This marked a turning point in his life and work, and the Former and Latter Odes to the Red Cliff were representative works from this period. The Ode depicted Su and his friends travelling on a small boat to visit the Red Nose Cliff just outside Huangzhow city on July 16 in the 5th Year of Yuan Feng , and recalled the Battle of Red Cliff when Sun Quan won victory over the Cao army during the times of the Three Kingdoms; through this Ode, Su expressed his views about the universe and life in general.
From Su's particular reminders of "living in fear of more troubles", and "by your love for me, you will hold this Ode in secrecy", one has a sense of Su's fear as a result of being implicated in the emperor's displeasure over writings. The entire scroll is composed in regular script, the characters broad and tightly written, the brushstrokes full and smooth, showing that Su had achieved perfect harmony between the elegant flow in the style of the Two Wang Masters that he learned from in his early years, and the more heavy simplicity in the style of Yen Zhenqing that he learned in his middle ages.
A cool wind blew gently, without starting a ripple. I raised my cup to pledge the guests; and we chanted the Full Moon ode, and sang out the verse about the modest lady. After a while the moon came up above the hills to the east, and wandered between the Dipper and the Herdboy Star; a dewy whiteness spanned the river, merging the light on the water into the sky.
We let the tiny reed drift on its course, over ten thousand acres of dissolving surface which streamed to the horizon, as though we were leaning on the void with the winds for chariot, on a journey none knew where, hovering above as though we had left the world of men behind us and risen as immortals on newly sprouted wings. So far, the one I yearn for, The girl up there at the other end of the sky!
The notes were like sobs, as though he were complaining, longing, weeping, accusing; the wavering resonance lingered, a thread of sound which did not snap off, till the dragons underwater danced in the black depths, and a widow wept in our lonely boat.
At the time when he smote Ching. And what are you and I compared with him? Let me cling to a flying immortal and roam far off, and live forever with the full moon in my arms! But knowing that this art is not easily learned, I commit the fading echoes to the sad wind. For if you look at the aspect which changes, heaven and earth cannot last for one blink; but if you look at the aspect which is changeless, the worlds within and outside you are both inexhaustible, and what reasons have you to envy anything?
Only the cool wind on the river, or the full moon in the mountains, caught by the ear becomes a sound, or met by the eye changes to colour; no one forbids me to make it mine, no limit is set to the use of it; this is the inexhaustible treasury of the creator of things, and you and I can share in the joy of it.
We washed the cups and poured more wine. After the nuts and savouries were finished, and the wine. The printing process was extremely careful, having particularly procured ancient editions, made corrections and annotations and cross-checked the references, as well as commissioned the famous type cutters of Nanking - Wan Xiyao and Wei Shaofeng - to cut the type.
It can be said to be the highest quality edition of the bookshop. The text was then slightly edited to seem more elegant. The illustrations identify the chapter, and on each side of the drawing is a short rhyme composed on the subject of the chapter, which are all written by literati. The function of these rhymes is rather like a theatrical show, where antithetical couplets are used as a hint to the audience.
It is worth noting that the lines of the illustrations are energetic, the characters clearly outlined, with vivid and dynamic depictions of action, especially for those climatic chapters. After he was shot in the left eye, he pulled out the eye with the arrow and called: "One must not waste any drop of blood or essence given by one's parents! Luo Kuanzhong used exaggerated, theatrical means to depict Chen Shou's two - dimensional character - the Blind Xia Ho - as a heroic three-dimensional figure, giving the space of imagination for the readers.
It could be said to be the most popular version of the "Romance of the Three Kingdoms" in Nanking at the time. The front of the volume was entitled "Top of the Four Wonder Books", while the front page and center of the folio are both annotated "Most Brilliant Writing of Talent and Taste", showing that both titles have been adopted by bookstores in general and are used to market the books.
At the top it was annotated "Masterpiece lost by Jin Shengtan", and at the bottom it was impressed in red seal with the words "Published and supervised by Saoye shanfang". This brand shows that the Saoye shangfang of Shanghai was using the most popular Mao Critique Edition, and it was the commonly seen printed edition in bookstores at the time. This edition was in line with Li Zhuowu's practice of revising the chapters into chapters, but the main text had been edited by the Maos, not only to make the story more elegant and easier to read, but also added their own critiques and included poetry from the Tang, Song and Qing dynasties.
All readers praised this edition as being elegant and easy to read, making it the most popular edition to this date. Literati of different eras each interpreted the historical, literary, and emotional facets of Su Shi's Red Cliff [a famous poem] in different ways. Certain ideas of the Three Kingdoms period inspired by Su Shi's rhapsodies on Red Cliff may seem remote from actual history. Nonetheless, the land remains as before, the emotions they aroused having long since changed.
