of silk, I will buy a field and return to Laoyan." Therefore, he left the painting "Yundang Valley Yanzhu" to him: "This bamboo is several feet long, and there are tens of thousands of bamboos." "The Yuandang Valley is in Yangzhou, and Kechian ordered Yu to write "Thirty Odes of Yangzhou", one of the "Yundang Valley". Yu's poem says: "Bamboo cultivation in Hanchuan is as cheap as fluff. How can a heavy ax be used to pardon a dragon? It is expected that the poor and greedy prefect will have thousands of acres of Weibin in their chests." Yu Ke and his wife went to the valley one day, burned bamboo shoots for dinner, and sent a letter to get The poems filled the table with laughter and rice.
On the twentieth day of the first month of the second year of Yuanfeng, Yuke disappeared in Chenzhou. On July 7th of that year, I was in Huzhou to expose calligraphy and painting. When I saw this bamboo, I scrapped the scroll and broke down in tears. In the official document of Cao Mengde's memorial service to the bridge, there were words about abdominal pain after a car passed by, and I also wrote about those who joked about the past, so that we can see that we are so close to each other.
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[Note] Wen Yuke: Wen Tong (1018-1079), a painter of the Northern Song Dynasty, courtesy name Yuke, was born in Yongtai, Zizhou (now east of Yanting, Sichuan). He and Su Shi were middle cousins. He was good at painting landscapes, especially bamboos. He created the bamboo leaf painting method of dark ink on the surface and light ink on the back, and founded the "Huzhou Bamboo School" in later generations. Yuandang (狔ú-shaped犱ā-shaped犵yundang) Valley: The name of the valley, located in the northwest of Yangzhou (now Yangxian County, Shaanxi Province), is famous for its abundance of Yuandang (large bamboo growing by the water). Yanzhu, leaning bamboo. Ziyu: The name of Su Zhe, Su Shi’s younger brother. "Ji and Ke" sentence: Wen Tong was appointed governor of Yangzhou in the eighth year of Xining (1075), the reign of Emperor Renzong of the Song Dynasty, and returned to the capital Bianliang (now Kaifeng, Henan) in the tenth year. "ERyu" sentence: Su Shi was appointed magistrate of Xuzhou (now Xuzhou, Jiangsu Province) in the ninth year of Xining. Pengcheng: present-day Xuzhou City, Jiangsu Province. Chenzhou: Ruled present-day Huaiyang, Henan. Huzhou: Governs present-day Huzhou, Zhejiang. Cao Mengde: Cao Cao (155-220), also known as Mengde, was a statesman, strategist, and poet during the Three Kingdoms period. During the Han Dynasty, he became prime minister, and Zipi proclaimed himself emperor. He later became Emperor Wu of Wei.
Article Appreciation
On July 7, the second year of Yuanfeng (1079), Su Shi was drying his calligraphy and paintings when he discovered that the deceased Wen Yu could be given to himself. I wrote this miscellaneous note because of my painting "Picture of Bamboo in Yuandang Valley". During his lifetime, Wen Yuke used such bamboo as a theme and painted a painting as a gift to Su Shi. This article uses the painting as a clue to describe the author's deep friendship with Wen and Ke and the sadness of seeing things and thinking about others. It is written in a solemn and humorous way, with profound feelings. It is an excellent prose that typically embodies Su Shi's natural and expressive characteristics in literature and science. .
The full text is divided into three paragraphs. The first paragraph does not start directly with condolences or the relationship between the two, but starts with Wen Yuke's theory of bamboo painting. It is unexpected and unique, giving people a sense of freshness from the beginning. The article says that when painting bamboo, "you must first have the bamboo in your mind." Before painting bamboo, you must first grasp the overall image and spiritual essence of the object, so that it can be integrated into the heart and mature, and then write straightly and in one go, so that it can be vivid Reproduce it vividly. On the contrary, if we focus on the details temporarily and mechanically draw them section by section or leaf by leaf, we will not be able to draw living bamboo. This actually advocates putting the intention first in writing, and opposes perfunctory painting; it advocates the overall "spiritual similarity" and opposes the "physical similarity" between details. This insight expressed and developed by the author in a tone of approval is very insightful. It not only has universal guiding significance for the entire field of literature and art, but also "being confident" has become a criterion for people to do things and an idiom that lives in the public's writings. The above-mentioned writing is vivid and smooth, and the metaphor of "a rabbit rises and a falcon falls" vividly illustrates the speed of writing. Next, the author goes on to describe his understanding of what this article can teach him. Although he understands it in his heart, he cannot practice it with ease. The reason lies in "failure to learn", and raises this bamboo painting method to the height of philosophy, " "Isn't it just bamboo?" illustrates this point.
