First, emphasize that "poetry should do something". Su Shi has the idea of benevolent governance and loving the people and the spirit of actively joining the WTO. Based on this, he attaches great importance to the positive social role of literature, emphasizes doing promising things and criticizes current disadvantages. He wrote in "On Liu Zihou's Poems": "Poetry should do something ... Curiosity and novelty are the diseases of poetry." Yan Taichu's poems were praised in the Collection of Poems by Mr. Xuan Yi: "Mr. Wang's poems are all written for a reason, and they are painstaking and must be written in the contemporary era. Digging like grain can satisfy hunger, and breaking will reduce disease. Mr. Wang has nothing to say to those who think they are swimming high and their words are beautiful. " It can be seen that the so-called "doing something but not doing something" aims to expose the political mistakes of today's era and all kinds of injustice in society, so as to achieve the effect of "satisfying hunger" and "cutting illness". Su Shi once wrote a poem "Playing Liu Gongquan Lian", and its preface said: "Song Yu said to the king of Chu,' This is the only the glory of the king. Did Shu Ren get it? "Laugh chu bosom friend, I don't know people. The couplets of Liu Gongquan's boy and literate Sect are beautiful without admonition, so they are enough to make a cloud. " In his poem, he said, "Everyone is bitter and hot, and I love long summer days (Tang Wenzong). Xiangwen came to the south, and the pavilion was slightly cool (Liu Gongquan). One is to move for the sake of residence, to be happy and sad, and to be obsessed with it. I would like to say that Qing Yin is divided into four sides (Su Shi complements the sentence). " Su Shi's intention is very clear. When writing poetry, we should give full play to the social function of poetry, make suggestions and make up for the world. You can't just whitewash reality and flatter. When Su Shi explained to Zhezong the reason why he was convicted of poetry, he said: "In the past, the first emperor called his ministers to the temple to visit ancient and modern times, and if there was any trouble in the future, he would tell them. Later, I talked about things repeatedly, but they were not implemented. I still wrote a poem, satirized things, and passed it to the top several times before I realized the sacred meaning. " This shows that Su Shi really intends to inherit the realistic spirit since Feng Sao, and advocates giving full play to the social function of literature in order to expose its drawbacks and save the world. His poems, such as Walking in the Rain, Inspired Guanyin Courtyard and Wuzhong Talented Talk, are realistic masterpieces created under the guidance of this literary thought. Su Shi wrote in Answer to Qiao Yuanwu: "A literary talent takes wisdom as the back, knowledge as the first, the article takes Chinese studies as the end, and the body is the basis." The country will be prosperous, expensive and cheap; Tao must be abolished, take the latter and abandon the former. Between rooms, send each other peace. " The author links the emphasis on "body use" or "Chinese style" with the rise and fall of the country, and emphasizes that the spirit of "body use-oriented" and "doing something for good" is completely consistent, which is the reflection of Su Shi's literary and artistic thought on Confucian thought of saving the world.
Secondly, Su Shi's view that poetry is precious and vivid is reflected in Two Branches of Master Book of King Yanling. The first part discusses the similarity of paintings. See Children's Neighbors. The poem must be this poem. You must not know the poet. Poetry and painting are unified, ingenious and fresh. Bian Luan bird sketch, Zhao Changhua vivid. Why are these two pictures so sparse and even? Whoever says a little red will say that spring scenery is boundless. Here, Su Shi's principle of "the uniformity of poetry and painting" brilliantly expounds the relationship between similarity and spirit in poetry and painting creation. Painting pursues form too much and cannot be vivid; Poetry is only satisfied with imitation, not a successful work of art. Poetry and painting should take the spirit from the appearance and grasp the essential characteristics of objective images in order to achieve the purpose of vivid expression, which is the essential feature of poetry and painting. We can analyze Su Shi's precious and vivid view of poetry from the following three aspects: First, poetry should convey the god of objective images. Su Shi's On Poets' Writing said: "Poets have the power to write things:' Mulberry will not fall, and its leaves will flourish. "He is too stupid to be here. Lin Bu's poem "Plum Blossom" says:' The shadows are shallow, and the fragrance floats at dusk.' Definitely not a peach and plum poem. The poem "Bai Lianhua" in Piriti says: "Ruthless hatred shows people, when the moon and the breeze are about to fall." It's definitely not a plum poem. This is the power of writing. As the poem "Red Plum" says, "Peach has no green