Su Shunqin
Su Shunqin: Fragments of broken manuscripts such as Qiong Zhen
Text/Wang Zhangming
Su Shunqin (1008-1048), a native of Kaifeng, Henan.
Northern Song Dynasty official, poet, calligrapher, good at cursive writing.
The first six lines of the self-narration post
I. The Bumpy Journey "Vicissitudes"
Su Shunqin, zimei, whose ancestor was Su Wu during the reign of Emperor Wu of the Han Dynasty, was buried in Wugong, Shaanxi after his death, and the Su clan lived here. Since then, the various branches of the Su clan have also made many migrations, and the ancestors of Su Shunqin moved to Tongshan, Zizhou, Sichuan (present-day Zhongjiang County, Deyang, Sichuan), but from Su Yijian's father Su Xie moved his family to Kaifeng when he learned of the Kaifeng Province during the Song Taizong Yongxi period, su Shunqin was already the fourth generation. Su Shunqin was born in the first year (1008) of the Northern Song Dynasty's Dazhongxiang Fu in Kaifeng, the capital of the Northern Song Dynasty. The epitaph written by Ouyang Xiuwei for Su Shunqin says: "Junzhi Shunqin, the character is beautiful, his previous life lived in Shu, and later migrated to Kaifeng, as a Kaifeng person".
Su Shunqin's grandfather, Su Yijian, served as a suffragan (deputy prime minister) during the reign of Emperor Taizong of Song. His father Su Qi was an official during the reign of Emperor Zhenzong of Song and Emperor Renzong of Song, and was an envoy to Langzhong and Hedong. His maternal grandfather Wang Dan was even more famous, the famous face of Emperor Zhenzong of Song, the second generation of the famous Kaifeng "Three Acacia Hall" Wang clan. His father-in-law, Du Yan, served as chancellor of the Song Dynasty. Su Shunqin was born in such a eunuch family, Shuxiang Mendi. His family is also a calligraphy family, Su Shunqin's grandfather and father are talented and good at calligraphy. Although in Sichuan it is not as prominent as the Meishan Su family (Su Shi) in the book world, it is also an influential family in the history of ancient Chinese calligraphy. Su Shunqin's father-in-law, Du Yan, was also a famous calligrapher and had a certain influence on him. The "History of Song" is passed on to the clouds: "Shun Qin Shao is generous and ambitious, and looks like a great man." At the age of 21, he served as a substitute for the Taimiao Temple, and transferred to the lieutenant of Xingyang County, and he did not think much of this micro-post, "locking his hall and leaving". Later, relying on his own efforts, he passed the examination for the jinshi, changed to the master of the Guanglu Temple, and knew Mengcheng County (now part of Anhui), and after taking office, he "sneaked a giant and killed a scepter", and Yiyi was horrified. Soon, Nai's father died, and Su Shunqin took his wife Zheng Shi, who was in labor, to Chang'an to mourn, on the way, Zheng Shi was injured by a horse fall to the ground, and after giving birth in Chang'an, he died with an injury. Su Shunqin guarded his father's funeral for three years, served and removed, knew Changyuan County, and moved to Dali to comment.
Su Shunqin had a straight temperament and dared to violate Yan Shang's advice. When he was young, he wrote several times to discuss current politics. In the seventh year of Emperor Renzong of Song (1028), a fire broke out in the imperial palace, which burned down the Yuqing Palace. Su Shunqin was only 22 years old at this time, and when he was a petty official of taimiao Zailang, he did not care about his humble official position, went to Dengwenlou to beat the drum, and gave the emperor a "fire slack". In shuzhong, Su Shunqin boldly pointed out that the cause of successive years of natural disasters and even fires in the imperial palace was that the emperor's recent succession, the lack of government decrees, and unfair rewards and punishments led to disasters in heaven, "May Your Majesty repent and pursue him." Su Shunqin took advantage of the natural disaster to go up and hoped that the emperor would correct his shortcomings and reform the government decrees. In the past ten years, he also gave the emperor the "Book of Beggar Advice", "Book of Instructions", "Book of Submissions", "On Western Affairs", and so on, speaking bluntly and outspokenly, denouncing current politics, and making suggestions for eliminating evils and benefits. Because he wrote many times, "there is no avoidance, and the group is looking sideways." However, Su Shunqin was appreciated by the reformist leader Fan Zhongyan, who recommended his talents as a jixian school manager and a supervisor of the song academy; the chancellor Du Yan also valued his talents and married his daughter to him.
