A Study Of Su Shi’s Painting Theory

Su Shi was an outstanding litterateur and calligrapher in the Northern Song Dynasty.In the drawing aspect,Su Shi advocated the integration of poetry and painting,praised highly of literati painting.He wanted to make painting more closer to poetry,and let painting continuously refined.The pursuit of interest and charm,emphasized the expressive function of painting and expressing feelings of personality characteristics.It also had emphasis on painting from skills to big progress,and get rid of the feeling of firm and gaudy.Then,people’s prejudice on painting can be released so that painting can stand in the art area.Su Shi’s painting theory such as "Vivid","Poem consistent with Painting ","Tao and Art"," normal spirit and normal form " and "have a ready plan to meet a situation" has a deep impact on the ancient Chinese painting and it has a great research value.This article,starting from the original and works of Su Shi,analyzes the connotation of Su Shi’s painting theory.The connotation of Su Shi’s painting theory mainly includes three aspects:intercommunication of poetry and painting,connection of Tao and Art,the unity of form and spirit.First of all,"inter-communication of poetry and painting" is not only the summary of previously painters,but also the major theoretical proposition of Su Shi himself.On the one hand,from the perspective of the interaction of poetry and painting,the combination of poetry and painting is becoming more and more mature through the development of the Han dynasty,the development of the Wei and Jin dynasties and the maturity of the Tang and song dynasties.The discussion on the topic of"poetry and painting intercommunication" by literati in previous dynasties also left a lot of written records.On the other hand,Su Shi’s"poetry and painting communication" is mainly embodied in the exchange of artistic conception.As for "intercommunication of poetry and painting",they are the same and interchangeable in the creation of aesthetic conception,namely,"there are paintings in poetry,poems in paintings." Through the artistic image depicted in the poetry language,we can appreciate the implication of the poem and feel the vivid image of the imagery in the poem.Through painting,we can not only see the image in the painting,but also observe something new beyond the image itself,and transform the form of expression into expression in the painting.What’s more,both poetry and painting pursue the aesthetic conception of heavenly work and fresh taste.The works of "natural formed" have always been regarded by poets and painters,and they have spared no effort to realize this pursuit.Su Shi believes that using the combination of poetry and painting,the pursuit of implication,the implied meaning,they can create a day with fresh aesthetic imagery.Poets and painters can create a fresh and natural conception by using their marvelous skills.Secondly,the discussion of the relationship between "Tao" and "Yi"is another important part of Su Shi’s painting theory.Su Shi believes that"Tao" and "Yi" are two important aspects of painting creation."Yi" means"skill".Only by realizing the unity of "Tao" and "skill",the painter can draw the "vivid works" by the high unification of artistic thought and artistic skill.Su Shi’s "Tao and Yi art" can be divided into three aspects:first,"Tao" is worked as a leader in painting,it should be natural,legal and humane.Second,the training of the painter’s skills can show the"Tao".The painter should strengthen the training of artistic skills and the cultivation of "Tao".His artistic skills should pay attention to the details of life and be practical.Third,"Tao" and "Yi" work together.On the one hand,the creation of painting should connect with "Tao" and "Yi".On the other hand,"Tao" and "skill" are of the same importance.Finally,the discussion on theory of the unity of form and spirit,is also an important part of Su Shi’s painting theory.It mainly includes three parts:the deepening of theism,the dialectical relation between common sense and the normal form,and the painting realm of body and materialization,and the unity of form and spirit.First,Su Shi inherited Gu Kaizhi’s point of view on "vivid portrayal",and promoted the transformation from lifelike style to freehand style.Then,he put forward the theory of "getting the meaning" and "living beyond the painting".Secondly,the dialectical relation between common sense and normal form.On the one hand,Su Shi thinks that "common sense" is a combination of the creation and the unsatisfactory.On the other hand,the painter can "show his mind".Su Shi emphasizes the combination of the form and spirit in the painting,and the integration of things with me,namely the perfect combination of objective and subjective spirit and emotion.Through the "form" of the painting object,the "spirit" of the painting subject is conveyed.Thirdly,the highest state of the spirit is"materialization".It is from idea before the "creation" to have ready plans to meet a situation then to the artist’s poverty and the state of life,"to swim with the creator"."Intercommunication of poetry and painting",connection of Tao and Art,unity of form and spirit are the important parts of Su Shi’s painting theory.These viewpoints not only enrich the theory of northern song dynasty painting,and elevate the status of the paintings in the art area.