Introduction: "Aesthetic life and official life are two extremely opposite attitudes towards life. Officialdom life and poet nature are fundamentally incompatible: one is a masked politician, the other is a poet with a pure heart, the other is a hypocrisy that desperately needs officialdom entertainment, and the other must be sincere and sincere. Su Shi's life is a typical aesthetic life, that is, to immerse himself in reading and writing in literature and art, and to enjoy the hue, order, rhythm and harmony of the universe of life as a pleasure. "
I read the article Su Shi's Aesthetic Life written by my teacher today, which gave me a better understanding of Su Shi. We have been studying Su Shi's poems since primary school. At first, we just thought that his poems were very bold and didn't know them well. But after reading this article, I think there are too many things in it for us to admire, his literary talent and his personality.
below, I will only give a brief introduction to Su Shi's poems:
(1) Su Shi's life:
Su Shi (137 ~ 111) was a famous writer, painter and calligrapher in the Song Dynasty. He, his father, Su Xun, and his younger brother, Su Zhe, are both famous literary figures, and they are called "Three Sus" in the world. It is the same as the "Three Cao Fathers and Sons" (Cao Cao, Cao Pi, Cao Zhi) in the late Han Dynasty. When it comes to him, almost everyone who has a little literary knowledge knows it.
His father, Su Xun, is the "Su Laoquan" who was mentioned in San Zi Jing as "angry at twenty-seven". Su Xun was late in getting angry, but he worked hard. In his later years, Su Shi recalled his childhood study with his father and felt that he was deeply influenced by his father. Of course, without Su Xun's hard study, it would be impossible for Su Shi to receive a good tutor at an early age, let alone "learn the history of general classics, which belongs to thousands of words every day", and it would be even more impossible for him to have a future literary master.
in the first year of Jiayou (156), Su Shi, who was 2 years old in nominal age, left Sichuan for Beijing for the first time to take the imperial examination in the imperial court. In the following year, he took part in the examination of the Ministry of Rites, and won the appreciation of Ouyang Xiu, the examiner, with an article "On Punishment and Loyalty", and became a scholar in high school.
in the sixth year of Jiayou, Su Shi took the exam of the Chinese secondary school, which is usually called "three-year Beijing inspection", and entered the third class, where he was awarded the title of judge of Fengxiang House. Later, when his father died in Bianjing, Ding Youfu returned home. In the second year of Xining (169), he returned to the DPRK after serving his full term, and he was still given his post.
Su Shi has been away from Beijing for several years, and great changes have taken place in the DPRK. After Shenzong ascended the throne, Wang Anshi was appointed to support the political reform. Many of Su Shi's teachers and friends, including Ouyang Xiu, who appreciated him at the beginning, were forced to leave Beijing because they disagreed with Wang Anshi, the new country, on the implementation of the new law. The old rain in the ruling and opposition parties faded, and what Su Shi saw in his eyes was no longer the "peaceful world" he saw when he was twenty years old.
On his way back to Beijing, Su Shi saw the damage of the new law to ordinary people, so he disagreed with what Prime Minister Wang Anshi did. He thought that the new law could not facilitate the people, so he wrote a letter against it.
as a result, like his teachers and friends who were forced to leave Beijing, they were not allowed to stay in the imperial court. So Su Shi asked for release and was transferred to Hangzhou for a general sentence.
Su Shi stayed in Hangzhou for three years. After his tenure, he was transferred to Mizhou, Xuzhou, Huzhou and other places, where he was appointed as Zhizhou.
This lasted for about ten years, and Su Shi met the first disaster in his life. At that time, someone deliberately distorted his poems and made a big fuss. In the second year of Yuanfeng (179), less than three months after his arrival in Huzhou, Su Shi was arrested and imprisoned for writing poems to satirize the new law and "slandering the monarch", which is known as the Wutai Poetry Case in history.
After 13 days in prison, Su Shi was on the verge of being beheaded. Thanks to the Northern Song Dynasty's national policy of not killing ministers during the reign of Mao Zhao Kuangyin, Su Shi was spared.
