Su Shi intersected all over the world, including temple masters, rural village monks, and monks. The monks he befriended regardless of sect or status, treated him as friends. Their names, along with Su Shi, along with their stories and works of art, have been passed down through the ages. Let's take a look at the painting and listen to the book together, and reminisce about the "friendship" between Dongpo and the monks!
Su Shi and Dao Qian
Among the monks whom Su Shi had befriended, Daoqian had the closest contact with Su Shi and was su Shi's most intimate friend.
After months of torture and humiliation because of the "Wutai Poetry Case", Su Dongpo was exiled to Huangzhou. At this time, his monk friend Dao Qian (号參寥子) traveled thousands of miles to Huangzhou and accompanied him to stay in the place where he lived for more than a year. Su Dongpo was very grateful for this kind of unrelated situation ups and downs, and the consistent pure friendship, he sighed: "The servant's crime is light, and since he lived, Du Men has only thought of the blame." Ordinary life knows, but also cut off the past, the reason is appropriate. And the old princes, however, are asking questions from thousands of miles, and the thickness of their feelings and righteousness is added to their daily lives, so as to know that the virtue and high wind are also in the world. ”
Northern Song Dynasty Su Shi 《定慧院月夜夜舞诗稿》
Because of the close relationship between Daoqian Zen master and Su Dongpo, when Su Dongpo was punished, Daoqian was also ordered to return to the vulgar because of his poetry suspected of ridiculing the government, and lived in Yanzhou for many years, until the early years of the Jianzhong Jingguo, before he was ordered to cut his hair again as a monk.
Daoqian is known as the "poetry monk", so Daoqian and Su Shi are more in line with poetry. The two often enjoyed flowers, drank and traveled in DinghuiYuan in Huangzhou, so Su Shi also left many famous poems and ink treasures in DinghuiYuan. Such as "Dinghuiyuan Moon Night Occasional Poetry Manuscript", "Dinghuiyuan Begonia Poetry Volume" and so on.
Song Su Shi (Biography) "Folding Branches ink bamboo diagram"
Once, when the guests were feasting, Su Shi used a paintbrush to draw an ink bamboo picture on the raft, and after the painting, Su Shi handed it over to the official prostitute, who asked the official prostitute to find Master Daoqian to accompany the ink bamboo map with poetry. When the official prostitute handed this ink bamboo map to Dao Qian, Dao Qian wrote a poem:
The little phoenix tuan raft was already self-curious, and who immortals swept the cold branches of the year. The head of the head is moist, just like when the wind and rain are washed.
This poem praises the wonderful color of the raft selected by Su Dongpo, alludes to the paper selected by Su Dongpo to paint ink and bamboo drawings, and praises Su Dongpo's dedication to painting and superb painting skills. When the official prostitute took back Daoqian's inscription poem, Su Dongpo looked at it and greatly appreciated it, which increased his respect for Daoqian Zen master.
Su Shi and the Seal of the Buddha
When Su Shi was in office in Guazhou, he was only separated from the Golden Mountain Temple by a river, and in his spare time he often talked about Zen with the Buddhist monks who hung the Seal of the Sikkim Mountain Temple. Looking at the previous records, you will find that there are many interesting stories that happened between Su Shi and the Buddha Seal. Among the stories that have been handed down, there are literati who create with this theme, among which Cui Zizhong's "Su Shi Liu Belt Map" is based on an anecdote between Su Shi and the Buddha Seal.
Ming Cui Zizhong 《苏轼留帶圖》
Once Su Shi suddenly went to visit the Buddha Seal, when the Buddha Seal was trying to explain the monks, he deliberately joked that Su Dongpo would not sit down, saying: "There is no place to sit here." Su Dongpo then replied in Zen language: "Temporarily borrow the four great seals of the Buddha as seats." When The Buddha Yin saw that he had actually made an axe, he wanted to embarrass him, and asked him to sit if he answered the question, and if he could not answer, he would lose the jade belt. Su Dongpo readily agreed. The Buddha Seal asked, "Since the four great beings are empty and the five aggregates are not existent, where do lay people sit?" Su Dongpo was really embarrassed, and had to untie the jade belt to give it to him.
Cui Zizhong's "Su Shi Left Belt Map" depicts this matter. In the picture, Cui Zizhong often uses the "battle pen water pattern drawing" to draw the clothes pattern. This depiction is similar to the ripples of water, the line of the pen is thin and hard, as fast as a pendulum wave, and the "pen of war movement" is folded but not delayed, trembling but not scattered. The outline of the branches and mountains and stones is squared with a pen, and the frontmost mountain stone in the figure, the shape and the pen are all folded with square folds, and the "strange" wins.
Qing Gu embroidery "Three Acid Diagram" lens
One day, the Buddha Seal invited Su Shi and Huang Tingjian to come to the Golden Mountain Temple, and the Buddha Seal said, "I have peach blossom vinegar, which is very beautiful." So they took it and tasted it together, and the three of them all frowned and cried sour after tasting it. This scene was later painted by ancient and modern painters, and became the traditional theme of Chinese painting, such as Wen Tong, Ma Yuan, Chen Qingbo of the Song Dynasty, Yan Hui and Zhao Ziang of the Yuan Dynasty, Chen Hongshou of the Ming Dynasty, Qing Daiqiu, Su Liupeng, Wang Su, and Modern Li Keyan, all of whom painted this picture, but unfortunately most of them were not passed on.
