Question 1: How many words are there in Su Dongpo’s poems about Chibi before and after? 935 words. You can copy the article in Word and count the number of words..

Question 2: What are the poems about Chibi before and after by Su Dongpo? The author Zhao Meng\ (AD 1254-1322), whose courtesy name was Zi'ang, called himself Songxue Taoist, was from Huzhou, and he was a Hanlin scholar. Calligraphy, painting, poetry, seal script and official cursive writing can be said to be omnipotent. The calligraphy advocated the restoration of the laws of the two kings. The calligraphy style was clear and round, which won the charm and character of the two kings and had a great influence on later generations. When learning Zhao character, you must pay attention to the lifting, pressing, and falling of the pen, and avoid smooth and flat dragging. Even in the rounded places, you must use your whole body to move the pen with your wrist to write the connotation and strength of the lines of the calligraphy. Zhao Meng\"Ode to the Red Cliff Before and After", paper, 27.2 cm vertical and 1.1 cm horizontal. In the fifth year of Dade's reign, Zhao Shi was forty-eight years old, at the peak of his energy and physical strength. His calligraphy and calligraphy are exquisite, well-organized, and his writing is vigorous and smooth. Tang Di said in a postscript: "Dongpo's two poems, Song Xue wanted to write each of them, and put them on the right side of all the books. Therefore, he was well-known for the calligraphy of Jin people. In his later years, he practiced calligraphy His pen is so sophisticated that he knows the meaning of the morning meeting is so profound. "Zhao Meng is a great master in calligraphy creation, and he advocates innovation through retrospection." He can also be called a master in calligraphy theory. His conclusion is that "calligraphy is based on the use of the pen, and the knotting of characters also requires the use of labor. The knotting of characters is passed down from time to time, and the use of the brush is not easy through the ages." His method of learning calligraphy is that "the writing skills are not perfect, even though they are good, they are still bad; the shape and purpose of the characters are wonderful, but they are still alive even though they are familiar with them". His teachings of "Books are precious and paper and pen are not harmonious, if the paper and pen are not balanced, even if you can write, you will not be able to write well." These are still today Guiding later calligraphers

Question 3: Understanding of the preceding and following Chibi Fu. Tang Geng of the Song Dynasty believed that "the two Fus of Dongpo's "Red Cliff" will last forever. "It is impossible to obtain." Ba Jin once said that reading "Ode to the Former Red Cliff" can give people a kind of unrestrained, magical and unconventional beauty; similarly, reading "Ode to the Later Red Cliff" can also bring us into a state of peace and forgetfulness. , a world of freedom that adapts to the circumstances.

The full text describes my visit to Chibi with my guests in chronological order. The scenes blend together, the virtual and the real, and the Zen atmosphere is far away.

The first paragraph. The author writes about the situation before climbing Red Cliff, explaining the time, whereabouts, companions, and climate. The author describes the moonscape on an autumn night with concise writing and points out the origin of the trip to Red Cliff. "The human figure is on the ground" contrasts with the brightness of the lonely moon. "Looking at it and singing songs to each other" describes the contentment and contentment of my companions and me, how to enjoy the beautiful scenery of "white moon and clear wind". ? Then the word "sigh" is written down sharply, which is in contrast to the word "joy" in the previous text. At the same time, I have written off all my previous complaints, and I feel extremely comfortable. The bright moon is in the sky, my guest understands my heart, and my wife understands my wishes, so I can enjoy myself to the fullest. This is the opposite of the "sigh" mentioned above, which can be said to be the best of all. Wonderful!

The author writes about the scene he saw while boating under Red Cliff in the second paragraph, which is full of sounds and shapes, and full of excitement. It depicts a thrilling scene of crashing waves, violent waves, and jagged rocks with different teeth, giving people a magnificent and majestic beauty. "The mountains are high and the moon is small, and the water falls and the rocks are revealed" shows a picture of mountains spitting out the moon, The sky is bright, the river tide is receding, and the reefs are soft and graceful. The sentence "The sun and the moon were once so numerous, but the mountains and rivers are no longer recognisable" is a lyrical expression that expresses the rapid changes of natural scenery and hints at the complexity of life in this world. Short.

