1. "There is painting in the poem, and there is poetry in the painting"
In his poem about painting, Su Shi first put forward the criterion for evaluating painting, that is, there is poetry in the painting. His "Shu Mojie Lantian Misty Rain Picture" says: "In Mojie's poems, there are paintings in the poems; in observing Mojie's paintings, there are poems in the paintings. The poem says: 'White rocks come out of the blue stream, red leaves are sparse in Yuchuan, and there are no mountains on the road. The rain wets people's clothes. "This is Mojie's poem. It may not be the case, but good things can be done to make up for Mojie's legacy." Su Shi praised Wang Wei for his creative combination of poetry and painting. "Picture of Misty Rain in Lantian" is like his "Poetry in the Mountains", with bright colors, freshness and beauty, showing the author's quiet character and high-definition charm. In short, it has reached the artistic realm of blending scenes, and is pregnant with rich poetic flavor. He regarded this as the basis for measuring the quality of paintings.
If Su Shi only put forward the criteria for evaluating paintings in "Shu Mojie Lantian Misty Rain Picture", then he gave a detailed explanation of this criterion in his poem "Wang Wei and Wu Daozi Paintings" . He first commented on Wu's paintings: "Taozi is really majestic and majestic, as vast as the waves of the sea." When he started, the wind and rain were fast, and his breath was swallowed before the pen could reach it. " He admired Wu Daozi's painting "The Perfect Man Talks About Nirvana", saying that the perfect man, the enlightened, the confused, the barbarian, etc. in the picture each have different character traits. He also once said that Wu's paintings can "excellent "New ideas are in the laws and regulations, and wonderful principles are expressed outside the bold and unrestrained". That is to say, Wu paintings can not only come up with new ideas and are not bound by rules, but also can express the principles of things outside of the bold and unrestrained brushwork. Although Wu Daozi has a natural talent for Although Wu Sheng is extremely talented and has limited painting skills, he still thinks that he is not as good as Wang Wei. In "Wang Wei and Wu Daozi's Paintings", he continued to write: "Although Wu Sheng is wonderful, he still relies on his painting skills. Mojie found it outside the elephant, just like a fairy flying a basket away from a cage. I saw that the two sons are both divine and handsome, and they also collected words in Wei Ye. "The "obtained from the outside of the image" mentioned here means that the painter's creation must have "the meaning outside the image" and "the purpose outside the image", that is, there is poetry in the painting. He regarded this as the difference between painters and painters, and between paintings. The basis for the difference in quality. It is believed that although Wu's paintings are wonderful, they lack extraneous meaning and taste, and can only be judged based on their painting skills. However, this is not the case. The "Portrait of Gion Disciples" painted by Wang Wei has thin characters. The bones are like a crane, the appearance is clear and sick, the heart is as gray as ashes, and there are a few forgotten words, showing a peaceful and peaceful spiritual state. He also admired Wang Wei's painting of two clumps of bamboo with snow-capped roots. , Jiaoke Dongye shows his noble character. In short, he appreciates Wang Wei's ability to not only describe the appearance and demeanor of objective objects, but also, more importantly, to express the spiritual state he aspires to. This is what he calls "obtained from." He also believed that only in this case can one express his emotions freely and be "like a fairy flying to the cage". He further pointed out that the poetic flavor in the painting is exactly the painter's character, temperament and upbringing. The specific embodiment: "Mojie's poem is old, Pei Zhi Xi Fang Sun. Looking at this mural now, it seems that the poem is clear and honest. "Wang Wei's murals are full of poetry, just because he is an outstanding poet at the same time. His paintings, like his poems, are fresh, honest, wonderful and refined. The fundamental reason is that he has a pure moral character like a flower and a vanilla. It is because of this that he puts Wang Wei's paintings above the painting sage Wu Daozi.
This poem does not stick to the painting, but gives a more complete explanation. He expressed the valuable insight of poetry in his paintings. He emphasized that paintings should have extraneous meanings, and that painters should express their own thoughts and characters through pictures, and emphasized the great role of cultural literacy in artistic creation. These became the core of later literary theory of painting. , played a role in promoting the rise of literati painting in the future.
Because the poetry in the painting is a product of the artist's spiritual character and cultural literacy, and is expressed indirectly through the picture, it is required. Appreciators must be knowledgeable and have special understanding and sensitivity. For example, the great painter Li Gonglin at that time created "Yangguan Picture" and "Returning Picture". His conception can break away from worldly opinions and is difficult for ordinary people to understand. , even the famous poet and calligrapher Huang Tingjian only pointed out the emotion of separation in "Picture of Yangguan": "There is no shadow in the sound of heartbreak, and there is no sound in the picture, but also heartbreak." Seeing the joy of Tao Yuanming's return to seclusion: "Every day he promised to return home, and the children greeted him with smiles and held their clothes." But Su Shi was different. He saw the painter painting a fisherman on the Yangguan waterfront, leisurely, sad and happy, so he saw it. The inscription reads: "Long Mian is unique in being attentive and draws out the unexpected sounds of Yang Guan. "This "unexpected sound" is a mockery of the "famous and wealthy guest" who cares about leaving lightly. He saw that the painter did not follow the usual method of painting Tao Yuanming among the pine and chrysanthemums in the countryside, but instead let the Tao Yuanming wander by the water. He used the rushing water to paint Tao Yuanming. It shows his inner activities that are eager to go. This is in contrast to the "fame and wealth guest" who are obsessed with fame and wealth, so he became interested in writing: "I translated "Gui Lai Yin" for you, but I didn't follow the example of Yang Guan Kong Broken Heart. "The reason why Su Shi's poem is superior to others is that he and Li Gonglin are both poets and painters. "In ancient times, painters were not ordinary people, and wonderful ideas and poems came from the same time." At the same time, it is also because he "doesn't stick to the hair on the painting." "On", he can cleverly connect the two paintings, and use rich imagination and vivid brushwork to deepen the poetic artistic conception of the picture.