Finally, he quoted a few lines from "Ode on Mo Bamboo" given to Wen Yuke by his disciple Su Che, and used two allusions from the "Zhuangzi: The Master of Health Preservation" by the cook Ding Jie Niu and the "Tiandao" by the wheel flat wheel. , illustrate Ziyou's views on the bamboos painted by Yu Ke: The cook Ding Jiediu was able to handle the ox with ease because of mastering the rules, and Wen Huijun realized the way to maintain health; The principles he has experienced in practice and the thoughts that can be expressed in bamboo paintings show that he is also a person who deeply understands the laws of things. The author believes that Ziyou only got Yu Ke's painting meaning, but he also got his painting method, and he is the person who best understands Yu Ke. By narrating Wen Yuke's painting theory and Ziyou and the author's own reflection on this painting theory, this paragraph not only describes Wen Yuke's superb painting skills and outstanding insights, but also expresses his own feelings about Wen Yuke. A feeling of admiration and a confidant. There are discussions and descriptions, some narrating what others have said, some directly expressing one's own opinions. They are scattered throughout, flexible and changeable, and appear to be meaningful and harmonious with both emotion and reason.
The second paragraph describes interesting things about the interaction between the author and Wen Ke. He first wrote and painted bamboo and began to feel unworthy of himself, so people from all over came to his door with fine silk to ask for paintings, which aroused his disgust. He threw the silk on the ground and cursed: "I will use the fine silk as socks!" wear. Later, Su Shi became the prefect of Xuzhou. Su Shi himself was also a famous artist who was good at painting ink and bamboo, so Wen Yuke wrote to Su Shi jokingly: Recently, he told the scholar-bureaucrats that he could go to Pengcheng (i.e. Xuzhou) to seek painting. Son." He also wrote a poem at the end, two sentences of which said: "I plan to sweep a section of Goose Creek silk from the cold shoots ten thousand feet long." Goose Creek is located in the northwest of Yanting County, Sichuan, and is a place rich in famous silk for painting. . The cold tip refers to bamboo. These two sentences mean that the famous silk will be used to draw a ten thousand feet long ink bamboo for Su Shi. Su Shi replied humorously: "The bamboo is ten thousand feet long, so two hundred and fifty pieces of silk should be used. I am tired of writing and inkstones, so I would like to get this silk!" Then he went on to describe the correspondence between the two of them, asking whether there were ten thousand feet of bamboo in the world. Start an argument. Su Shi confirmed the existence of such bamboo and wrote a poem: "There are also Qianxun bamboos in the world, and the shadows in the sky are long when the moon sets." This means that in the imaginary world or artistic conception, there are bamboos with a length of ten thousand feet. Here Su Shi secretly changed a concept and answered very cleverly. So Wen Yuke wrote back with a smile and said: "Su Zi has argued, but with two hundred and fifty bolts of silk, I will buy the land and return to Laoyan." He also gave Su Shi the painting of Yuandang Valley and Yanzhu, saying "This bamboo is several feet long, but it has the power of ten thousand feet", which describes the bamboo he painted with both form and spirit, and extraordinary momentum. This not only further proves Su Shi's theory that bamboo can be as long as ten thousand feet, but it can also be seen as an outstanding practice of his "confident" painting theory. It not only cleverly points out the topic, but also explains the origin of "Yundang Valley Yan Bamboo Picture" very naturally. It also echoes the description of the bamboo painting theory at the beginning, and the connection is very tight. Next, I will seize the place name Yuandang Valley and continue to write about the correspondence between the two people: When Wen and Ke were appointed governors of Yangzhou, they asked Su Shi to write "Thirty Odes of Yangzhou", and "Yundang Valley" was one of them. The poem goes: "Bamboo cultivation in Hanchuan (Han River) is as cheap as a canopy. How could a heavy ax ever forgive Cuilong? It is expected that the poor and greedy prefect has a thousand acres of Weibin in his chest." Cuilong is a bamboo shoot. "How can a catty ax be pardoned?" He cut down the bamboo shoots and was called "The Greedy Prefect", and then ate all the bamboo shoots, so he said, "Thousands of acres of Weibin are in my chest." "Historical Records·Biographies of Huozhi" has the words "Thousands of acres of bamboo in Weichuan". When Wen Yuke received this poem letter, he and his wife were "burning bamboo shoots for dinner" in the valley. He happened to be struck by Su Shi's words, so after reading the poem, he burst into laughter and sprayed rice all over the table. The whole paragraph is written in a humorous, friendly and natural way. In these trivial matters of daily life, in these jokes, Wen Yuke and the author's frank and elegant mind, agility, outstanding intelligence and intimacy as well as the two people are revealed. Friendship has been expressed lively and vividly.
