In the early spring of the first year of Yuan V (1086), Su Shi, Su Zhe, Li Gonglin, Liu Zhongyuan, Huang Tingjian and other literati gathered together to perform the highest artistic peak in the late Northern Song Dynasty. This gathering can be called the highest level of art in the Northern Song Dynasty and the most fruitful event.
Su Shi and Li Gonglin jointly created a painting, inspired by Du Fu's "Drama for the Song of the Double Pine Pictures", with the title of "Songgen Hu Monk Rests Lonely, Pang Mei Hao Has No Residence", titled "Rest and Silence". Su Shi also used the wonderful poem "Zizhan and Li Gonglin Xuande painted the old monk of the ancient wood of the green stone, called the picture of resting and lonely, and the title is after" to show his ink treasure: "Although the eastern slope is the Huzhou school, the bamboo and stone are all for a while. The painter of the previous life is now surnamed Li, and he may as well write poems about Rim Chuan. Quoting Wang Wei's self-modest remarks, perhaps an exaggeration, Huang Tingjian quickly defended that Zizhan's painting criticism was incomprehensible in the eyes of ordinary people, and that Li Gonglin's paintings were comparable to the style of the hermit Tao Yuanming, and were poets' "hills and ravines", which were by no means comparable to ordinary painters. Li Gonglin is not unskilled in poetry, and his paintings are poetic expressions.
Another work is "Turquoise Map", according to Su Zhe's "Dongpo made its own cangshi, and left the long pine to wait for the uncle", Su Shi painted the stone first, and left the position of the pine painting to Li Gonglin, the two complemented each other, and was named "Turquoise Map".
Su Zhe sarcastically ridiculed the world: Li Gonglin painted the center of the three horses' abdomen, and Han Zhima praised his excellent painting skills.
In May of the second year of Yuan V (1087), Su Zhe's witty work "Han Zhima" written in the poem: "The painter Han Zhidao? Painting horses is not just about drawing horse skins. Drawing the three horses in the belly seems to want to ridicule the world. Bo Shi smiled and said nothing, and sued me Han Zhi Dialect Master. Su Shi wrote in "The Second Rhyme by the Book of Li Boshi", Han Zhi's Sexual Fatigue Secretly, Well, the pen talks about Er'er, which is intended to be thousands of miles away. The treatment of the flesh does not draw the bones, but the situation is unrealistic and leaves the skin. Annoying Jun Qiao said things in the abdomen, and the witty words wanted to send Huang Quan to know. You don't see Han Sheng saying that he has nothing to learn, and all the stables are my teacher. He further praised Li Gonglin's outstanding skills in painting horses, which can not only depict the appearance of the horse, but also show its interior.
The collection of literati continued: Su Shi presided over the examination of the Ministry of Rites, Li Gonglin was selected as a subordinate official, and poetry and wine were romantic.
In the third year of Yuan V (1088), Su Shi presided over the Jinshi examination of the Ministry of Rites and hired more than a dozen subordinate officials, including Li Gonglin, demonstrating his high recognition of his literary talent. During the closed reading period, Li Gonglin not only entertained himself in painting horses, but also wrote miserable ghost poems with Huang Tingjian and told each other fairy stories. Su Shi was fond of calligraphy and loved wine, and he was drunk after a few glasses, snoring like thunder. Caught the strength of the wine while drunk, and waved like a wind and rain. The examination office has also become a place for literati to splash ink and poetry and wine. Once Li Gonglin was depressed and drew a horse that wanted to take a bath, Su Shi jokingly wrote down a must: "It is said that the horse wants to take a bath, not to mention the examiner who has been locked in the courtyard for so long." ”
In the fourth year of the Yuan Dynasty (1089), Li Gonglin created an important landscape painting "Mountain Villa" with the theme of the panorama of Longmian Villa. Su Shi wrote 20 poems in one breath, praising the layman in the mountains and all things in the mountains, wisdom and accessibility.
Su Shi was degraded for seven years: he cut off his poetry and writing with Li Gonglin, and reunited only for a poem "Washing Jade Pond Ming".
