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Su Shi was knowledgeable and talented, and his mastery of poetry art skills reached a skillful and skillful state. He treated artistic norms with a strange and innovative spirit, and he could make spring with his tentacles. Moreover, Su Shi's ability to express himself is amazing, and there are almost no subjects that cannot be included in poetry in Su Shi's writings.

The late Northern Song Dynasty, represented by the poetry world of "Yuanyou", was the heyday of Song poetry. The creations of Su Shi and Wang Anshi, Huang Tingjian, Chen Shidao and others pushed the art of Song poetry to a peak. In terms of outstanding style and personality, the three families of Wang, Huang and Chen may be more eye-catching than Su Shi's poems. However, in terms of creative achievements, Su Shi is undoubtedly the number one in the poetry world of Northern Song. In terms of the broad themes, the diversity of forms and the profoundness of emotions, Su Shi is outstanding. .More importantly, Su Shi has strong artistic compatibility. He neither put a certain style into a position of one in theory nor in creation. In this way, although Su Shi made great contributions in creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry being stiff and boring. Therefore, Su Shi surpassed his contemporary poets in his overall achievements and became the most popular poet of the Song Dynasty by the majority of readers of the descendants. [26]

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Su Shi's literary thoughts are both literary and Tao. He praised Han Yu and Ouyang Xiu's contribution to ancient literature, both focusing on both literature and Tao. However, Su Shi's literary and Taoist views were very unique in the Northern Song Dynasty. First of all, Su Shi believed that the art of articles has independent value, such as "fine gold and beautiful jade, articles are not just tools for carrying Tao, but their own expressive function is a higher form of human spiritual activities. Secondly, Su Shi's "Tao" in his mind is not limited to Confucian Tao, but refers to the laws of things. Therefore, Su Shi advocated that articles should be like the objective world, with natural literature and erect postures. He advocated the diversity and vividness of artistic styles, opposed the same unified style of writing, and believed that this would cause the desolation of the literary world like "all yellow and white reeds".

It is under the guidance of this unique literary thought that Su Shi's prose presents a colorful artistic style. He widely draws artistic nourishment from the works of previous generations. The most important source is the heroic momentum of Mencius and the Warring States Period strategists, Zhuangzi's rich associations and natural and unrestrained writing style. Su Shi does have extremely high expressiveness, and there are almost no objective things or inner thoughts that cannot be expressed in his writing. Su Wen's style changes freely with the different objects of expression, like flowing clouds and water. Han Yu's ancient text relies on eloquence, layout, accumulation of momentum to achieve the same goal, while Su Wen relies on the way of expressing the wishful thinking and surging thoughts. Su Wen's momentum is vigorous, but his language is easy and natural, which is the characteristic of Song Wen's different from Tang Wen's

Su Shi's narrative and memorial texts, narrative, lyricism and argumentation, are combined and blended.

Since Su Shi’s writing essays are based on “expressive words”, he should do it as soon as he wants to do it, and stop it as soon as he wants to stop. There are few scattered lyrics, which are most prominent in his notes and sketches. For example, "Records of the Day and Night Tour", the full text is only more than 80 words, but the artistic conception is transcendent and the charm is a wonderful piece in the Song Dynasty sketches.

Su Shi's Ci Fu and Si Liu also achieved great achievements. His Ci Fu inherited Ouyang Xiu's tradition, but he incorporated more into the sparse and scattered spirit of ancient prose, absorbed the lyrical meaning of poetry, and thus surpassed the blue ones. He created famous works such as "Red Cliff Fu" and "Later Red Cliff Fu". "Red Cliff Fu" follows the traditional pattern of host-guest Q&A, suppressing guest-reach, extending host, expressing his own philosophy of life, and also describing the beautiful scenery of the moonlit night of the Yangtze River. The whole article is used in parallel and scattered, and has both scenes, which is a beautiful prose poem.

Su Shi even reflected his smooth style in the 46th Middle School. The edicts he wrote when he was in the Hanlin Academy were rich and powerful, which was rare in the Taige text. The inscriptions he wrote after being demoted was even more touching, and was a rare work of temperament in the 46th body.

Su Shi's prose was as famous as Ouyang Xiu and Wang Anshi in the Song Dynasty, but from a literary perspective alone, Su Wen is undoubtedly the most accomplished one in Song Dynasty.[26]

Artistic achievements

calligraphy

Su Shi was good at writing running script and regular script, and was known as the "Four Masters of the Song Dynasty" together with Huang Tingjian, Mi Fu and Cai Xiang. He once learned from the masters of the Jin, Tang and Five Dynasties, and then integrated the creative styles of famous masters such as Wang Sengqian, Xu Hao, Li Yong, Yan Zhenqing, and Yang Ningshi to form his own family. He once claimed that "I cannot write in my calligraphy in my own way" and "made new ideas without overcoming the ancients." Huang Ting insisted that he: "I used the brushwork in my early years, but it was not as natural as the boss." This shows that Su Shi experienced many ups and downs throughout his life, which led to his calligraphy style ups and downs. His works include "Red Cliff Fu", "Huangzhou Cold Food Poems" and "Sacrifice of Huangjidaowen".[28]

painting

Su Shi was good at painting ink bamboo, and his paintings attached great importance to similarity in spirit, advocated that there was emotion outside the painting, and that painting should have sustenance, oppose similarity in shape, oppose the constraints of procedures, advocated "all poetry and painting books, heaven and freshness", and clearly proposed the concept of "scholar painting", which laid a certain theoretical foundation for the future development of "literati painting". His works include "Ancient Woods and Strange Stone Picture Scroll", "Xiaoxiang Bamboo and Stone Picture Scroll", etc. [28-29]

Overall evaluation

Su Shi achieved extremely high attainments in literature, poetry and lyrics, and was a representative of the highest achievements of the Song Dynasty literature. Moreover, Su Shi's creative activities were not limited to literature. His achievements in calligraphy, painting and other fields were outstanding, and he also contributed to medicine, cooking, water conservancy and other skills. Su Shi typically embodies the cultural spirit of the Song Dynasty. From the scope of literary history, Su Shi's main significance is two main points: First, Su Shi's attitude towards life has become a paradigm admired by future generations of literati: freely advancing and retreating, and not being surprised by praise and disgrace. Because Su Shi integrated the two attitudes of scholars in feudal society with the same value standard,
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