Su Shi was a famous writer, painter and calligrapher in the Northern Song Dynasty. Poetry is as famous as Huang Tingjian, and is called "Su Huang". Ci is the originator of the uninhibited school, and it is also called "Su Xin" with Xin Qiji in the Southern Song Dynasty. Prose is "one of the eight masters in Tang and Song Dynasties", and it is also called "Su San" with his father Su Xun and his brother Su Zhe. You can draw bamboo and learn the same thing. He is good at running script and regular script, and is also called "Song Sijia" with Huang Tingjian, Mi Fei and Cai Xiang. This paper introduces his life and calligraphy achievements.
Su Shi was born in the fourth year of Jingshou (1037) and died in the first year of Jianzhong (11). The word Zizhan, Ziping, and the word Zhong Ping, since the number Dongpo lay man. Meishan, Meizhou (now Meishan, Sichuan) people. He has received a good cultural education since he was a child. Because his father Su Xun is studying abroad, his mother Cheng teaches him to read and write. Su Shi was clever and brilliant since he was a child, and he worked hard to help the world. In the second year of Jiayou (1057), 22-year-old Su Shi was a scholar, and was later appointed as a judge of Dali, signed by Fengxiang House. Yingzong Zhiping for two years (1065), in the history museum. Shen Zongchao, who opposed Wang Anshi's new law, was appointed as the secretariat of Hangzhou and transferred to the secretariat of Mi, Xu and Hu. In the second year of Yuanfeng (1079), Li Ding, an imperial envoy, and others accused Luo Zhi of "criticizing the current government affairs" in Su Shi's poems, and Su Shi was arrested and imprisoned. This is the famous Wutai poetry case. Due to many rescues and the intercession of Zongshen's mother, Su Shi was imprisoned for more than four months, then released from prison and demoted to assistant ambassador of Huangzhou Yingyong. When Zhezong was in power, the old party abolished the new law. Su Shi was recalled to Beijing and moved to Zhongshu Sheren. Later, in addition to the Hanlin bachelor, he moved back to the Ministry of Rites and served as the Bachelor of Duanming Hall and the Hanlin Bachelor. Because of disagreement with the ruling party, he thought that the new law should not be abolished, so he attacked the old party and made a statement about Hangzhou, Ying and Ding. Later, I returned to Beijing, where I was the official minister. Shao Shengyuan (1094) was relegated to Yingzhou, Huizhou, Qiongzhou and Danzhou (now Hainan Province). He established Hui Zong, moved to Lianzhou and Yongzhou, returned to Yingzhou as a court minister, and put forward the view of Chengdu Jade Bureau. It was not until six months before his death that he was pardoned. On the way back to the north, he died in Changzhou (now Jiangsu) at the age of 66.
Although Su Shi was politically opposed to Wang Anshi's political reform, he also had the requirements and specific actions to get rid of bad politics and seek welfare for the people, and made outstanding achievements during his tenure as a local official. As a writer, he made outstanding contributions to the ancient prose innovation movement in the Northern Song Dynasty. Su Shi's poems are all about work, especially seven words long, and even "words of ridicule can be recited in books." Su Ci created the uninhibited school, broke through the content and style of love separation between men and women since the late Tang Dynasty and the Five Dynasties, and was another great innovation.
Su Shi also contributed to painting creation and theory. He first used the name of "literati painting" and paid special attention to literati painting, which greatly promoted the development of literati painting.
Su Shi's multi-faceted cultural accomplishment and innovative spirit are also reflected in the art of calligraphy, and he has made outstanding achievements.
Su Shi dares to innovate. "Tang people respect the law", but he thinks it is impossible to write and calligraphy. He holds the pen sideways, using the flank, and is ridiculed, but the pen carries great strength and heroism. He ignored the adage that "books are expensive and thin, hard edges are psychic" and used a fat and flat glyph to reveal Xiao's scattered spirit. He showed his talent and knowledge in his calligraphy works, and his understanding of life philosophy and the triggering of individual emotions in his works.
Although Su Shi's talent is very high, the reason why he can form his own style, which is unique and unique depends on long-term perseverance and exploration.