leaves, but apricot has green branches." This is the most vulgar language, covering the China style of village studies. This is how Su Shi taught his youngest son Su Guo to write in the third year of Yuan Dynasty. The poem quoted in this article is actually Lu Guimeng's poem Bai Lianhua. "The power of writing things" refers to the vividness of things, that is, grasping the different characteristics of different things and conveying their inner charm. There is a saying in the Book of Songs that "the mulberry has not fallen". Feng Wei is self-protective. It is appropriate for poets to describe women's youth and beauty with full mulberries and full mulberry leaves. Lin Bu's poems convey the quiet and elegant demeanor and character of plum blossom with "thin shadow" and "delicate fragrance" against the backdrop of the dusk moon and shallow water, which is memorable. The expression "heartlessness" is unique to Bai Lianhua. These three cases are excellent works that are vivid and vivid. However, Shi's poem "Hongmei" compares Hongmei to peaches and plums, and thinks that the difference lies only in whether there are green branches and leaves. This is for modeling, failing to grasp the charm of red plum and spreading the god of red plum. Su Shi ridiculed it as "Chinese style in rural schools", which hit home. Before this (that is, the fifth year of Yuanfeng), Su Shi wrote three red plums for poetry to show his vivid way. A cloud said, "I'm afraid of sleeping late alone. I'm afraid the ice won't hold." "Pretending to be a little red peach apricot, I'm still lonely and thin. Cold heart is unwilling to follow the spring state, and wine is dizzy for no reason. I didn't know Meg was here, but I looked at the green leaves and branches. " Su Shi's poems on red plums, though describing forms, capture the unique "Meg" of red plums, such as "lonely and thin as snow and frost" and "cold heart unwilling to follow the spring state", and convey the inner charm of red plums.
Su Shi's view that poetry is precious and vivid is also reflected in his other poetry comments. Lv Benzhong's Poems of Donglai Luzi in the Southern Song Dynasty reads: "Ouyang Jimo asked Dongpo:' What's good about Lu Zhi's poems?' Dongpo didn't answer, but he weighed Huangshi. Ji moyun said,' if you lie down and listen sparsely and densely, won't you all see it again?' Dongpo says,' This is beauty.' (2) Lie Listening is a poem written by Huang Tingjian. The author grasps the sound and appearance of snow and shows an expression that is difficult to express. So Su Shi appreciated it very much. On the contrary, he shows disdain for those works that only serve modeling. Li Bai once wrote the famous sentence "Looking at Lushan Waterfall", describing the spectacular expression of Lushan Waterfall. Xu Ning in the Tang Dynasty once wrote a poem modeled after Li Bai's poem, in which there was a line, "One boundary breaks the green hills", which was passed down as a quatrain to write the Lushan Waterfall. Sue doesn't think so. He wrote poems criticizing Xu Ning. The poem preface says, "Waterfall in the world of Xu Ning" says, "A world of broken green hills" is extremely dusty. He also forged the phrase "Lotte Poems Call Beauty", which means "unparalleled". Lotte is easy, but it is not! This is a must for the play. "The poem says," The Emperor sent the Milky Way to hang down, and there is an immortal saying in ancient times. I don't want to wash my poems with Xu Ning. " (3) Su Shi dismissed Xu Ning's poems as "evil poems", mainly because Xu Shi did not write the unique features of Lushan Waterfall. Su Shi once said in the book "Pushing Officials with Xie": "Seeking the beauty of things, such as catching the wind and catching shadows, can make people know what they are, and cover thousands of people without meeting them, but the feelings can be clear in their mouths and hands? "Su Shi's poetry creation shows outstanding talent in vividly expressing things. Hu Zai's previous episode "Tiaoxi Fishing in Conghua" quoted Tang Zixi's quotation as saying: "Dongpo wrote a poem about a sick crane, trying to write a' three-foot-long thin body' so that Ren Deweng could write down all the characters; Xu Dongpo wrote a manuscript and stamped it with the word' Pavilion' (Press: It's called' Three-foot-long Thistle Pavilion'). When you say this, it's like seeing a sick crane. "As you can see, Su Zhi's physical object is vivid. Another example is to write the sunset: "The breeze is all over the sky, and the boots are thin, and the fishtail is red in the air." ("You Jinshan Temple") Write water in the previous sentence and heaven in the next sentence. Boots wrinkle like water lines, "thin" because of the breeze, which is the common sense of things; Ghost Story describes Duanxia very vividly. "Half-empty" should be a sunset scene, a sparkling water wave, and a dyed river. Wang Shihan commented on Su Shi's Selected Poems and said: "Write an empty and quiet heart"; Shi Buhua commented on "Poem Offering": "It's the evening scene in the heart of the river." (4) Write the scenery in the boat: "The water pillow