Su Shunqin was politically inclined to the reformers led by Fan Zhongyan. In the fourth year of the Qing calendar (1044), Fan Zhongyan, Du Yan, Fu Bi and others recruited talents and prepared to implement the new law. Gongchen, the King of Yushi, and others strongly opposed it. In the autumn of that year, Su Shunqin followed the old practice and used the money from selling official documents to invite colleagues and guests, and the conservative Wang Gongchen and others seized on this matter, and used the topic to impeach Su Shunqin for "self-theft by the superintendent," which was the so-called "Incident of entering the Concert Academy," which caused "Shunqin and Xunju to sit and steal and be removed from their names." Su Shunqin was imprisoned and tried, and then dismissed from his post as a civilian; more than a dozen other people who attended the banquet were also degraded and expelled. "History of Song" Yun: This matter "the world thinks it is too thin, and Gongchen and other parties are happy to know: 'I have exhausted the net in one fell swoop!' ’”
After Su Shunqin was deposed, he left Kaifeng and lived in Wuzhong (present-day Suzhou), where he lived in seclusion. He bought Sun Chengyou's original villa in Suzhou, built a pavilion on the waterfront, and used qu Yuan's "Fisherman's Father" in the words "The water of the waves is clear, you can mao wu miao; the water of the canglang is muddy, you can be mao wu foot", named "Canglang Pavilion", calling himself Canglang Weng to clarify his ambitions. He wrote the article "The Record of canglang pavilion", which depicted the wind objects around the canglang pavilion and his own retirement life. He also wrote the poem "Canglang Pavilion": "A jing hugs a mountain, and it is actually between the cities." Gao Xuan's face curved with water, and the bamboo was repaired to comfort his sad face. Traces are far away from the jackal, and the heart is idle with the fish and birds. I am old and have no time to do things. ”
During his seclusion in Suzhou, Su Shunqin "read a book, and sometimes became angry at songs and poems, and his body was bold and often amazing." "(The History of Song) In the eighth year of the Qing calendar (1048), he was reinstated as the governor of Huzhou, and died of illness before he could take up his post, at the age of 41. Ouyang Xiu wrote an epitaph for him.
Suzhou Gardens is now listed as a World Heritage Site, and Canglang Pavilion is one of the best gardens in Suzhou and the oldest surviving garden. When people come to Canglang Pavilion, they will think of its founder Su Shunqin. There are many Yanglian of Canglang Pavilion, the most famous of which is the Qing Dynasty Liang Zhangju's collection of poems from Ouyang Xiu and Su Shunqin: "Qingfeng Mingyue is priceless (Ouyang Xiu's "Canglang Pavilion"), and there are feelings near the water and distant mountains (Su Shun drinks "Passing Suzhou")."
Cursive poems
Second, it is strange to be super-aggressive
At the beginning of the Song Dynasty, the literary world prevailed in the style of flashiness and frivolity since the late Tang Dynasty, and the writing of articles was rich in rhetoric, but in fact the content was empty and divorced from reality. Su Shunqin and other young literati were extremely dissatisfied with this. They vigorously promoted the literary reform movement, and took it as their mission to advocate the ancient chinese of Han Yu and Liu Zong, and opened up the path of the ancient literature movement of the Northern Song Dynasty. In his youth, Su Shunqin was famous for his articles. He was not bound by the flashy literary style of the time, and devoted himself to the writing of ancient texts and poetry with Mu Xiu and others, and had a positive influence on many writers at the same time in the reform of poetry. Ouyang Xiu, a leading figure in the Song Dynasty's ancient literature movement, who was one year older than Su Shunqin, said of Su Shunqin's ancient texts in the Preface to su Xueshi's Collected Writings: "The teeth of Zimei are less than Yu, and the yuxue ancient texts are reversed... When the whole world is not doing anything, it always keeps itself and does not lead to the worldly tendencies, and can be a maverick. "Highly respected his position in the Poetic Reform Movement.