The Lens of Gu Xiu's "Three Acids Diagram" of the Qing Dynasty, which is now in the Shanghai Museum, is one of the paintings on the theme of "Three Acid Diagrams". The three monks and laymen in the picture of Gu Xiu's "Three Acids" do not wait for the boy to send drinking utensils, anxiously surround the vinegar jar, stretch out their fingers to dip and taste, and the state of expectation suddenly emerges, full of fun. The figures in the painting use the needle set technique, the clothing pattern or the water path, or hooked out with a roller needle; the mountain stones, cloud water, Zen chairs, stone bridges, stone tables, etc. in the picture are all crocheted with rollers; the scrolls and letters in the picture are twisted with two-color silk threads, showing the texture of the Song Dynasty brocade.
Li Keyan , "Three Acid Diagrams"
In contrast, Li Keyan's "Three Acid Diagrams" are more witty and interesting, and the pen is more concise. The picture is a monk and two scribes sitting around a large vat tasting peach blossom vinegar, and the expressions of the three people after tasting vinegar are very evocative, so that the viewer can clearly identify.
Su Shi and Hui Chong
Speaking of the friendship between Su Shi and Hui Chong, it may only be regarded as the spiritual exchange between Su Shi and Hui Chong, because according to time calculations, before Su Shi was born, Hui Chong's death was already complete. The circulating joke between Su Shi and Hui Chong, "cow dung and Rulai", seems to still need to be examined.
However, Hui Chong, as the head of the nine monks of the early Song Dynasty, not only mastered the five laws, but also was good at painting. The Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" says: "Jianyang monk Hui Chong, gong painting goose goose and heron, especially Gong Xiaojing." Good is the image of cold and distant, dashing and empty, and it is difficult for people to reach it. Therefore, Hui Chong's praise was praised by the literati doctors at that time. As a poet and painter, Su Shi naturally has a mood of "cherishing heroes and valuing heroes" for Huichong. Therefore, there are "three or two branches of peach blossoms outside the bamboo, the prophet of the spring river plumbing duck, and the short reed buds of artemisia, which is exactly when the puffer fish wants to go up." "This famous inscription poem has been passed down through the ages. This "Evening View of Huichong Spring River" is the inscription poem written by Su Shi for Huichong's "Evening View of Spring River". Although the poem has been handed down to this day, this "Evening View of the Spring River" by the monk Hui Chong has been lost.
Song Huichong, "Spring Dawn of Xishan Mountain"
Hui Chongyi changed the way of panoramic composition of landscape painters since five generations, and combined landscapes with flowers and birds to create a unique poetic landscape. The "Spring Dawn Map of Xishan Mountain", which is closer to the "Spring River Evening View", is the scenery of Huichong's spring spirit and vitality through the distant mountains with green, chongshan mountains, steaming clouds, babbling streams, peach willows at the foot of the mountains and slopes, and lush trees. And his "Autumn Pu Double Mandarin Picture" album, the foreground painting reeds defeated lotus, the middle scene painting a pair of Mandarin ducks perched on the shore, the distant view for the inter-shore sky, the panorama gives people a kind of autumn empty and dashing atmosphere, with a poetic mood, the scene blends, sprinkling life.
Song Huichong, "Autumn Garden Double Mandarin Diagram"
Su Shi and Zhuo Qishun
Zhuo Qishun was originally a "pure man" engaged in miscellaneous service in the Dinghui Academy in Suzhou, who studied Buddhism with Lao Shouqin, the dean of Dinghui, and lived with Su Shisu. At that time, Su Shi was far away from Huizhou, and his eldest son Su Mai lived in Yixing with his family, and the whole family was thinking bitterly of Su Shi, who was far away in the southern wilderness, but due to the barrier of mountains and rivers, it was difficult to get any news from Su Shi and it was difficult to send family letters.
Su Mai told Qian Shixiong of his distress, and Qian Shixiong told Elder Shouqin during small talk. Zhuo Qishun heard about this and volunteered to go to Huizhou to deliver the letter. He said to Su Mai, "Huizhou is not in heaven, the journey is imminent, I am willing to send you a letter to the family!" So Zhuo Qi went on the road with Su Mai's family letter and the Ten Odes of the Quasi-Han Mountain Zi that Shou Qin gave to Su Shi.
Zhuo Qi, who had eaten and slept in the wind and waded through mountains and rivers for two months, walked from Suzhou to Huizhou and delivered the letter to Su Shi. Su Shi saw that Zhuo Qishun's face was dark and his feet were heavy, and he couldn't help but be full of admiration and gratitude for this stranger who helped others. Zhuo Qishun stayed in Huizhou for half a month, and after receiving Su Shi's reply, he was about to embark on the return journey. When Su Shi asked Zhuo Qishun what he wanted, Zhuo Qi quoted the story of Yan Zhenqing and Cai Mingyuan in passing, hoping to get a few words written by Su Shi himself.
Northern Song Dynasty Su Shi 《Homecoming》
After su Shi listened, he gladly waved his pen and wrote a painting of Tao Yuanming's "Return and Return" to him, and in the inscription detailed the process of Zhuo Qishun's thousand miles of sending the book, hoping that he would be famous for this. None of the words written by Su Shi have survived, but the inscription is preserved intact in Su Shi's collection.
Monks and friends played an important role in Su Shi's life journey, including not abandoning and sharing hardships when degrading; sympathy and pity in poetry and painting; and humor in daily life. In Su Shi's bumpy life, it is precisely with the acquaintance and companionship of these monks and friends that Su Shi is more optimistic and smooth.