Yet each time they inspire new generations of painters and calligraphers to revisit Red Cliff and the Three Kingdoms through the medium of Su Shi, illustrating their own images and ideas on Red Cliff for posterity.
He was the most influential painter of the Wu-style during the 16th century. The fundamental colour of the entire scroll is light green, and although it is said to be an imitation of Zhao Boju's style, the lines and strokes visible under the paint seems transparent and more layered, appearing to be closer to the light green traditions of the literati Zhao Mengfu during the Yuan dynasty. The visitors themselves are depicted in simplistic lines, while the mountains and rocks are stacked closely and variable, demonstrating the leisurely spirit of the literati in the face of such wondrous scenery.
The year annotated on the work is the 27th year of Jia Jing reign , and Wen was by then 79 years of age. This is clearly one of his later works. Lan and Sun are both landscape artists of the Ming dynasty. In the illustration the rapids flow between steep cliffs that seem to be implanted in the waters like a giant nose; two small fishing vessels hover by the stone cliffs.
This illustration adopts stronger and thicker strokes that are not as delicate as the "Compilations". This chapter entitled "The Sovereign and his Ministers: a Happy and Compatible Company" refers to the story of Liu Bei visiting Zhuge Liang's straw cottage three times in order to win Zhuge's cooperation, and Zhuge reciprocates by giving "Suggestions in Longzhong". Liu Bei advised Chang and Guan not to persecuted with Zhuge.
Zhuge ultimately gave his life in thanks for Liu Bei's trust. This painting depicted Su Shi and his friends travelling the Red Cliff, and Su is shown wearing a head scarf, "passing through this enormous universe on a tiny leaf" with two visitors and a boatman.
The red cliff across the river towered over them, and the pine branches on the shore bowed slightly; the delicately painted waves spread gently, seeming to represent that "the waters were calm in the gentle breeze" that evening. The entire work was painted on paper, and the plain, elegant spirit reflected the literary paintings made popular by Su Shi and other literati during the late North Song Period. This showed that paintings of the Jin period are merging the traditions of the north with the newly popular literary painting trend.
The collector Xiang Yuanbian of Ming dynasty believed the scroll to be painted by Zhu Rui of the Song dynasty, but based on more recent studies of Zhao Pingwen's work, this scroll is now attributed to the painter Wu Yuanzhi of Jin dynasty.
This is the most amazing aspect of carved red lacquerware. Clouds in the sky, tall pines and the steep cliffs towered over the upper left corner of the fan, while the right of the screen is filled with the wide surface of the river. The mountain ranges stretched into the distance, and a few reeds are spread over the foreground. The small boat drifted slowly, and one can seemingly hear the happy voices of Dongpo and his guests, the rowing of the paddles, and the sounds of young servants boiling tea.
The powerful imagery takes us to this relaxing scene. Dragon patterns of this kind are highly popular during the reign of Qinglong, and represent the nobility of the emperor. He filled his ships with all sorts of burning materials and when they got close enough, his men set them ablaze and secretly left the fire ships with small boats. Those who did not die in the flames drowned in the waters of Yangtze.
The southern generals took full advantage of the chaos, leading a ferocious attack on the camp. The assault took the already disorganized army off guard and they suffered a terrible defeat.
Cao Cao understood that the situation was hopeless, and ordered his remaining men to withdraw. Cao Cao fled with the remaining troops and they marched down the Huarong Road. The heavy rains from the last few days had turned the entire area into a sea of sticky mud.
Chased by the southern troops, the fleeing soldiers drowned in the mud, or died of exhaustion and disease, while others were trampled to death by their own men on horseback. The battle took place in the winter of AD, and was mostly fought over water on a basin along the Yangtze River. The two belligerents first met at a skirmish at the Red Cliffs.
No side could gain a clear advantage, so Cao Cao retreated northwest to Wulin and the allies regrouped towards the South. Following this initial engagement, Cao Cao was sent a letter of surrender by an allied divisional commander named Huang Gai. Unbeknownst to Cao Cao, this was all part of a ploy by the allies to set up an ambush against the numerical superior northern army.
A squadron of allied ships were converted into fire ships, packed with incendiary materials such as dry reeds and fatty oil. The flaming southern ships crashed into the northern fleet, causing a fiery inferno to ensue. This was compounded by the fact that Cao Cao had chained all of his ships together in an effort to lower seasickness being experienced by his northern soldiers.
During the pandemonium the allies led an assault on the disorganized northern army, and were able to score a huge victory due to the chaos. Many northern soldiers burned to death or drowned before this assault.
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