Su Shi's life
-Thoughts on Reading Su Shi's Aesthetic Life
Author: Liu Yi, School of Chemistry, student number: 12040208, course number: 2004023 1 1.
Introduction: "Aesthetic life and officialdom life are two diametrically opposite attitudes towards life. Officialdom life and the poet's nature are fundamentally incompatible: one is a masked politician, the other is a poet with pure heart, the other is hypocrisy that desperately needs officialdom entertainment, and the other must be sincere. Su Shi's life is a typical aesthetic life, that is, he is immersed in reading and writing of literature and art, and enjoys the hue, order, rhythm and harmony of the life universe. "
Today, I read the article Su Shi's Aesthetic Life written by my teacher, and got a better understanding of Su Shi. We have been studying Su Shi's poems since primary school. At first, we just thought his poems were bold and uninformed, and we didn't know much about them. But after reading this article, I think there are too many things in it that we admire, his literary talent and his personality.
Below, I only introduce Su Shi:
(a) Su Shi's life:
Su Shi (1037 ~11year), a famous writer, painter and calligrapher in the Song Dynasty, was named "Dongpo Jushi" and was born in Meishan, Meizhou (now Meizhou, Sichuan). 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 "Cao San and his son" (Cao Cao, Cao Pi, Cao Zhi) at the end of Han Dynasty. Speaking of him, almost anyone with a little knowledge of literature knows it.
His father, Su Xun, was the "Sue" mentioned in The Amethyst at the age of 27. Su Xun got angry late, but he worked hard. In his later years, Su Shi recalled his childhood experience of studying with his father and felt that he was deeply influenced by his father. Of course, without Su Xun's hard work, Su Shi would not have been able to get a good tutor since he was a child, let alone "learn the history of general classics, which belongs to thousands of words every day", let alone have a future literary master.
In the first year of Jiayou (1056), 20-year-old Su Shi left Sichuan for Beijing for the first time to take the imperial examination. The following year, he took 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 Chinese secondary school exam, which is usually called "three-year Beijing Examination", got the third grade, and signed a book for the judge in Dali. Later, his father died in Bianjing, and Ding returned to his hometown. In the second year of Xining (1069), he returned to the DPRK after his term of office, and he was still appointed.
Su Shi has been away from Beijing for several years, and great changes have taken place in North Korea. After Zongshen ascended the throne, he appointed Wang Anshi to support the political reform. Many of Su Shi's teachers and friends, including Ouyang Xiu, who admired him at the beginning, were forced to leave Beijing because they disagreed with the new country Wang Anshi's implementation of the new law. The old rain in the ruling and opposition parties faded away, and what Su Shi saw in his eyes was no longer the "peaceful and prosperous times" he saw at the age of twenty.
On his way back to Beijing, Su Shi saw the harm of the new law to ordinary people, so he disagreed with Prime Minister Wang Anshi and thought that the new law could not facilitate the people, so he wrote a letter of opposition.
As a result, like his teachers and friends who were forced to leave Beijing, they were not allowed to stay in the court. So Su Shi asked for his release and was transferred to Hangzhou to serve as a general.
Su Shi stayed in Hangzhou for three years. After his term, he was transferred to Mizhou, Xuzhou, Huzhou and other places.
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 (1079), Su Shi arrived in Huzhou for less than three months, and was arrested and imprisoned for writing poems to satirize the new law, which is known as Wutai Poetry Case.
Su Shi was in prison 103 days, almost on the verge of being beheaded. Thanks to the national policy of not killing ministers during Mao's reign in the Northern Song Dynasty, Su Shi escaped.
After he was released from prison, Su Shi was demoted to Yong Lian of Huangzhou Regiment (equivalent to the vice captain of modern civil self-defense forces). This position is quite humble, and at this time, Su Shi has been disheartened after this prison. In his spare time, he leads his family to reclaim wasteland and farms to help make a living. The nickname "Dongpo lay man" was given to him at this moment.
In the seventh year of Yuanfeng in Song Shenzong, Su Shi left Huangzhou for Ruzhou. Due to the long distance and tiring journey, Su Shi's children died unfortunately. Ruzhou is far away, and all the tolls have been used up. 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 ready to return to Changzhou, Zongshen passed away.
Zhezong ascended the throne, Wang Anshi's power declined, and Sima Guang was re-enabled as the phase. Su Shi was recalled to North Korea on 1920. After that, in a short period of one or two years, Su Shi was promoted from the governor of Dengzhou to the bachelor of Hanlin and became the minister of the highest etiquette department.
As the saying goes, "Beijing officials are not easy to be." 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 offered advice and suggestions to the emperor.
At this point, Su Shi could neither tolerate the new party nor forgive the old party, so he asked for another transfer. As a bachelor of Longtuge, he went to Hangzhou as a prefect again after a long absence of 16 years.
Su Shi's only achievement in Hangzhou is to build a major water conservancy project and a dam beside the West Lake, which is the famous "Su Causeway".
Su Shi lived happily in Hangzhou and compared himself to Bai Juyi in the Tang Dynasty. But not long after, Wang Anshi came to power again and he was recalled to North Korea. But he was soon released to Yingzhou because of political disagreement.