The third paragraph describes my experience of climbing cliffs and dangerous rocks and letting my boat float freely on the river. This series of verbs "bent over" expresses my impatience and excitement to see the panoramic view of Red Cliff in the autumn night, and expresses the frankness and persistence of "an old man chatting like a teenager". "Two guests cannot follow" contrasts with my maverick attitude , a sense of self-confidence and pride arises spontaneously. Then he writes about the unrestrained and unrestrained behavior of climbing high and looking up to the sky, as well as the sadness and fear that arise from the scene. The emotional fluctuations are expressed in layers, from joy to sadness, which is an ups and downs, and then it is described as boarding a boat and drifting with the current, letting it stop, and then returning to peace and tranquility. Ups and downs everywhere.

In the last paragraph, he writes about what he saw in the middle of the night and his night dream when he returned home. The author uses ethereal words to create an outstanding image of a lonely crane, expressing his ambition to not conform to the world. I also used romantic imagination to write about my encounters and conversations with Taoist priests in my dreams, revealing a kind of open-mindedness that is independent of the world. The Taoist priest in "flying feathers", the lonely crane in "Xuan Shang and silk clothes", and "I" are a trinity, both real and illusory, which makes people's minds wander to the extremes and wander far and wide. "The Taoist priest laughs, and I am also shocked to realize." Between "laughing" and "enlightenment", the hardships and pains of life seem to be temporarily relieved. The concluding sentence "Looking at it but not seeing it" is about the reality after waking up from a dream. Between the reality of nature and the nothingness of fantasy, the author seems to have forgotten all the troubles and struggles in the world, and his traumatized soul can be soothed. , detached in an instant. This poem ends abruptly when the author wakes up from his dream, leaving a blank space for readers to explore and ponder. There is a wonderful way to find a winding path. No wonder Jin Shengtan said this after reading Su Dongpo's "Ode to the Later Red Cliff": "There are no cranes, no Taoist priests, no fish, no wine, no Red Cliff, only a bright and empty space.

Su Shi once wrote in a poem: "I have lived my whole life without leaving anything behind, and I have learned the Zen of forgetting my home at home" ("To Wu De and Jane Chen Jichang"), "The clouds and clear mornings and evenings have been renewed several times, and I have given my body to the void." It’s fine to leave without intending to return. The white clouds are still like those who have forgotten the clouds. "("Wangyun Tower") This kind of emptiness is the place where the poet supports his misery, overcomes the difficulties, and settles his soul. This is the projection of the author's Zen view.

On the surface, the full text is about the joy of visiting Red Cliff. In fact, it is a tortuous way to vent the depression of his relegated life, and at the same time it is also a vivid interpretation of his life philosophy. The article is based on music, with ups and downs of emotion, and is just as Su Shi said: "My writing is like ten thousand words." The source of the dendrobium spring can be found in any place. It gushes on the plains, even if it travels thousands of miles in a day, there will be no difficulty. It twists and turns with the mountains and rocks, giving shape to things and cannot be known. What you can know is that you always do what you should do, and you always stop at what you can't do. "("Self-evaluation") "Yan Xi's Preface" says: "Gai Dongpo is usually straightforward and straightforward, so his writing is like his person. "Su Shi was born in the fifth year of Yuanfeng, Emperor Shenzong of the Song Dynasty (......>>

Question 4: How to write the five-character seal script of "front and back Chibi Fu" in seal script

Question 5: How to study Zhao Meng's "Back and forth Chibi Ode" Zhao Meng\ and "Back and forth Chibi Ode"

Zhao Meng\ (1254-1322), courtesy name Zi'ang, alias Songxue , also known as Shuijinggong Taoist, was born in Wuxing, Zhejiang, and was a descendant of Zhao Defang, a member of the Song Dynasty. p>

Zhao Meng\ was a man of great erudition and extraordinary knowledge. He was good at poetry, calligraphy, painting, and music. He was also familiar with Buddhism. He Liangjun of the Ming Dynasty praised him as a man who "stretched over ten thousand and five hundred years and spanned ten thousand miles". However, he was a member of the royal family of the Song Dynasty and later surrendered to the "enemy country" and became a traitor. Therefore, some upright people such as Fu Shan and Kang Youwei despised his people and ridiculed his books.