As for the origin of Su Shi's calligraphy, Huang Tingjian once said: "Dongpo Taoist learned Lanting (referring to Wang Xizhi) for a few days, so his calligraphy style is as charming as Xu Jihai (Xu Hao), and he forgets his work when he is drunk, and his words are as thin and strong as Liu Chengxuan (Liu Gongquan). When people reach middle age, they like to learn the books of Yan (Yan Zhenqing) and Yang Fengzi (Yang Ningshi), which are in tune with Li Yong. As for the rhyme of the pen, relying on the wonderful articles and being loyal to the sun and the moon, the good books in this dynasty should be the first. " He also said: "Dongpo copied Xu Huiji (Xu Hao) when he was young, and his pen was beautiful and charming; Middle-aged people like to write Yan Shangshu (Yan Zhenqing). If they really expect it, they want to be poor. I like to learn from Li Beihai at night, and I am also courageous. " These two paragraphs basically summarize the changes and characteristics of Su Shi's calligraphy from early age to middle age until his later years.
Su Shi asked Jin people for advice. Su Guo, the son of Su Shi, once said: "I used to be a gentleman, and I was less happy." This can be seen from Su Shi's early works, such as Zhi Ping Tie, which is graceful and charming. The richness and conciseness of Su Shi's cursive script are deeply influenced by Wang Xizhi and Wang Xianzhi, especially the reading skills and styles of the two rulers, which are also reflected in Su Shi's letters. Su Shi sought a way out from the Jin people, and he had his own understanding and insight. He once said in "After the Words Written in the Book": "If you give less, you will learn the book, and if you give less, you will take the pen from the back. No way. You know you will be famous when you grow up, but the servant doesn't think so. Knowing books is not in the prison of pens. Haoran listens to the pen without losing the law. " He believes that there is no fixed method for writing, and the key is to make the pen smooth, vent the calligrapher's breath, rhyme in the Jin Dynasty, and be freehand. According to this principle, he adopted the method of oblique principle, empty width and self-opening, and finally got the aesthetic essence of the calligraphers in Jin Dynasty: everything is free and lively, and the decoration is carved as much as possible.
Wang Sengqian in the Southern Dynasties also had a great influence on Su Shi. Wang Sengqian, the grandson of four generations of Wang Xizhi, was a clean and honest official, and he wrote an extraordinary script. He had a lot of research on calligraphy theory, including writing fu, commenting on books, and praising his pen. His running script is exquisite and rich, full of spirit and romantic spirit. Wang Sengqian, a scholar of Su Shi, was mentioned in the postscript of Zhi Ping Tie by Wang Yideng in the Ming Dynasty: "Su Wenzhong's calligraphy came from Wang Sengqian, and he admired the small county posts in Jiang Ying. Who said that he could not learn from it! The traces of this book are all kinds of monks. " Today, Hou Jingchang still thinks that Su Shuyuan came from Wang Sengqian and Xu Jihai. Later, he took part in the Oriental Painting Praise and went back to Zhong You to change it, which became more profound.
Tang Xian is another source of Su Shi's calligraphy. He respects Yan Zhenqing the most and is deeply influenced by Yan Zhenqing. He often compares himself to Yan Lugong. Huang Tingjian once commented: "We should learn from others and learn from each other. Both men and women are great men. " Su Shi first admired Yan Shu's spirit of political reform, which was consistent with his own creative spirit. He also loves Yan Shu's heroic spirit, plump and charming brushwork, dignified and heavy knot and energetic composition, all of which are carefully selected. Liang (Shan County) in Qing Dynasty said in a book review post: "Dongpo's book circle is called Yan. If we look closely at its turning point, the turning point in Guifeng and ancient book posts is logical." Wang Shizhen in the Ming Dynasty also said: Wenzhong "wrote a great book, which originated from Duke Lu and was slightly closer to the monument". His son Sue said a long time ago, "Did my former husband call himself a book? It is characterized by the greatest strength, which emanates from the chest, but it should be done by hand. Therefore, I don't see its charm, but stop at Zhang Fu, if there is a color that cannot be committed. Teenagers like the book' Two Kings', but they like Yan Pingyuan at night, so there are two kinds of ethos. " From these comments, we can see that Yan Zhenqing and his books have influenced Su Shi's calligraphy in many ways. However, Su Shi's makeover, coupled with his own casting, can compete with it.