The basic viewpoint of Su Shunqin's literary thought is "original from ancient times, to be used" ("Shi Manqing's Collected Poems"), emphasizing the inheritance of the realistic spirit in Confucian literary and artistic thought, and literature should reflect reality. His propositions on prose creation can be found in the "Duan Gongshu, Deputy Envoy of the Third Division": "He who tastes the reason why man is human, he who speaks, will return to morality; Tao and righteousness, after things." In the end, Zeus is immortal. Therefore, every text does not dare to sculpt it to harm the right. This is in line with Han Yu's literary theory. His advocacy of poetry creation is mainly found in the "Collected Poems of Shi Manqing": "The works of poetry, and the companions of life." The joy and sorrow of man's letters will be comforted by words", "Those who have the world in ancient times, who want to know the sense of style and religion, and the changes in customs, are set up by officials to listen to them, and they are relaxed and relaxed, so that they can think enough", so that "troubles arise for no reason." After the abolition of officials, the poetry is not transmitted, and the superior no longer knows the direction of the people's aspirations, so the government is troubled and rebellious, and the way of governance is dead. This is consistent with Bai Juyi's poetic spirit.
Su Shunqin's literary achievements are more manifested in his poetry creation, and he and his contemporaries Mei Yaochen vigorously corrected the formalist poetic style of the "Xikun style" at that time, carried forward the fine tradition of realism of classical poetry such as "Book of Poetry" and "Leaving Sorrows", and created a new generation of new styles in the Northern Song Dynasty. Su Shunqin's poetry stands out most in his ancient style poems, which reflect the political and social realities of the time, especially the ruthless criticism of the fainting and decay of the bureaucratic class, and sympathy for the oppression and natural disasters of the poor working people, which is very rare among the poets of the Song Dynasty. Su Shunqin's realist poems are very prominent among the poets of the Song Dynasty, he was the forerunner of the Song Dynasty's heroic poets, and the subsequent Su Shi, Xin Shuyi, Lu You and others were more or less influenced by him.
Su Shunqin's personality is partial to arrogance and openness, and has no Taoist breath, which is closely related to his ideas and desire to be active and enterprising in his career. Therefore, the salient feature of his poetry is that he cares about political and social reality, and gives a true reflection through bold, fresh and robust artistic techniques. Poems such as "Chengnan Feeling Nostalgia for Uncle Chengyong" and "Wu YueYue Drought" accuse those in power of cruel exploitation and eating for nothing, reflecting the peasants' call for resistance to wanton expropriation and tyranny, and showing sympathy as if they were suffering from it. Su Shunqin was concerned about the safety of the motherland's frontiers, which is also reflected in Gu's poems. For example, "The Defeat of Gyeongju", "The Great Cold feeling of the Winter of The Self", and the "Vating Lian sentence" condemned the war of aggression launched by the Western Xia; at the same time, it also ridiculed and rebuked the fainting and decay of the civil and military officials of the Song Dynasty, the disasters caused to the country, and the suffering brought to the people. In poems such as "The Gentlemen in the Boat Feel nostalgic for the Hermitage", "Summer Fever Daytime Sleep Feeling", and "My Smell", it shows the author's lofty ambitions and deep patriotic enthusiasm.