After he was released from prison, Su Shi was demoted to the deputy ambassador of Huangzhou Yong Lian (equivalent to the deputy captain of the modern civil self-defense forces). This position is quite humble, and at this time Su Shi has become disheartened after this prison. In his spare time, he led his family to reclaim wasteland and farm to help make ends meet. The nickname "Dongpo lay man" was given to him at this moment.
in the seventh year of Yuanfeng, Song Shenzong, Su Shi left Huangzhou and took office in Ruzhou. Due to the long journey and tiring journey, Su Shi's children died unfortunately. Ruzhou is a long way away, and the travel expenses have been exhausted. Coupled with the pain of losing his son, Su Shi wrote to the court, requesting not to go to Ruzhou for the time being, and to live in Changzhou first, and then was approved. When he was preparing to return to Changzhou, Shenzong died.
when zhe zong ascended the throne, Wang Anshi's influence fell, and Sima guang was re-enabled. Su Shi was called back to the DPRK in. After that, in a short period of one or two years, Su Shi was promoted to a bachelor's degree in Hanlin from the Taishou of Dengzhou, and became a minister in the Supreme Ritual Department.
as the saying goes, "Beijing officials are not easy to be." When Su Shi saw the emerging forces desperately suppressing the figures of Wang Anshi Group and abolishing the new law, he thought that they were just birds of a feather with the so-called "Wang Dang" and once again made suggestions to the emperor.
So far, Su Shi can't tolerate the new party, but he can't forgive the old party, so he once again asked for a foreign transfer. As a bachelor of Longtuge, he once again went to Hangzhou as a prefect after a separation of 16 years.
Su Shi's only achievement in Hangzhou was to build a major water conservancy project and build a dam next to the West Lake, which is the famous "Su Causeway".
Su Shi lived happily in Hangzhou, comparing himself with Bai Juyi in the Tang Dynasty. But not long after, Wang Anshi came to power again, and he was recalled to the DPRK. But soon he was released to Yingzhou because of political disagreement.
After that, Su Shi entered the DPRK several times, demoted officials, demoted officials, and entered the DPRK ... and suffered the ups and downs of his official career. He was once demoted to Huizhou and Danzhou (now Hainan Island), and died in Changzhou at the age of 66 when he was called back to Beijing again in the year of Emperor Huizong's founding of Zongjing (111).
Judging from Su Shi's resume, he was unsuccessful as an official. His main merit lies in literary creation. He is one of the eight famous ancient writers in Tang and Song Dynasties, and also one of the four great calligraphers in Song Dynasty (Su, Huang, Mi and Cai). As far as the existing works of Su Shi are concerned, he is proficient in all kinds of poems and songs. In the Song Dynasty with abundant talents, he was a master in both poetry, ci and prose.
(2) Su Shi's outlook on life and aesthetics:
Su Shi's diverse outlook on life and his rich and complicated thoughts have influenced his literature in many ways, and researchers have held different views on it in recent years. For example, Pu Youjun's Beyond the Predicament: Su Shi in Hainan (Journal of Sichuan Normal University, No.3, 1992) holds that Su Shi's optimistic and open-minded way of life and aesthetic attitude enable him to overcome all kinds of persecution and hardships in Danzhou, Hainan, which is remote and poor, and climb to the peak of poetry creation and literary thought. Chen Xiaofen's Buddhist Thought and Su Shi's Creative Theory (No.6, 1992) holds that "Buddhist thought can better communicate with some laws of creation to some extent because it involves the macro content of the universe, with unconventional cognitive methods and thinking characteristics", "Su Shi has always believed in Buddhism, kept close contact with monks, and is familiar with various Buddhist scriptures, so Buddhist thought is given. Liu Shi's Several Issues Related to Buddhism and Zen in Su Shi's Creation (Guizhou Social Sciences, No.3, 1992) discusses the characteristics of Su Shi's poems and poems in using Zen canon and Zen language to express Zen realm from three aspects: Buddhist allusion, Buddhist language and Zen expression. Gao Linguang's On the Influence of Zen Aesthetics on Su Shi's Artistic Creation (Journal of Inner Mongolia Teachers College, No.1, 1993) preliminarily investigated the influence of Zen Aesthetics on Su Shi's artistic creation from the aspects of thinking characteristics, aesthetic attitude and aesthetic mode. Su Shi cited the anti-rational thinking characteristics of Zen aesthetics, which made some of his works fully emphasize the expression of individual feelings and the examination of the true connotation of literature: the aesthetic attitude of Zen aesthetics, which is super-utilitarian, is reflected in Su Shi's works as a kind of transcendental spirit, thus creating his creative style of being indifferent or bold; The direct result of Su Shi's reference to the aesthetic mode of "seeing the image and leaving the phase" in Zen aesthetics is the formation of his poetic characteristics, which is characterized by implication in things but not stagnation in things. On the contrary, Qi Wenbang's Poem Style and Thought of Buddhism and Taoism (Journal of Henan University, No.2, 1993) holds that the thought of Buddhism and Taoism has cast a layer of nihility on some bold and unconstrained works of Dongpo's poems, which has changed from actively using the world to Buddhism and Taoism, and reflected in the great changes in the style of his poems, and has been replaced by bold and broad-minded and elegant works. Qin Zhaowen's "The Nightmare of Buddhism and the Sorrow of Zen —— Su Shi's Zen Complex in Lingnan Period" (No.6 of Literature and History Knowledge, 1996) holds that "Su Shi's personality is not a single broad-mindedness, but also a deep sadness is hidden in his heart", and "it has become the dominant aspect of Su Shi's personality in the later period, especially in Lingnan Period", and the deep reason for pursuing it is "Su Shi's Zen Buddhism belief and self-realization. "Su Shi's belief in Zen Buddhism not only laid the sentimental tone of his later poems, but also recast his own personality." From the metaphorical sense, Su Shi in this period can be regarded as a victim of Zen Buddhism to a great extent.