The calligraphy of Xu Hao, Yang Ningshi and Li Yong is also the origin of Su Shi's calligraphy. Xu Hao, whose name is Ji Hai, is an official of Prince Shao Shi. He is also known as Xu Huiji. The emperor's imperial edicts are numerous. Su Shi once wrote a poem: "Xu Shi and his son are also beautiful, and the words are hidden." It can be seen that Su Shi has a good study of Xu Shu, and some words written in the early and middle period are similar to those written by Xu Hao in style. Wu Dexuan, a Qing Dynasty man, said in "On the Book of the First Floor": "Dongpo is in Shao Shi (referring to Xu Hao), which is similar in shape and spirit. Judging from its brushwork, it is almost the same. " However, Su Guo said, "I don't know about amateurs, but I think it is impolite to learn from Xu Hao." This shows that Su Zhixue is only one aspect of Xu. Yang Ningshi was admired by the Song people, and Su Shi imitated Yang Shu's attitude, making him a hero with ups and downs and making him feel quaint. Su Wu said: Yu Shu is "a bit like Yang Fengzi" and Li Yong, also known as Li Beihai, is famous for his bold, elegant and changeable calligraphy. He's Paper Money of Dongzhou Caotang in Qing Dynasty says: "The swaying anecdote of stele and Ren stele, the simplicity of Duanzhou stone chamber, the grandeur of Lushan temple stele, the solemnity of Li Xiubei, the beauty of Luzhengdao stele and the quietness of Lingyan temple stele". Therefore, Su Shi's style of learning from Li Yong is varied. Su Shi took Liu Gongquan as an example and commented that "Liu's calligraphy is based on its beauty, but it can create new ideas, and its words are not empty words" (after Six Books by Bookstore).
Su Shi not only learns from the famous artists of the previous generation, but also pays attention to contemporary calligraphers. He worships Ouyang Xiu very much and is very insightful. He once said: "Ouyang Gong's calligraphy is dangerous and powerful, and the font is new and beautiful, which is unique." "Wen Zhong uses a sharp pen to dry ink, writes wide words, looks beautiful, and the paste is endless. Later generations look at it, if they see that their eyebrows are clear and their eyes are full, they are like a leaf. " He also praised Cai Xiang for saying ... Cai is the first in the dynasty, because he is knowledgeable and abnormal. However, Li Jianzhong and Song Xuanxian, who were highly regarded by the world at that time, were derogated, saying that "Song and Han were vulgar" and "Yun Ge was vulgar". Su Shi's analysis of Cai's calligraphy pattern is also his own way of learning calligraphy. Su Shi's own situation: "The servant book is not as good as Cai Mojun." Others, such as Wang Anshi, Huang Tingjian, Mi Fei and Qin Guan. Su Shi had discussions and exchanges with them in calligraphy. Especially for Mi Fei and Huang Tingjian, he commented: "The running script of Mi Fei and the grass of the princes also have high rhyme. Although the ancients did not catch it, they will be handed down to the world. " Huang Tingjian was born in Su Shi's family. They are bosom friends and often talk about calligraphy. On one occasion, Su Shi said, "Lu Zhi (Huang Tingjian's handwriting) has a clear pronunciation and mellow voice, but his brushwork is sometimes too thin, like a snake hanging from a treetop." Huang Tingjian said: "The word' Gong' is not easy to discuss, and suddenly it is simple, just like killing a toad with a stone." The two laughed and thought that they were deeply "disgusted" with each other.
Su Shi drew nutrition from the previous generation and contemporary calligraphers, and all the ups and downs in his life influenced and promoted the growth of his calligraphy, and finally reached the realm of self-reliance. Huang Tingjian once commented on his life experience: "Dongpo's early intentions are precise, not as natural as the boss. Before Pengcheng, it was still fake. After Huangzhou, the pen is extremely powerful and it is expected to be true and false. " It can be seen that the waves of Su Shi's life have changed to Huangzhou; Su Shi's calligraphy art has also changed in Huangzhou. The deeper his experience, the more his calligraphy skills surpass himself. After arriving in Danzhou, he made another change. For example, Yuan's Postscript of Su Shi's Nine Treatises on Li Sao said: "Mr. Dongpo ... came back from Danzhou at the age of 20, and his handwriting is like ancient stones, like angry dragons and monsters fighting people, which is beyond the reach of calligraphers." In Su Shi's place, calligraphy, like his literary achievements, has become more and more brilliant with the passage of life and the deepening of experience, leading to a wonderful realm.
Inscription: put wonderful reasons outside the unruly.