After the Jinxiangyuan incident, su Shunqin's poetry creation characteristics have changed, that is, a change in the characteristics of directly expressing political reality and feelings in bright and heroic language, and reflecting the mood of resentment with a deep and tragic tone. For example, "The Iron-Faced Hair has edges, and the children of the world are shocked when they see it." The heart had promised that the country would eventually be peaceful, and his fate would not be returned to farming at the right time. Not called good Wen Pro Han Mo, self-pitying foot style. A lifetime of liver and gallbladder is like a star bucket, and it is clear that the stubborn copper is clear. This poem writes that although he was framed by others and forced to retire to Suzhou, his ambition to serve the country and the enemy has not diminished, but he regrets that he was not born at the right time, and his heart is difficult to reward. His poems are filled with an air of depression and injustice.
Su Shunqin's poems are imposing and profound, which is also reflected in some depictions of landscapes and lyric poems. For example, "Songjiang Long Bridge Is Not Clear to See Fishing": "The dawn of the east wants to be bright, and the fishing boats are far across the sky." The white smoke of the waves faded into the moon, and the ridge head burned the mixed stars. MingXiao mo touch the dragon to sleep, and smell the fish and turtles when lifting the net. I am a real eunuch who has no situation, and I intend to come with a stupid person. This poem not only vividly and realistically shows the fisherman's scene of fishing at dawn, but also combines the author's personal indignation and deep mind to describe the scene majestically and freshly.
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Because the reclusive life invisibly limited his vision, the poems that sent love to the landscape increased significantly, and all of them had a strong emotional color. Among them, "Huaizhong Late Po Calf Head" is even more popular masterpiece: "Spring shade hangs wild grass green, sometimes there are ghosts and flowers and a tree." Under the ancient shrine of the lonely boat in the evening, the wind and rain of the river watch the tide. This improvised poem outlines a natural landscape painting of the Late Mooring in the Rain of the Huai River, from which it can be seen that the poet is not idyllic and leisurely during his travels.
Su Shunqin, along with Ouyang Xiu and Mei Yaochen, was called "Ou Su" or "Su Mei". He is the author of the 16-volume Su Shunqin Collection and the Yingqing Kangxi Edition of the Four Series. In 1981, the Shanghai Ancient Books Publishing House published "Su Shunqin Collection". His poems have a distinct artistic personality, and Ouyang Xiu commented: "Zimei's pen is powerful and heroic, and it is strange to be super-majestic. ("The Poetry of June 1st") played a major role in curbing the countercurrent of the Xikun body, developing and establishing a fresh and robust new artistic style.
Third, the chest block is exposed
Su Shunqin Gongshu, who and Shi Yannian are equally famous, are called wizards by Ouyang Xiu, saying that his "broken chapters and broken manuscripts are like Qiong Zhen" (Ouyang Wenzhong Gongji). The "Song Shi Ben Biography" says that he is "good at cursive writing, and every time he drinks and writes, he strives to be passed on to people." Zhu Changwen, a calligraphy theorist of the Song Dynasty, in his "Continuation of the Book Break", made a comment on the calligraphers from the middle of the Tang Dynasty to the middle of the Northern Song Dynasty, Su Shunqin's calligraphy was rated as a wonderful product, and only a few people in the Song Dynasty were rated as wonderful products. This rating is quite high. After Fan Zhongyan's "Record of Yueyang Lou" was written, su Shunqin was specially invited to carve stones, which was later destroyed by a fire during the Song Shenzong period. Su Shunqin was good at writing cursive, known as Cao sheng, and wrote "On Cursive Writing" passed down to the world. But his calligraphic achievements have historically been overwhelmed by his poetic and political influences, and are rarely mentioned. His calligraphy and his calligraphy ideas of "learning books for the pleasure of life" and "heart-based" expressive temperament all show signs of song"'s "Shangyi" style of writing. Ouyang Xiu, Song Sijia and other scholars have inherited or borrowed from his calligraphy ideas, and it should be said that he was the enlightener of the Song "Shangyi" style of writing. Regarding Su Shunqin's book, Qing Liu Yong's "On the Book of Absolute Sentences" wrote: "Zimei jiaojiao is poor and deceived by ghosts, and the vicissitudes are clear and clear. The block in the chest is exposed, and only Luling (Ouyang Xiu) has the eyes to know. The words were filled with sympathy and praise for Su Shunqin.