In addition to landscape paintings and figure paintings, Su Shi believed that flower-and-bird paintings and other Paintings should also contain poems. People often refer to his famous line in "Two Poems on Broken Branches Painted by the Master of Yanling King": "When talking about paintings, we can see them as children. "You must write this poem, and you must not know the poet", which is used to illustrate that his emphasis on spiritual similarity in painting and implication in poetry are naturally well-founded. But what he particularly appreciated was the poetic flavor in Master Wang's paintings: "If The man is rich and the sky is clever, and the spring scenery is in his hair. I know that you can write poems, and I send you my voice to ask for wise words.
"This means that Wang Zhubu's paintings are full of spring. The thin bamboos, quiet flowers, double feathers, and bees he painted are so ingenious that they have both form and spirit. They are simply poetry. It was in this poem that he put forward his famous argument : “Both poems and paintings are the same, heavenly and fresh. "As for the inscription and postscript he wrote for Hui Chong's "Spring River Dawn Scene", because it can deeply reveal the meaning of the poem in the painting, it is still circulated by thousands of people and is deeply loved by people.
2. "Short Growth, fatness, and barrenness all have their own characteristics. Who dares to hate the jade ring and the flying swallow?"
"Du Ling commented on the importance of thinness and hardness. This opinion is not fair and I will not rely on it. Short, long, fat and barren have their own characteristics. Who dares to hate the jade-huan and flying swallows? "(Su Shi's "Sun Xin Lao Qiu Mo Miao Pavilion Poems") Su Shi disagreed with Du Fu's calligraphy theory, because calligraphy styles include majestic, steep, straight, solemn, round, etc., each with its own merits, and calligraphy cannot be limited to one style. The same is true for storytelling, and the same is true for painting. Various schools and styles of painting should be allowed to coexist. Let's first look at what he said about landscape painting. His "Two Poems on Colorful Mountains from the Collection of Wang Jinqing":
缥. The ink fairy in Miaoyingqiu floats out of nowhere.
When the wind is gone, who will see the general coloring the mountain?
Who seems to be retreating, and there is no way to go. Who do you want to follow?
Su Yun refutes the leakage of morning light, and only sees the red mountains and blue mountains.
From the first poem, we can see that the greatness of the Tang Dynasty was no longer popular in the Northern Song Dynasty. The resplendent landscapes of the painters Li Shixun and his son (known as General Li and General Li) are the ink landscapes of the great painter Li Cheng (known as Li Yingqiu) in the early Song Dynasty. Ink landscapes do not emphasize color, but mainly use the shade, dryness, and wetness of ink. It is rendered in shades and is suitable for depicting clear, distant or vast and deep natural scenery. This kind of landscape began in the Tang Dynasty, but it did not gain great support until the Northern Song Dynasty, when it was created and developed by Li Cheng. The poem not only praises Li Cheng's ink landscapes, but also specifically affirms Li Cheng's original Xiao Shu Qing Kuang "Pingyuan Cold Forest". According to the painting method at that time, the meaning of "Pingyuan" is blended and ethereal, so it is called "Piao". "Misty" ink painting; the flat and distant colors are bright and dark, so it is called "floating and disappearing". For the same reason, Su Shi also wrote poems for the famous painter Guo Xi's "Autumn Mountains and Flat Distances" many times, saying that his painting realm Openness is a good theme for landscape poet Meng Haoran to sing about. He spoke highly of the famous painter Song Di's "Evening Scenery of Xiaoxiang", saying that it has a far-reaching meaning and is purely natural. The ink landscapes based on "Cold Forest" had already made outstanding achievements at that time.
Judging from the second poem, Su Shi also loved Li Sixun's resplendent landscapes. His emotion "Who sees the general coloring the mountains", It was caused by the decline of this painting school. The content of the painting he titled is roughly similar to the content of Han Yu's poem "Mountain and Stone". The pedestrian was walking alone at dawn, hesitating because he could not see the road clearly. Fortunately. The golden sunshine shines through the thick clouds, shining on the rocky mountains, the brilliant mountain flowers, and the clear mountain springs. We can imagine that this golden and green color just expresses the colorful beauty. Rivers and mountains. He also wrote poems for Li Sixun's "Picture of Islands on the Yangtze River", praising his high achievements.