Compared with the Tang Dynasty, the stele study in the Song Dynasty was dwarfed, and the brilliance of the stele study in the Tang Dynasty gradually declined in the Song Dynasty. However, in the Song Dynasty, some calligraphers followed their predecessors with extraordinary skills, such as Cai Xiang's calligraphy tablet and Su Shi's. Modern Hou Jingchang said: "When Cai Shu became famous, it was the day when Yan Shu flourished in the Song Dynasty. However, there were very few calligraphers at that time, only Cai Nengzhi. Dongpo can inherit the legacy of Tang stele, which shows his profound calligraphy skills. " "In the Song Dynasty, except Cai Xiang, Dongpo was a good calligrapher." ("On Calligraphy"? On Su Huangmi's Calligraphy Art) Although the inscriptions on Su Shi's books were destroyed by the complicated political struggle in the Northern Song Dynasty, there are still rubbings circulating, which shows Su Shi's achievements in epigraphy.
Post: Infinite shaft is fresh
Liu Xizai Art Outline? The outline of the book says, "People who read books are nothing more than watching them walk on the grass. Dongpo talked about vivid charm and said, "If you sit with clothes on, you will never see the sky. "Zhuangzi? "Lieyukou" says: "If you are drunk, just watch with wine." All the same. Although Su Shi showed his charm and artistic personality in the official book inscriptions, his charm was conveyed more incisively and vividly in the cursive script, which reflected his creativity.
Moral: It's no different from free travel.
Su Shi is also an outstanding art critic, who has a profound and unique exposition on literature, painting and calligraphy.
Through the evolution of calligraphy and poetry, he discovered the characteristics, transition and communication between Wei, Jin and Tang Dynasties. For example, "Poems of the Later Huang Zisi" says: "The taste of books is the trace of Zhong (,) and Wang (), which is simple and far-reaching, and the beauty is beyond the strokes. To (Zhenqing) and Liu (Gongquan), ancient and modern brushwork has been collected and published. With the change of calligraphy, the world suddenly became a master, while Zhong and Wang Zhifa benefited little. As for poetry, the same is true. Su (Wu) and Li (Ling) are natural, Cao (Zhi) and Liu (Zhen) are complacent, and Tao (Tao Yuanming) and Xie (Lingyun) are detached. Li Taibai and Du Zimei, with a peerless attitude, have crossed over a hundred generations, and all ancient and modern poets have been abolished; However, since the Wei and Jin Dynasties, it has been extremely dusty and rarely declined. After Li and Du, the poet continued to write. Although there was a long rhyme between them, he didn't understand. Only with Liu Zongyuan, I sent him a letter and sent it to Rob, which is beyond my reach. " It is precisely because of the rise of Yan and Liu that the method of Zhong and Wang declined. Due to the rise of Li and Du, the ancient poetry of the Six Dynasties declined. It can be seen that poetry and calligraphy are interlinked. There are many secrets in Su Shi's view of poetry, calligraphy and painting.
This paper focuses on the "moral" theory in Su Shi's book theory. From this, we can see the depth of his understanding of contemporary calligraphy style and past calligraphy history.
Su Shi said in the poem "On Two Rhymes": "Although I am not good at writing, Xiao Shu is nothing like me. If you can understand, you can't learn. " The poem "Cang Cang Shu Zui Mo Tang" says: "Talking about yourself and enjoying yourself is no different from leisure. ..... I can't make this book, and I can't wait. " These comments on books with poems shine with the wisdom of calligraphy.
Song people regard calligraphy art as a great pleasure in life, which is used for freehand brushwork, enjoyment and leisure, regardless of work and rest, and the freedom to express the spirit in freehand brushwork. Su Shi believes that it is a great pleasure in life to spend a lot of time in an environment with bright windows and good pen, ink, paper and inkstone. Ouyang Xiu once said that calligraphy is "happy", and Su Shi also regarded calligraphy as just for comfort and meaning: "Being happy for a while, talking about your heart and forgetting your old age will be more virtuous than Bo Ben." From his writing, he realized that "having fun" and "comfortable" are no different from free travel. This is a kind of Masayuki, from which he gets spiritual pleasure, adjusts the color and rhythm of life, and also embodies the author's will and expresses his feelings, so he will never get tired of getting old.
Calligraphy is not only a kind of morality, but also a new idea. Su Shi explained to himself: "Although my book is not very good, I don't practice the ancients and create new ideas, which is quick success and instant benefit." Innovation is a kind of expressing one's interest; Not practicing the ancients is an ingenious creation. Su Shi's calligraphy is really a pursuit of self-spirit, which shows its innocence. Song people were interested in music, which was inspired by Su Shi, and influenced by Huang Tingjian's opposition to "vulgarity" and Mi Fei's emphasis on "genuine interest". And those who are consistent, that is, do not be a "slave book", go beyond the secular, and let calligraphy freely express its spirit and interest!