Objectively speaking, Zhao Meng's calligraphy style has been able to prevail in the Yuan, Ming and Qing dynasties, first of all, it should be attributed to his profound artistic attainments and his precise interpretation of tradition. Zhao Meng is a very complex character, and we can criticize him. The author believes that contemporary Mr. Jiang Qingcheng's evaluation is more accurate: "It was not until Zhao Meng that calligraphy finally established its 'graceful' status. The emergence of Zhao Shu is in line with the trend of the times." It is not accidental that they are related to each other." (See "History of Chinese Calligraphy Thought")

As the founder of the sect, Zhao Meng\ studied Song Gaozong in his early years, and specialized in the "two kings" in his middle age. The collection said that "the standard script of "Luo Shen Fu" was studied in regular script, the "Preface to the Holy Teaching" in running script was incorporated into his room, and the "Seventeen Tie" in cursive script was used to change its shape. Zhao Du studied hard and focused on Li Beihai in his later years. Therefore, the profound accumulation of tradition made Zhao Ti's glory

The article "Back and forth Chibi Ode" shows that Su Dongpo was demoted to Huangzhou when he was the most frustrated and gloomy in his life. A famous article. In 1301 AD, when Zhao Meng, who was 47 years old, reread this article, he was struck by a deep pain in his heart. When he was asking for a book, his inner depression and sadness flowed with Dongpo's words. His graceful and poignant writing style expressed his feelings calmly and quietly. This is Zhao Meng's calligraphy work. (The attached picture is a partial) creative background.

2. Preparation for writing

Before writing, we should be prepared in two aspects: First, accurate thinking. , the second is the selection of related tools

The volume of "Chibi Fu" was written by Zhao Meng when he was 47 years old. Artistically, it was at the stage when he was deeply studying the calligraphy style of "Er Wang" and had already mastered the cursive techniques. He has gained a very high level of understanding. In terms of his thoughts, he was very successful in his career, but he still felt a little sad. One was because of the indifference of his friends, and the other was a kind of depression that came from his heart. He needed a pure land to carry his emotions. , he integrated himself into the world of pen and ink.

The "Elegance School" is euphemistic and implicit, so Zhao Meng\'s calligraphy does not have many "emotional ups and downs" (Xiong Bingming said), and there is no pursuit in dot painting. Ups and downs. We should adjust our mentality and be calm before writing. First of all, we should be as close to it as possible mentally.

This scroll is a banner in running script, with simple paper color and delicate brushwork, which is very elegant. As the small characters (about 1.6 cm square) of the "Er Wang" line, you must choose high-quality langhao pens when writing. You should also know what kind of ink to use. If the ink is too thick, it will easily stagnate the brush and scatter the edge. If the ink is too light, it will bleed and hurt the mind, affecting the freshness of the lines. You can use calligraphy and painting ink to drop an appropriate amount of water. The choice of paper is also very particular. Avoid using raw food and choose something more cooked. When writing, you can use rough paper with rough edges to create the propaganda and sprinkle it with gold. Sprinkling gold can not only show the changes in color and ink, but also express subtle lines, which helps to stimulate the desire for creation.

If possible, you can also learn more about Zhao Meng's life, read his poems, paintings, and study the development history of the "Four Treasures of the Study" in the Yuan Dynasty. These will help us learn more about traditional Chinese culture. All are of great benefit.

Hope it will be adopted.

Question 6: Characteristics of knot characters in the Chibi Fu written by Zhao Meng of the Yuan Dynasty. Here, we should also mention Zhao Meng's famous saying that "the characters of knot characters are passed down from generation to generation, and the writing is not easy to use through the ages."