The last paragraph explains the reason for writing this article. Let us first say that seven months after Wen Yuke's death, "when the calligraphy and painting were exposed, I saw this bamboo, scrapped the scroll and burst into tears." The three words "crying without a sound" describe the author's infinite grief after seeing things and missing people. Then he quoted the allusion of Cao Cao's sacrifice to Qiao Xuan to illustrate the main theme of the article. This canon can be found in Pei Song's annotation in "Three Kingdoms: Chronicles of Emperor Wu". When Cao Cao was young, he was not valued by others, but Qiao Xuan appreciated him very much. After Qiao Xuan's death, Cao Cao once marched through Suiyang, Qiao Xuan's hometown. He sent an envoy to pay homage to Qiao Xuan and wrote the "Inscription of Sacrifice to the Late Taiwei Qiao Xuan", which said: "I also accepted the words of the oath of calm: ' After passing away, the road is passing, and you don't have to fight with chickens to pass each other. If you pass by a car three steps, don't blame it for your abdominal pain. "Although it is a temporary joke, it is not the kindness of a close relative. Is this what the author quoted?" This allusion emphasizes that "Yu Yi Zai and those who joked about the past can see that Ke Ke Yu Yu is so close." The quotation of the allusion is very natural and appropriate, and the plain language shows the sincerity of mourning the deceased friend. If the first paragraph focuses on discussion and the second paragraph focuses on narration, then this short third paragraph is more full of long-lasting lyrical meaning.
The writing of this article is fluent and easy to write, "always do what you should do, always stop at what you must not stop", just like flowing water; the article contains serious arguments, plays, quotations from poems and rhymes, and excerpts from writings. , sometimes telling trivial matters, sometimes citing allusions, being flexible and full of gestures.
However, although it is written casually and freely, changing vertically and horizontally, it is not disorganized or undisciplined. Instead, it always sticks to the title and develops the article around the "Yundang Valley Yan Bamboo Picture" painted by Wen Yuke: First, discuss " This is the basis of painting "Yundang Valley Yan Bamboo Picture"; in the middle is a description of the poems and letters exchanged between the two people, explaining the origin of "Yan Bamboo Picture" and related interesting things; the last part is about the painting. Thinking about people and expressing feelings of sadness, the whole article is connected with paintings, with the memory of friendship as the center. This is a memorial text, and predecessors have commented that this work is "written with laughter" (Zheng Zhihui's "Su Changgong Cooperation"). The main part of this prose is indeed full of humorous words, and the writing is full of wit and wit, but this alone shows that the author and Wen Yuke were "inseparable". Once Wen Yuke died, the depth of the author's grief was also One can imagine. Using joy to complement sadness also makes it easier to see the sadness, which better reflects the dialectics of art. The language of this article is natural, simple and fresh. The full text seems to flow naturally from the author's chest, gushing without any hindrance, the language used is not refined, the writing is smooth and lively and fluent. As Wang Shunyu of the Ming Dynasty said: "When it comes to Dongpo, there is really no need to compose, just casual recording is the essay.
"("Su Changgong's Sketch")