Su Shi thought that new ideas should be reformed, so he praised Yan Zhenqing: "Gong Yan is as thin as an autumn eagle because of its reform and innovation." ("Sun Xin's Poem of the Old Man Searching for the Ink Pavilion"). Su Shi is eclectic, learning from others' strengths, seeking change and casting change, and has formed a unique style. His "reformed" view of calligraphy was criticized by some people at that time, saying that "Dongpo's pen does not conform to the ancient law." Huang Tingjian asked, "Nowadays, laymen like to satirize Dongpo. He uses the Hanlin rope ink ruler to present books. Do you know the meaning of law? " Both Huang Tingjian and Mi Fei got useful enlightenment from Su Shi's view of political reform.
Calligraphy seeks meaning, don't worry about clumsiness. Su Shi once said: "Beauty is beauty, why not oval?" Su Shi's calligraphy was careless and clumsy, and he was also satirized by some literati at that time, or his books were often sick, "When a' brother' was sick, he lay on his wrist while writing, and he showed his left side and did his right side", and so on. Huang Tingjian also argued: "Here we can see that he is peeping at the leopard in a tube and doesn't know the gist. I didn't know that Xi Zi was proud of his heart. Although his illness is self-contained. " But I feel the harmonious heartbeat of Kirin, and Huang Tingjian has a profound understanding of Su Shi's calligraphy.
Since calligraphy seeks meaning, there is no need to be melodramatic. Su Shi said: "At the beginning of the book, I didn't say that Yoga Yu meant Jia Er." (On Books) Calligraphy works are confessions of self-mind, so why affectation? Strive for its "good" if the temperature doesn't rise, and "good" won't come; When the melon is ripe, Jia comes uninvited. He advocates that "Haoran listens to what the pen does without losing the statutes, so as to gain it" (on the book). There is a noble spirit in your chest, so you can send it to your chest. If you answer with your hand, you can listen to what this pen is doing. It is like a spring, which gushes out indiscriminately and gurgles on the flat ground. Although it is not difficult to travel thousands of miles a day. And its twists and turns with rocks, with the shape of things without knowing. It is known that "what you do often stops at what you can't stop." Of course, Su Shi pointed out that "keeping the statutes" is dialectical, and the main statutes are that "a book must have God, Qi, bone, flesh and blood, so it is not a book" (On Books). If it can be transformed into a spirit, then it is not Yoga Yu's original intention that law and meaning can be mutually complementary, mutually beneficial and self-reliant. This is the case with Su Shi's calligraphy skills, regardless of size, vertical and horizontal, and conception, but they are all satisfactory and have reached a natural state.
Calligraphy not only seeks meaning, but also takes the sage as an example. Su Shi wrote in the poem "Wang Tie": "I am drunk, I am bald, chasing the world and calling myself a calligrapher. Have you ever dreamed about the king and the clock, pretending to be blind and deaf? As the city advocates wiping green and red, demons sing and dance to dazzle children. Mrs Xie Jia is rich and elegant, but she also has her own shortcomings. Tianmen swings and jumps, and birds sweep out of the forest. I will continue to write cursive for you, don't worry. " Su Shi pointed out here that Zhang Xu and Huai Su pursued secular interests, deceiving the world and stealing fame. He appreciated the charm of Xiao San's calligraphy of Zhong and Wang, and praised (his wife's) calligraphy for its elegance, elegance, detachment and wind in the forest. He praised Wang Xianzhi for having two short lines and twelve characters in the quatrains in The Book of Prince Jing Tie in Liu Jingwen, which read "Thirty thousand signs of barometric wild marquis" (wild marquis refers to Li Mi in Tang Dynasty). In this criticism and praise, it is revealed that Su Shi's aesthetic ideal of calligraphy is based on the calligraphy style of Jin people.
"It is not enough to retreat like a mountain. You can understand God only by reading thousands of books." (Poem "Liu Er's Nephew Begging for Books") He thinks that the art of calligraphy can't be practiced just by a bald pen, and high-grade calligraphy needs a high degree of cultural accomplishment. Reading thousands of books, with profound knowledge and mutual infiltration of knowledge and art, can make people understand the spirit, make hands and eyes extraordinary and innovative. These two poems have profound implications and are resistant to the human body.