can make the mountain pitch, and the wind boat travels around the moon." ⑤ Lying on the boat, you can't feel the ups and downs of the waves, but you can see the distant mountains pitching; I don't feel the boat drifting, but I see the moon wheel wandering. Write about the summer rain in the West Lake: "Black clouds turn over ink and don't cover the mountains, while white rain jumps over the boat." The ground wind suddenly blew away, and the water under the lake looked like the sky. ⑥ Wang Wenhao commented: "Pick any one and you will get the God of the West Lake. It is a genius." As for Drinking Rain on Lake Chuqing, it is a well-known masterpiece. Second, poetry should have a far rhyme that transcends images. Distant rhyme is a natural development that looks like a spirit, and its meaning is endless. In the infinite time and space outside the image, it leaves people with infinite space for reverie and aftertaste, which is called far rhyme. Su Shi clearly put forward the concept of "distant rhyme" in After Thinking about Poems, and quoted Si Kongtu's words on poetry: "Plum stops at acid, salt stops at Yu Xian; There must be no salted plum in the diet, and its beauty is often outside the salty and sour. " ⑧ As a footnote of "Yuan Yun". Su Shi's pursuit of "distant rhyme" was obviously influenced by Si Kongtu. He said in "Poems with Empty Paintings in Calligraphy": "Sikong represents a sage, and comments on his poems think that the taste is beyond the taste. The green trees in the village are dark, and the yellow flowers in the wheat field are sparse. This sentence is the best. There is another cloud:' The chess in the courtyard is quiet, and the stone altar has a high shadow. I tried to swim the five old peaks into the crane yard, but there was no one in the yard. I only heard the sound of chess, and then I knew the function of these two sentences, but I hate its coldness and frugality. If Du Zimei said,' Fireflies fly in the dark and shine on themselves, and birds in the water are calling each other. Four more mountains spit on the moon, and the water is bright at night. "Then you will be rich and healthy, and you will travel to show your saints. The author thinks that both Si Kongtu's poems and Du Zimei's poems have far rhyme, but the difference is that the realm depicted in Si Kongtu's poems tends to be silent, cold and frugal; The first two sentences of Du Zimei's poem set off the silence of the night with the flying of fireflies and the singing of birds, while the last two sentences showed an upward heat of transpiration. We can also see that Su Shi regards "Yuan Yun" as a higher level than the realm that can be achieved by vivid expression. This poem says: "Bian Luan bird sketch, Zhao Changhua vivid. Why are these two pictures so sparse and even? Whoever says a little red will say that spring is boundless. " Bian Luan and Zhao Chang are both vivid masters of Danqing, and both of them are wonderful flowers. However, in Su Shi's view, their "sketch" and "vivid" works are far less sparse and refined than the broken branches painted in the main book of King Yanling. A little red in the bud of the branch embodies boundless spring scenery, just "a little red in the green, no need to move spring scenery."
Su Shi praised the poems of the monk Shen Liao, saying, "Both sour and salty are good, and some are the best." Pet-name ruby thinks that poems with few quotations have infinite charm. He admired Wang Wei and thought that Wang Wei's poems and paintings were full of profound rhyme. "Shu Moran Tian Yan Yu Tu" wrote: "There are paintings in poetry, which are fascinating; Look at the picture. There are poems in it. The poem says:' Bixi Baishi, Yuchuan thin red leaves. There is no rain on the mountain road and the air is green and wet. ""Wang Wei's poem In the Mountains, Blue Creek, originated in Nanling Mountain, Xiqin County, Shaanxi Province, and flowed to the northeast of Chang 'an to enter Laishui. The first sentence of this poem is about streams in the mountains, and the second sentence is about red leaves in the mountains. Three or four sentences describe the whole picture of the mountain. Although it is cold in winter, the whole Qinling Mountain is still green and cypress, and the mountain road runs through the boundless thick green. Qingshan is empty and bright, unlike tangible things, so it is called "empty green". " Kongcui naturally won't "wet clothes", but it is so thick that it can almost overflow the emerald water. When people walk in the empty Cui, it's like being shrouded in a green fog. The whole body and mind are infected and nourished by it, and I feel a little cold, like Mao Mao rain, and my clothes are wet. Therefore, although it didn't rain on the mountain road, they naturally felt like "a talented person dressed in clothes". This is an unreal feeling, a spiritual pleasure produced by the complex effects of vision, touch and feeling. This poem by Wang Wei has the beauty of painting color, composition, profound artistic conception and lasting charm. It is indeed a masterpiece of "painting in poetry".