Regarding calligraphy, the ancients had a relatively strict set of rules, and Sun Xiaoyun's book "The Law of Calligraphy" also made a special discussion on this. But the word knot is different. It continues to interpret new points and lines with the development of the times. The meaning of "passed down from time to time" may mean that calligraphy will differ due to different times, customs, personal tastes, hobbies, aesthetics, etc. As an outstanding representative of artists, Zhao Mengjia certainly has his own understanding of calligraphy. He once said: "The most important thing in writing is to use the pen, and the composition also requires hard work." The following will focus on analyzing the characteristics of the knotting of "Back and Back Chibi Fu" 1. Taking advantage of the horizontal trend, Zhao Meng won the mantle of "Two Kings", but his calligraphy is not as clear and straight as Xizhi's, but has a unique style. Throughout this volume, most of the books are written horizontally, using a broad body to make the characters sparse and comfortable. The calligrapher's technique of expanding the horizontal strokes is extremely clever. For example, in the attached picture, the two characters "Shi" and "Cao" are prominently long and horizontal, the two characters "Fang" and "Chi" are indulgently drawn, and the two characters "Neng" and "Fan" are drawn horizontally. Shrink the vertical strokes and leave the middle of the characters "Xiong" and "Feng" blank. Of course, this horizontal approach is only the main theme of its calligraphy, and there are also interspersed square or long structures. Zhao Meng, who is "careful about structure", will not ignore this point. He uses large space between words, lively and changeable fonts, timely vertical movement, and occasional jagged cursive writing to make this horizontal movement a beautiful note. The author particularly noticed the individual characters "Zhi" (see picture) in the work. The calligrapher intentionally wrote them in a vertical style. Their narrow and long shapes and continuous lines well adjusted the rhythm of the work. 2. Meticulous Harmony Compared with the freshness and uprightness of Wang Xizhi's "Preface to the Holy Religion", Zhao Shu conveys a graceful, graceful, powerful and elegant beauty. This beauty should be achieved due to the careful and harmonious structure of the character Zhao. Let’s take a few examples for analysis: In the attached picture, the stipples of the characters “yu” and “magpie” are complicated, but the dense parts are not blocked, the sparse parts are smooth and even, and the weight, position, and retraction movements of the strokes are very precise. In the attached picture, the weight of the "Miao" script is light on the left and heavy on the right, but the calligrapher presses the left hand and lifts the right hand when writing, and the visual balance is suddenly achieved. In the attached picture, the two horizontal and lower vertical positions of the middle part of the word "Jin" are just right, and the divided space is as symmetrical as measured with a ruler. In the attached picture, the left part of the character "Ling" is intentionally contracted when it is written. The two sides are compact and the middle part is sparse, making the character suddenly interesting. The same calligraphy method is used for the word "Meng", except that the upper and lower parts are densely spaced against the middle part. 3. How to add a lively and free spirit to the meticulous and even knots by using scattered patterns, in addition to using the cursive techniques mentioned above, there is another way to make a fuss about the uneven patterns. In "Back and Back Chibi Fu", the characters in the left and right structure make the characters go hand in hand with their length and pitch, such as the character "qi" in the picture on the right; the characters in the upper and lower structure make the characters change in width and narrowness, and become graceful and graceful, such as the character "Jing"; alone The stippling of the calligraphy is uneven and the writing is vivid, such as the two characters "Yi" and "Ye". 4. The characteristic of dynamic and static contrast injects a bit of agility into the seemingly calm and dignified character Zhao. The contrast between movement and stillness in this volume includes the mixture of lines and cursives in the composition, as well as the use of calligraphy. "Quiet" simply refers to the calmness of the writing, and the processing method is like regular script; "Dong" of course refers to the flying movement of the writing, using the style of cursive writing. For example, in the picture on the right, the two characters "Shun" and "Jing" are half static and half moving, which enriches the expressiveness of calligraphy. 5. The coexistence of light and heavy. If you focus on the composition, the change of light and heavy between the lines in this volume is very clear; and if you focus on the calligraphy, the coexistence of light and heavy lines is also everywhere. The weight is realized by lifting and pressing with a pen, or contrasting left and right, different up and down, or different inside and outside, as can be seen from the word "Qi" in the picture on the right. Of course, the processing of this kind of calligraphy should be natural and appropriate, and avoid being too mechanical. Generally, a radical should be regarded as a unit, and a stroke should not be regarded as a beat. Every stroke of writing will have varying degrees of severity.

Question 7: Introduction to Chibi Fu "Chibi Fu" is a prose written by Su Shi, a famous writer in the Northern Song Dynasty. It is divided into "Previous Chibi Fu" and "Later Chibi Fu".

Question 8: Differences in literary techniques between before and after Chibi Fu. Before Su Shi, most prose poems used scenes to express emotions. Or write about scenery and color. "Qian Chibi Fu" does not focus on describing scenes, but mainly explains philosophy and expresses opinions. The unique style of making use of topics and setting up arguments through scenes runs through the lines. "Qian Chibi Fu" is a representative work of this new type of travel notes. "Later Chibi Fu" is the sequel to "Former Chibi Fu", which can also be said to be a sister volume. The first fu is mainly about discussing mysteries and reasoning, while the second fu is mainly about narrative and scene description; the first fu describes the night scene on the river in early autumn, while the second fu mainly describes the activities on the river bank, and the time also moves to Meng Dong; both articles are based on fu This style of writing travel prose. The writing is the same, but the meaning is different.