Su Shi's theory of "meaning" was further developed by Huang Tingjian and Mi Fei, which condensed the thought of "respecting meaning" in calligraphy aesthetics in Song Dynasty. Huang Tingjian said: "It is realistic to be a family according to other people's plans. "Mi Fei said in Historical Records:" All you want is a play, so don't ask clumsy workers. I am self-sufficient and my pen is empty. "This is to look at calligraphy with a game attitude. Viewing entertainment from calligraphy can be said to be a new understanding of traditional calligraphy. In Song Dynasty, calligraphers focused on ideas, got rid of the shackles of Tang laws and pursued the true interest of Jin books. However, the charm and interest of Jin people's calligraphy were closely related to politics, economy and culture at that time. With different times, environments, social consciousness and fashions, it is impossible for Song people to return to the Jin Dynasty to advocate metaphysics and speak freely, and it is impossible to downplay divinity like Jin calligraphy. Therefore, it is also the pursuit of true interest. Song people are different from Jin people. Song people's calligraphy is unrestrained and uninhibited, and they get their meaning in frankness; Jin people's calligraphy is fresh, lively and natural. Zhu said that calligraphers in the Song Dynasty, "As for Huang and Mi, a hundred flowers blossom" (Collected Works of Zhu Zi). Zong Baihua, a modern man, also said: "The calligraphy of Su, Huang, Mi, Cai and others also tried to catch up with the style of Man Xiaosan. "However, it is always exaggerated and does not have the nature of Jin people." (On Shi Shuo Xin Yu and the beauty of Jin people) Although Song people did not reach the charm of Jin people, they were different from Tang people in style and created a new realm of calligraphy, which was closely related to Su Shi's calligraphy concept and practice.
The first of the four families, romantic one hundred generations
Who ranks first in Song Sijia? Ancient calligraphers have different comments. On the whole, Su Shi should be ranked first. The main point here is that Su Shi played a key role in the creation and formation of calligraphy style in Song Dynasty. In practice, due to his advocacy, the inscriptions in the Song Dynasty formed a new look different from that in the Tang Dynasty, and created a unique style of cursive script in the Song Dynasty in terms of post-study. Theoretically, due to the influence of his fable theory, the concept of attaching importance to meaning penetrated into the hearts of calligraphers and became a direction of creative thinking. In society, due to his special status and appeal, his calligraphy characteristics and calligraphy thoughts have influenced a large number of people and a generation of calligraphy styles. As Yang Shoujing said: "Su Dongpo's book is naturally the first in the Song Dynasty, which has been circulated many times and is also well-known; When the second queen was crowned alone, it was a special occasion. " ("Learn from you")
In the Song Dynasty, many people studied Su Shu. Su Zhe's ci is just like his brother's, and Gu Zhuo is full of energy, especially in his later years. The brushwork of the second son is similar to Weng's. Huang Tingjian, under the leadership of Su Shi, first learned Su characters, and then got married. Another example is Zhou Bangyan, Li Gang and Lu You. , everyone is mechanical Su Shu. Scholars in Song Dynasty were proud of Su Shi's calligraphy. Huang Tingjian once said: "Dongpo lay man is very willing to write, but he can't ask for it. Beggars for books should be severely reprimanded, otherwise they will not agree at all. In the lock test in Yuan You, I saw every time that the paper on the box was neither thin nor thick, and it was full of books. Sex is like wine, only four or five people are drunk, lying down without politely declining, snoring like thunder, waking up less, and writing like rain. Although the ridicule is meaningful, it is really a fairy. " Huang Tingjian recorded a story in "The Monument to the Valley": Dongpo fled south. Please note that in addition to what he wrote, his stone carvings are often destroyed. Xuzhou Huanglou, Dongpo, Zi Fu, Po. The defenders could not bear to be destroyed and threw themselves into the moat of Shicheng. The first floor was named "Looking at the Wind". In the last few years of Xuanhe, it is forbidden to relax a little. Once, you traveled to store Dongpo's articles. People can't bear to destroy the monument written by Su Shi. Those who receive words make a fortune! After the Song Dynasty, many people studied Su Shu. Wu Kuan, Tang Yin in Ming Dynasty and Zhang Zhidong in Qing Dynasty were all good at learning Su Shu, and countless people drew nutrition and inspiration from Su Shu. Su Shi's book has been handed down from generation to generation, and it has a long history!