There are twelve clouds in Fang Shudong's "Zhao Wei Zhan Yan": "In the poems written by Pogong, every capital is outside the final chapter, always in the distance, which is measured by bandits. There are also unpredictable distances in the article, and one of them suddenly falls from the sky, which is nothing in the minds of ordinary people. Unlike the valley, it is far from the sentence. " Su Shi also showed the pursuit of distant rhyme in his poetry creation. For example, the author wrote the second cloud of "Three Vertical Pencils" when he was 64 years old in Danzhou: "The father and the old man are fighting for the black corner scarf, and it is expected that the official body has been slaughtered. The ancient road by the stream is three forks, and there are many independent sunsets. " The poet is away from home and has many "elders" around him. Although he is wearing a "black headscarf" (black headscarf) at present, like a hermit and an ordinary scholar, all the "elders" know that he is an unfair ordinary man who once killed an official. The closeness of the elders is enough to make him proud, but saying "fate" (because) is "killing the official body" and full of self-pity. These two sentences are about loneliness in excitement and sadness in pride. The last two sentences are devoted to loneliness, which is even more sad. After a burst of excitement, "passers-by" are few and far between, and the environment is lonely. The poet has nothing to do, standing alone at the fork in the road in the sunset, counting a few pedestrians, which is really sad. But the poem only writes images, no arguments, no lyricism, and no words of "loneliness" and "sadness". Loneliness and sadness are contained in the depicted realm, and it is indeed a masterpiece full of deep affection and far rhyme. Thirdly, poetry creation should have an "empty and quiet" mentality. Su Shi's poem "Send away a few teachers" said: "If you want to make poetry beautiful, you will not be bored. Silent, moving, empty. " In To Ethan, he said, "My body is like a void, and everything is stored by me." Although monks want Confucianism to be "empty and quiet", poets also need "empty and quiet". Only by focusing on static environment can we get rid of the interference of dynamic environment and gain insight into the diversified changes of everything. Only by focusing on the void can we not be covered by prejudice and accommodate all kinds of wonderful places. Only in this way can we write poems with vivid form and far-reaching artistic conception. If you want to make your mind "empty and quiet", you must first get rid of the tedious secular affairs and relax your body and mind. Quiet, quiet and far-reaching beauty. Su Shi's poem "Seeking for more than the same year, Dexing Juyuan Building" said: "Yunshan is bitter, and weeds come from spring. If you have a tall building, you can get together far away and clean up with idle people. " It is the best interpretation of "the quiet crowd moves and the world is empty". Su Shi summed up the experience of painting bamboo, saying: "With painting bamboo, you can't see people when you see bamboo. I didn't see anyone alone, but I left my body. Its body and bamboo are infinitely fresh. Zhuang Wu, who knows this doubt. " When you can draw bamboo, you can maintain an "empty and quiet" mentality and achieve a "selfless" situation. If you are silent and thoughtful, you can draw a fresh, elegant and natural artistic conception. The last two sentences mean that Zhuang Zhou, who advocated "forgetting me" and "fasting in his heart", has long since died. Who can really understand the superb realm of literature and painting? Su Shi's repeated emphasis on "emptiness and tranquility" in the process of artistic creation stems from his understanding of Buddhism and Taoism. In Buddhism and Taoism, the essence of "emptiness" and "emptiness" is the basic Taoism that reaches the realm of "no self", such as Zhuangzi. The world: "Only the Tao gathers emptiness, and emptiness is the heart." Spiritual fasting is to eliminate all distractions and desires and maintain a pure and pure state of mind. There is another article in Heaven: "A husband is quiet and lonely, heaven and earth are flat, and page virtue is the foundation of all things." "Words push heaven and earth with empty static, and connect everything. This is called Tianle. " Buddhism, such as the Vimalakīrti Sutra: "Being empty, leaving me." Huineng said, "Being broad-minded is like emptiness." If Zen is empty, it is empty. The world is empty, and it can contain the sun, the moon, the stars, the mountains, the rivers and all the vegetation. ""Sex contains all kinds of laws, and all kinds of laws are self-nature. "For artists, only by getting rid of distractions and keeping the ethereal peace of mind can they get the maximum thinking space and create an artistic realm with perfect spirit and deep feelings. This is the philosophical connotation of Su Shi's saying that "God meets everything".