From the fourth year of the Yuan Dynasty (1089) to the eighth year of the Yuan Dynasty (1093), Su Shi served in Hangzhou, Yingzhou and other places, dealing with disputes between political opponents, and the poetry and writing exchanges with Li Gonglin were interrupted. It was not until the eighth year of the Yuan Dynasty (1093) that Su Shi wrote the article "Washing the Jade Pond Ming" for Li Gonglin, which was included in his own anthology. Different from the collection preferred by ordinary literati, Li Gonglin dabbled in calligraphy and painting, Zhong Ding's ancient Chinese characters, and loved archaeology. His collection of gold and stone spares no expense, and also graphically transforms inscriptions. It is rumored that Li Gonglin once got a Matai stone, Su Shi suggested digging a pool in ** for cleaning 16 pieces of ancient jade at home, and inscribed it with "Washing Jade Pond Ming", emphasizing that this pool is both elegant and practical. Unfortunately, after Su Shi was convicted, Li Gonglin's son quietly erased Su Shi's inscription in order to avoid trouble. Among the 16 pieces of ancient jade, except for one that was buried with Li Gonglin, the rest flowed into the inner mansion of Huizong.
Final Chapter: Farewell, Su Shi's return attempt failed.
From Zhezong Shaosheng to the end of Yuan Fu (1094 1100), Su Shi was demoted to Huizhou and Danzhou for seven years, and was at the end of the earth, cutting off contact with the Central Plains, and losing poetry and literature with Li Gonglin. Until June of the third year of Yuan Fu, Su Shi obtained the emperor's permission to settle in Lianzhou, and was about to end his derogation, and passed through Shaozhou on the way back to the north, where he met with Li Gonglin's brother Li Gongyin. In the letter to Li Gongyin, Su Shi's concern for Li Gonglin can still be felt, and he expressed that if he can go north to live in Shuzhou and accompany Li Gonglin, it is the most ideal choice. However, Su Shi finally chose to settle in Changzhou, and died of illness in June of the following year (1101), failing to renew his friendship as he wished.
This beautiful and elegant collection of the Northern Song Dynasty left behind wonderful literary and artistic works, and the cooperation between Su Shi and Li Gonglin lit up the artistic peak of the late Northern Song Dynasty. This history of the literati collection has witnessed friendship, creation and separation, and constitutes an indelible chapter in the literary history of the Northern Song Dynasty.
This article presents a grand event full of artistic and humanistic feelings by describing the activities of Su Shi, Su Zhe, Li Gonglin and other literati during the Northern Song Dynasty, as well as the paintings and poems they created. From it, we can feel the style and feelings of the literati of the Northern Song Dynasty, as well as their high pursuit of literature and painting.
First of all, the article shows the unique atmosphere of Yaji through vivid descriptions. The gathering of Su Shi, Su Zhe and other literati not only had literary exchanges, but also cooperation in painting, presenting an elegant and inspired literary feast. This kind of gathering is not only a place of creation, but also a testimony to the deep friendship between literati.
Secondly, the article shows the peak of the artistic level of the late Northern Song Dynasty through the collaborative paintings "Tranquility" and "Turquoise Stone" by Su Shi and Li Gonglin. These two paintings not only integrate the artistic conception and aesthetic pursuit of the literati, but also show the artist's unique views on nature and life. This kind of artistic cooperation not only attracted wide attention at the time, but also became a precious document for later generations to study the painting of the Northern Song Dynasty.
The article also describes in detail Su Shi and Su Zhe's high praise of Li Gonglin's paintings, especially when depicting horses, Su Zhe expresses his admiration for Li Gonglin's painting art in the form of poetry. This kind of mutual admiration between literati shows the cooperation and resonance of the literary and artistic circles at that time, and forms a unique atmosphere of literature and painting.
However, the article also reveals the helplessness and separation in the lives of literati. Su Shi's seven-year life experience, as well as his severance of poetry and literature exchanges with Li Gonglin and others, show the ups and downs of the literati in the political situation. This parting emotion deeply touches the reader, and one cannot help but resonate with the fate of the literati of this period.
Overall, this article vividly shows the grand occasion of the elegant gatherings of Su Shi and Su Zhe in the Northern Song Dynasty, and through the description of paintings and poems, readers can feel the unique charm of literature and art of that era. At the same time, the article also makes the whole story more emotionally resonant through the description of separation and life experience, so that readers can have a deeper understanding of the bumpy fate of the literati at that time.
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