Other researchers discussed the relationship between Su Shi's works and Taoist thought. For example, Zhang Wei's On the Relationship between Su Shi's Aesthetic Thought and Taoism (Social Science Research, No.4, 1994) discusses the influence of Su Shi's Taoist thought on his aesthetic view and artistic creation, and holds that "he organically combines monasticism with artistic creation, and penetrates the concept and principles of Taoism into his creation, making his works more aura and aesthetic". Zeng Zhilu's On the Taoist Thought in Su Shi's "Ji"-style prose (Journal of Baoji Teachers College, No.4, 199) holds that the Taoist thought embodied in Su Shi's prose is often neutralized and transformed by Confucianism and becomes a Confucian Taoist thought, which plays a more positive role in special circumstances. Zhou Xiaohua's "Su Shi's Views on Void, Quiet and Bright —— On the Influence of Zhuangzi's" Heart-fasting Thought "on Su Shi's later thoughts (Academic Monthly, No.9, 1996) holds that" Su Shi's empty and quiet heart is not only connected with the transcendence of Zhuangzi's thought, but also unable to get rid of the fetters of Confucianism ". Yang Shengkuan's On Su Shi's Personality Thoughts (Tang Dou Journal, No.2, 1993) holds that Su Shi inherits and synthesizes the ideal personality thoughts advertised by Confucianism and Taoism, and puts forward the personality ideal of "a gentleman is like water, shaped by things". Su Shi's life realm and literary and artistic pursuit are all branded with this ideal personality realm. The rise of Neo-Confucianism in Song Dynasty also had a certain influence on Su Shi's creation. Zheng Rongji's "The Core of Su Shi's Literary Theory Criticism and Creative Thought" (Journal of South-Central University for Nationalities, No.4, 1994) holds that "reason" runs through Su Shi's whole philosophical thought, literary theory and creative practice, but Su Shi's reason has simple dialectical materialist thought, which refers to the objective laws of things' occurrence, development and change, and is manifested in three aspects: emphasizing reason, knowing reason and reaching reason.
Some researchers have analyzed Su Shi's view of literature and art from an aesthetic point of view. For example, Wang Shide's Su Shi's On the Aesthetic Meaning of Wonderful Statutes (Journal of Xuzhou Teachers College, No.2, 1992) discusses the relationship between statutes and new ideas in Su Shi's artistic view, and his artistic pursuit of "leaving the taste indifferent". Zhang Yi's Beauty of Openness —— Su Shi's Creative Personality, Cultural Character and Aesthetic Orientation (Research on Literary Theory, No.4, 1992) summarizes the artistic characteristics of Su Shi's works in the realm of "Openness". Geng Qin's Theory of Su Shi's "Flowing Clouds and Flowing Water" (Journal of Yantai University, No.4, 1994) holds that Su Shi repeatedly used flowing clouds and flowing water as a metaphor for poetry and prose, reflecting his aesthetic pursuit of advocating nature.
(3) epilogue:
After reading this, everyone has a certain understanding of Su Shi. Su Shi was successful in literary creation, but he was unsuccessful in being an official. Because his personality was too out of tune with the society at that time. Although he has ideals and ambitions, his talents can't be put to use because of being excluded, which can be described as untimely. Finally, Su Shi chose to write poems to relieve his pain, and < P > to enrich himself and please himself with creation. So he left many magnificent poems. Sue has his own outlook on life and values, and at the same time, he also has his own aesthetic point of view, that is, writing. Therefore, his poems are deeply influenced by his aesthetics.
Su Shi described his life with his pen, and also left exquisite poems for later generations. We want to thank God for finding such a great poet for our creation. It is precisely because of his unique aesthetic point of view that he can create even when he is depressed. There are still too many things in Su Shi that are worth studying and thinking about. I believe that one day, a complete Su Shi exhibition will appear in front of us.