Third, advocating "Excellence and freshness" Su Shi's "Master Book of Yanling King" has two broken branches. One is to say: "Poetry and painting are the same, striving for perfection, fresh and natural". Poetry and painting are two different literary and artistic forms, but Su Shi believes that they have the same aesthetic standard, that is, "Excellence, freshness and naturalness". "Tiangong" comes from nature and needs no carving. Anyone who comes out of the "heavenly palace" must have the personality of the creator and give people a "freshness". When commenting on poetry, Su Shi often takes the freshness of heaven as the aesthetic standard. For example, "The Rhyme of Playing on Cloth": "Qing poetry is full when chewing, and thin bamboo wine is hungry." The answer to Li Bangzhi: "I will be refreshed after a long time." "A belated gift from He Xunzi to Sun Zhiju": "There are 500 words in Qing poetry, and every sentence is unparalleled." Shao Shi Xu: "Beautiful, chewy." In Su Shi's view, natural and fresh poems can be eaten as meals and can refresh people. Freshness is the life of poetry and the ultimate beauty. Su Shi's fresh and natural aesthetic standard actually includes two aspects: one is sincere feelings. Su Shi's own experience in writing poems: "Who can choose a good poem is unheard of by the vulgar." ("Re-sending") In the poem "Guo Jia, drunk painting a bamboo stone wall, Guo Zuoshi thanked for leaving two bronze swords", describing the scene of drunken painting poetry; "Jejunum wine mans Angle, liver and lung if tooth raw bamboo stone. I feel like I can't go back. I spit on your snow wall. Good poetry is still a good painting, and the book wall is long to be scolded. " "Being scolded for a long time" is a humorous remark, and it is indeed a fact to paint and write poems at will. In many of Su Shi's poems, whether feelings are true or not is regarded as the standard of poetry evaluation. For example, "Reading Two Poems by Meng Jiao" wrote: "Poetry comes from the heart, but it is worrying when it comes out ... I feel that I have been traveling for a long time." "Poetry follows" is the most profound sentence. The previous sentence said that Meng Jiao's poems are true and from the heart. The last sentence says that only true feelings can move people and cause * * * woo. Meng Jiao was poor all his life, and his works, such as "Eating is bitter, singing is strong without happiness". Going out is an obstacle. Who says the world is wide? "("To Cui Chunliang "), it really makes people cry. He failed many times, and his poem "Luodi" said: "Abandoning and abandoning is like a knife wound"; Comrade Xia Di "said:" Go back to Chang 'an twice and look at the flowers with tears "; Once he won the first prize, his joy could not be expressed: "Spring breeze is proud of horseshoe disease. First, he saw all the Chang 'an flowers. "Meng Jiao is indeed a poet who dares to cry, laugh and express his true feelings, which is what Su Shi admires.
Su Shi paid special attention to it, saying that Tao's poems were true to the country: "Some scholars often drink heavily, and only when they are hungry and cold can they see the true feelings." "Yuan Ming is a Muslim and has been talking and laughing all his life." In the ninth song of Tao Qian's Twenty Drinking Songs, Fu Tian advised him to be an official, but he said he would never go along with it. Su Shi copied this poem and wrote down his feelings: "'I knock at the door in the morning, and I will open it myself. ..... deeply moved by the words of elders, deeply troubled by their own anger. You can learn honestly, but you are not fascinated! And * * * this happy drink, I can't drive it back. "My uncle likes this poem very much, and so did I when I gave it. There is a saying in the taste:' Words come from the heart, rush to the mouth, spit against others, and rudeness against yourself. They say it's better to go against others, so I'll just spit it out. "It coincides with the poems of the late Yuan Dynasty and the early Ming Dynasty, so it is recorded." In other words, poetry should be straightforward and not insincere. Su Shi is very dissatisfied with those who are insincere. He laughed at the celebrities in the Eastern Jin Dynasty and said, "A man who lost his life on the road is ungrateful for his words. Jiang Zuo is a romantic figure, and he also seeks fame when he is drunk. "