In Su Shunqin's youth, calligraphy came from between Yan Zhenqing and Xu Hao, and Duan Jin was calm and composed, which was actually Yan Lugong's penmanship more. For example, when he was 38 years old, he wrote "Leaving Farewell to Wang Yuan's Uncle's Ancient Poetry And Poems", which is one of the better examples. Su Shunqin's cursive writing is more powerful than that of Huaisu in the Tang Dynasty. His family has a collection of inkblots from Huai Su's proud work "Self-Narration". Su Shunqin spent a lot of effort writing "Self-Narration". In the "Zhenze Collection", it is said: "His pen is super clever, he does not involve the path, he is longitudinal and lawful, energetic and moist, ancient and strange", carefully written, pondering the divine meeting, and obtaining the essence of the art of calligraphy of the master. Su Shunqin's cursive art is more obviously characterized by "cool cliffs", and Han Qi in the Song Dynasty once used the verses of "Wei Qi And Junjun Quite Self-Indulgent" ("Anyang Collection") to vividly and intensively illustrate Su Shunqin's cursive art style. The cursive "Du Shi" he wrote was inked, brilliant and floating, and it was naturally interesting, resembling the brushwork of a vegetarian master, and it was a rare masterpiece. Wang Shizhen of the Ming Dynasty once said: "The valley and the gonghou first obey the master, the gong gets the strength of the law and the slight illness is sparse, and the valley takes the state and the slight illness is slow." Gong Jin is in the pen, and Gu Jin is outside the pen, so you can't be without a hall. ("Draft of the Mountain People of Yizhou") Is the most popular thing for posterity than the fact that he completed the "Self-Narration Post" for Huai Su. The original manuscript of Huai Su's "Self-Narrative Post" in Su Shunqin's family collection was originally missing the first six lines, and Su Shunqin gave it to make up for it. Although the supplementary part cannot be said to be unbroken, it can also be said that the divine form is not far away, and the style is basically the same, showing the depth of Su Shunqin's cursive art. In this way, future generations can see the full picture of rare art treasures, and Su Shunqin has done great work.
Su Shunqin's cursive writing was one of the best in the Song Dynasty, and there were only a few who could stand out from the right. Mi Fu said: "Shun Qin is like a young man of the Five Tombs, visiting the clouds and looking for rain, riding horses and green shirts, drunkenly sleeping herbs, and singing wildly in the courtyard." "Tasting his character books, is it a compliment? Or is it derogatory? It's just a matter of opinion. The Cursive calligraphy of Huang Tingjian, a Song Dynasty poet and representative calligrapher who is more than 30 years younger than him, is the most acclaimed for his cursive writing. When huang Tingjian described his experience of studying books, he said that "in the late (year) of Su Caiweng and Zimei Shuguanzhi, it was the meaning of the ancients." He said that when he saw the cursive writing of the Su Shunqin brothers, he understood the method used by the ancients with the pen and improved his cursive writing level. Huang Tingjian also once commented that Su Shunqin was "the great master of Hanmo". Liu Kezhuang's "Houcun Inscription" Yun: "Ersu Caosheng, alone in the dynasty." ”
Su Shunqin's calligraphy pays great attention to the use of the pen, and he once summed up the method of using the pen as "cursive pen, three inches from the paper, take its finger width, palm flatness, false wrist method, and the circle turns the body of the vertical body to cut off the ear." This method reasonably coordinates the relationship between paper, pen and wrist, which is a relatively advanced pen method in the Song Dynasty, and still has a revealing effect on writing cursive. No wonder Ouyang Xiu sighed after Su Shunqin's death: "After Su Zimei died, he felt that his penmanship was absolutely outstanding. ”
In addition to the first six lines of Huaisu's "Self-Narrative Post", there are also "Cursive Poetry Thesis", "Shuyong Uncle Langya Mountain Shuzi Spring YangShui Stone Seal Poem", "Youshan Five Ancient Posts" and so on. The cursive poems are mostly indulgent, the gestures are continuous, and the knots are varied and orderly. The author writes naturally and casually, without a heart, and flows freely, with a dashing and skillful penmanship. The pen is free and uninhibited, the ink is quite ingenious, good at the refreshing swing, always sandwiched with the astringent pen, and make the ink wet and thick naturally coexist. The light and heavy when the pen is transported, and the speed is slow, giving people a strong sense of rhythm. The line pen is up and down, one breath through, and its vivid character posture echoes in the swaying left and right, and naturally runs through the rows, showing vigorous vitality. He did not place every word in the middle of the axis, sometimes slightly to the left, sometimes to the right, sometimes seemingly out of intent, carefully studied, but not contrary to common sense. Commenting on Su Shunqin's cursive writing, Wang Jun said: "It is wonderful to use a pen, and it does not involve the path." Longitudinal and law, vigorous and moist, ancient and strange. This post can be illustrated.
