G. E.Lessing of Germany pointed out that in visual arts, the scope of painting is space, and the scope of poetry is time. Su Shi painted, trying to break through these two shortcomings. Su Shi often uses color words to capture the beauty of the picture, just like painting bamboo to enhance the dynamics in poetry. On Huzhou Day, when he was traveling in the mountains, he was caught in a heavy wind and rain. He went to the pavilion built by his good friend Jia Yun Lao (Shou) on the bank of Tiaoxi to shelter from the rain, so that he drew a candle and a wind and rain bamboo on the wall of the pavilion. We didn't have a chance to see this painting today, but we read his poem:
Imagine a girl with a graceful smile from the experience consciousness. The swaying posture is not just the posture of bamboo dancing in the wind and rain. Shuo Wen Jie Zi: "Laugh at the word, bamboo wins the wind, and the body bends like a person laughing." Therefore, Su Shi used the charming smile of a girl to compare the wind and bamboo in his paintings. Poetry? Painting? Everything is in harmony.
Huang inscribed Su Shi's painting "Bamboo Stone Map": "Dongpo old man Han Gonggong was drunk and spit ink on his chest." He also wrote a poem for Su Shi and Li's "Portrait of a Dead Taoist", saying that their painting is "taking the hammer of everything and using the axe of articles". It is said that his paintings are his poems, that is, his articles, which are directly moved into the picture creation with literary accomplishment. This creation is the maturity of the literati painting school in the art history of China.