Second, the artistic conception is fresh. Artistic conception is the artistic realm of scene blending, which can arouse readers' rich associations. Su Shi summed up the meaning of artistic conception with "realm and enlightenment" and thought that poetry should be fresh and refined. He praised Ouyang Shubi's poem "Childhood is like a breeze". Said his poems were like the breeze before the sun came out in the morning. He praised Zhu Xunzhi's poem "Your poem is like autumn dew, purifying the flowers in my air". It means that when the eyes are dim and sick, Dr. Zhu's poems suddenly show cold dew and sweep away the wrong flowers in the sick eyes. He praised Wang Zhen's poem, "When the moon comes on a frosty night, spring comes first." Whether it is the breeze in the morning, the white dew in autumn or the bright moon on a frosty night, it is fresh and beautiful. Su Shi commented on the ability of poets and monks to distinguish between talent and emotion: "If you don't learn to write poetry all your life, it will be like the wind blowing water and becoming a family." Praise Qin Hui that "the new poems are washed out and not covered by the dirt from outside". Praise and quote "new poems are like jade crumbs, and words will clear the police". Everything starts from the aesthetic standard of "freshness"
Su Shi opposes poems with superficial pictures and lack of originality. He wrote in Zheng Gu's Poems: "Zheng Gu's poem said,' When you come to the picturesque place on the river at night, the fisherman returns in rags. "Poetry is also in this village. Liu Zihou said:' There are no birds in a hundred mountains, and there are no footprints in a thousand paths. Zhouzhou, an old man is fishing in the cold river-snow. "There is a gap in human nature, which is almost given by God and out of reach." The realm depicted in Zheng Gu's poems is a common phenomenon, with vulgar pictures, low interest and lack of originality. However, Liu Shi's pure and elegant realm entrusted the poet's aloof and lofty character, giving people a refreshing feeling, so he won Su Shi's appreciation. Su Shi loves Tao Yuanming's poems, and wrote in the article "After Tao Yuanming's Drinking Poems": "Under the hedge of picking chrysanthemums, you can see Nanshan leisurely." Seeing the mountains and scenery, knowing each other because of picking chrysanthemums, is the most beautiful thing. In recent years, the world has been watching Nanshan, and this article is boring. Between "seeing" and "seeing", we can really see the difference between unintentional and intentional, natural and unnatural. Yuan Ming picked chrysanthemums under the east fence and didn't want to see the mountains. He looked up and saw Nanshan by accident, so Landscape and Understanding made Nanshan leisurely and quiet, and the poet was carefree. The word "Jian" not only describes the quiet expression of natural scenery, but also shows the poet's free and leisurely expression, which makes the scenery harmonious and unified. If it is changed to the word "Wang", it is written that the poet has opinions on Nanshan, which changes the cultivation of Nanshan without opinions and destroys the artistic conception of the poem. Su Shi, with his brilliant pen, can describe a fresh and refined artistic conception in his poetry creation. For example, "To Liu Jingwen": "The lotus has no shelter from the rain, but the chrysanthemum still has Ao Shuang branches. Good years must be remembered as orange, yellow and green. " The words "orange, yellow, orange and green" make the cold winter full of vitality, which is different from ordinary people.
Su Shi's aesthetic principle of "natural beauty is fresh" originated from Zhuangzi's aesthetic thought. The essence of "natural beauty" has been revealed in Zhuangzi, which holds that "there is great beauty in heaven and earth without saying anything", "simplicity and the world cannot compete with it for beauty" and "learning from nature is precious for truth". Zhong Rong was the first person to introduce Zhuangzi's aesthetic thought into the field of poetry aesthetics. The "true beauty" advertised by him in the preface to poetry is synonymous with "nature". In Su Shi's philosophical thought, the highest category is also "nature" or "Tao". Su Shi believes: "Everything is self-contained, so heaven and earth have their place." There is another cloud: "it is the glory of all things, between the four seasons." They are all natural, don't make them. " Su Shi's repeated emphasis on "the nature of arts and sciences", "the number of nature", "the nature of nature" and "the industrialization" are all manifestations of this "nature" or "Tao". Su Shi often compares the natural principle of poetry with water, such as commenting on Xie Shi's poems: "Like a cloud"; A poem praising talents: "Like the wind blowing water, it is a family of its own"; The self-evaluation of his articles: "Like a thousand springs, out of chaos" and so on are also related to his philosophical thoughts. In Suzhong, he wrote: "Yin and Yang meet and come into being, which begins with water. Water, whether there is water or not, never begins, but ends. I know when I am old, so I say' good as water' and I say' how much water is there in the Tao'. The virtue of a saint is well-known and not limited to one thing. If the water is impermanent, the same is true. Su Shi's pursuit of the beauty of nature is actually based on his most ideal and lofty "Tao" or "nature" as the highest standard of his aesthetic pursuit.