After that, Su Shi went to the DPRK several times, demoted officials, demoted officials, entered the DPRK ... and suffered the ups and downs of the official sea. He was banished to Huizhou and Danzhou (now Hainan Island), and when Yuan Dynasty (11kloc-0/) was recalled to Beijing again, he died in Changzhou at the age of 66.
Judging from Su Shi's resume, he was not successful as an official. His main advantage lies in his literary creation. He was one of the eight masters in Tang and Song Dynasties and 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 talented Song Dynasty, he was a poet, a poet and a writer.
(B) Su Shi's outlook on life and aesthetics:
Su Shi's diverse outlook on life and rich and complicated thoughts have had many influences on his literature. In recent years, researchers hold different views on this. 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 lifestyle and aesthetic attitude enabled him to overcome all kinds of persecution and hardships in the remote and poor Danzhou, Hainan, and climb to the peak of poetry creation and literary thought. Chen Xiaofen's "Buddhist Thought and Su Shi's Creation Theory" (Literary Theory Research, No.6, 1992) holds that "Buddhist thought can better communicate with some laws of creation to a certain extent because it involves the macro content of the universe and has unconventional cognitive methods and thinking characteristics", "Su Shi has always believed in Buddhism, has close contacts with monks, is familiar with various Buddhist scriptures and has a profound understanding of Buddhism. 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 in expressing the Zen realm by making good use of Zen scriptures and Zen language from three aspects: Buddhist scriptures, Buddhist language and Zen meaning. Gao's On the Influence of Zen Aesthetics on Su Shi's Artistic Creation (Journal of Inner Mongolia Normal University,No. 1993,No. 1) preliminarily investigates the influence of Zen Aesthetics on Su Shi's artistic creation from the aspects of thinking characteristics, aesthetic attitude and aesthetic way. The anti-rational thinking characteristics of Su Shi's Zen-inducing aesthetics make 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 is super-utilitarian, which is reflected in Su Shi's works as a transcendental spirit, thus creating his creative style of indifference or boldness; 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 are contained in things rather than stuck in things. On the contrary, Qi Wenbang's "Dongpo Ci Style and Buddhism and Taoism Thought" (Journal of Henan University, No.2, 1993) holds that Buddhism and Taoism thought has cast a nihilistic color on some bold works of Dongpo Ci, which has changed from actively using the world to Buddhism and Taoism, reflecting that the style of Ci has changed greatly, and has been replaced by bold, broad-minded and elegant works. Qin's "The Nightmare of Buddhism and the Sorrow of Zen —— Su Shi's Zen Complex in Lingnan Period" (Knowledge of Literature and History, No.6, 1996) holds that "Su Shi's personality is not a single broad-mindedness, but a deep sadness is hidden in his heart" and "it became the dominant aspect of Su Shi's personality in his later period, especially in Lingnan period", and the deep reason for pursuing it is "Su Shi".
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, permeates Taoist concepts and principles into his creation, and makes his works more aura and aesthetic feeling". Zeng's On the Taoist Thought in Su Shi's Ji-style Prose (Journal of Baoji Normal University, No.4, 1990) holds that the Taoist thought embodied in Su Shi's prose is often neutralized and transformed by Confucianism, which has a more positive effect under special circumstances. Zhou Xiaohua's "Su Shi's View of Being Empty and Quiet —— On the Influence of Zhuangzi's" Fasting Thought "on Su Shi's Later Thoughts" (Academic Monthly No.9, 1996) holds that "Su Shi's empty and quiet mind is not only related to the transcendence of Zhuangzi's thoughts, but also unable to get rid of the fetters of Confucianism". Yang Shengkuan's On Su Shi's Personality Thought (Tang Dou Daily No.2, 1993) holds that Su Shi inherited and integrated the ideal personality thought advocated by Confucianism and Taoism, and put forward the personality ideal of "a gentleman is like water, and things are shaped". Su Shi's life realm and literary pursuit are 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 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 materialism, 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 also analyzed Su Shi's literary view from the aesthetic point of view. For example, Wang Shide's "Su Shi's Aesthetic Significance of Wonderful Dharma" (Journal of Xuzhou Normal University, No.2, 1992) discusses the relationship between Dharma and novelty in Su Shi's artistic view, and his artistic pursuit of "giving it a taste and treating it indifferently". Zhang Yi's The Beauty of Openness: Su Shi's Creative Personality, Cultural Character and Aesthetic Orientation (Literature Theory Research No.4, 1992) summarizes the artistic characteristics of Su Shi's works in the context of "openness". Geng Qin's On Su Shi's "Flowing Clouds and Flowing Water" (Journal of Yantai University, No.4, 1994) holds that Su Shi repeatedly uses flowing clouds and flowing water as a metaphor for poetry, which reflects his aesthetic pursuit of advocating nature.
(3) Conclusion:
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, but because of being excluded, his talents can not be displayed, which can be said to be untimely. Finally, Su Shi chose to write poems to relieve his pain.
Enrich yourself with creation and please yourself. So he left many magnificent poems. Sue has her own outlook on life and values, but also her own aesthetic point of view, that is, writing. Therefore, his poems are deeply influenced by his aesthetic thoughts.
Su Shi painted his life with a pen, and also left beautiful poems for later generations. We should thank God for finding such a great poet for our creation. It is because of his unique aesthetic point of view that he can create even when he is depressed. There are too many things worth studying and thinking about in Su Shi. I believe that one day, a complete Su Shi exhibition will appear in front of us.