During the Southern Song Dynasty, Yang Qi, Hong Mai and other successive Taiping Prefecture Zhizhou were in Taiping Prefecture (陳孰 is the name of Taiping Prefecture And Dangtu County) County, and the poems written by Su Shi, Lu You, Su Shunqin, and others who traveled to Dangtu Landscape were planted in the prefecture and were valued by the world. The originator of modern Chinese libraries, Miao Quansun (1844-1919), once went to Dangtu Tuobei in 1898, but unfortunately only saw the third, eighth and ninth stones of the "Gu Yi Ti", and the rest were destroyed in the Taiping Heavenly Kingdom War. At present, there are three surviving "Gu Yi Ti", one is the Original Song Stone Carved Qing Tuo Ben excavated from the Palace Museum in the early Qing Dynasty; the second is the remnants of the Southern Song Dynasty "Gu Yi Ti" of the Zhejiang Museum, which has been included in the "National Precious Ancient Books List"; and the third is the Capital Library collection of song carved Ming Tuo "Gu Yi Ti", which is the treasure of the town library. Judging from the fragments of the Southern Song Dynasty "Gu Yi Ti" of the Zhejiang Museum, the "Gu Shi Ti" has Su Shunqin's book "He Yong Shu Lang Shu Zi Quan Yang Ice Stone Seal Poem". "Shu yong shu lang yan shan shu zi quan yang ice stone seal poem" is a line of letters. Su Shunqin usually studied the use of penmanship, and Ouyang Xiu said that he used his pen to gain the method of Liu Gongquan, that is, he paid more attention to "false wrists". In the "Linchi Pipe View", it is said that the empty wrist can "make the whole body concentrate on the tip of the pen", so that when writing words, you can be energetic and calm. Look at this book, believe it.
"Five Ancient Theses of Youshan", published by Shandong Fine Arts Publishing House as one of the "Classic Fa Ti of Chinese Dynasties" (2009). This volume is selected from the series of posts such as Tuotuo's "Fengshu Thesis" and "Gu Su Ti", which have the legacy of the two kings, and the book is near the Yellow Valley, dashing, handsome, vigorous, elegant and lovely.
Tongshan Sansu "YaoZhongjiang
Song Dynasty writers have "three Su" and call it "Meishan Sansu" refers to Su Xun and his two sons Su Shi and Su Rui, and "Tongshan Sansu" refers to Su Yijian and his two grandsons Su Shunyuan and Su Shunqin. Su Shunqin's brother Su Shunyuan (1006-1054), Zi Weng, Qing Li Jinshi, Guan zhi Shang Shu Du branch Wai Lang, Three Si Du branch judges, authored a volume of poetry, "Literature Tongkao" passed down to the world. He was also a well-known cursive calligrapher, inseparable from his brother, and unfortunately no handwriting has been passed down. The "Celebrity Park" in Binhe Park, Deyang City, Sichuan Province, has a statue of "Tongshan Sansu" standing in it.