读苏轼画论,给人的感觉似乎是一种超乎法度的“无法”,一种只发乎“情”似乎不见其“理”其意趣近于幽默的浪漫主义创作方法。他的艺术思想明显地呈现出对传统文化精神的继承,强调“传神”轻视单纯对“形”的模写,体现了中国古典艺术的精神——“得意忘形”,这种美学思想不仅在当时历史条件下被文人所热衷,而且把传统艺术之精神又向前推进了一步。苏轼作为文学家、书法家,以他那丰厚的艺术修养、豪放达观的气度、对宇宙和人生的深刻认识,奠定了他自己对艺术的理解,他的艺术不同程度地反映了他对人生和宇宙的认识。在《超然台记》中所体现的思想,潜移默化地蕴含在他的艺术中。从一定意义来说,他把艺术只作为体现其对人生和世界认识之手段,他对艺术价值的寻求,正是他那超然达观的浪漫人生观的复现,他的美学思想在一定程度上可以说是对中国传 Reading Su Shi’s painting theory gives a feeling that it seems to be a kind of “beyond law”, “a can not be done”, a romantic creation that only seems to be “emotional” and does not seem to be “rational” and whose interest is close to humor. His artistic thought clearly showed the inheritance of traditional cultural spirits, emphasizing that “expressiveness” despised purely the writing and writing of “form”, embodying the spirit of Chinese classical art, “triumphant”, not only in the historical conditions Under the enthusiasm of the literati, but also to the spirit of traditional arts one step forward. Su Shi, as a writer and calligrapher, laid down his own understanding of art through his generous artistic accomplishments, boldness and optimism, profound understanding of the universe and life. His art reflected, in varying degrees, Universe understanding. The thoughts embodied in the Transcendental Stages are subtly implicit in his art. In a certain sense, he regards art as a means of realizing his understanding of life and the world. His pursuit of artistic value is the reproduction of his transcendental view of romantic life. To a certain extent, It can be said that the Chinese pass