《孙莘老求墨妙亭诗》是北宋文学家苏轼创作的一首七言古诗。这是一首以议论为诗的代表作品。前半篇评论了历代书法家的成就与特点，并对杜甫“评书贵瘦硬”的看法表示不予认同。诗人认为“短长肥瘦各有态”，主张书法艺术应重视各种不同风格的发扬，表现了他对艺术的真知灼见，以及对艺术广采博收、如百川纳海的阔大胸怀。后半篇对友人的好古博雅极力揄扬，同时点明“墨妙亭”修建的由来与作用，点明友人求诗题咏的主旨。篇末特别发表了人生固然短促，艺术却能永世长存的宝贵见解。这首诗的精彩处在于深含文化底蕴，于议论风生中发精辟见解，给人以启示。
茧纸书写的《兰亭集序》真迹已埋入昭陵，人间还遗留下王羲之龙腾虎跃的字形。颜真卿公改变书法创造新意，字体筋骨强健如秋日雄鹰。徐峤之父子的书法也极其清秀，锋芒不露笔势却苍劲雄浑。峄山上的石刻文垂示了典范，千载书法传承者是李氏阳冰。杜甫评论书法特别看重瘦硬，这样的观点我不能够听凭。书法无论短长肥瘦各有姿态，玉环肥飞燕瘦能说哪个不美丽绝伦！湖州太守真是好古博雅，不惜花费金钱求购断石残碑刻文。亭中有龟形碑座，壁上镶嵌着螭龙雕刻，白昼静书斋空，只听拓碑声响登登。你把奇妙的拓片赠给友人走遍吴越，风雅事在朋友间夸奖谈论。写信来求诗要我亲自书写，于是我手执狼毫写在了名纸剡藤。后来人看待今天正像今人回顾往昔，过眼的百世光景不过是风中之灯。将来人们也会像当年的刘郎怀念贺监，遗憾没和我们坐在同时好表示内心崇敬。
神宗熙宁五年（1072），苏轼的友人孙觉建亭于吴兴府第中，以收藏古碑刻法帖，命名为“墨妙亭”，同时向苏轼求诗题咏。时诗人任杭州通判，作此诗并亲手书写以赠孙觉。
苏轼（1037-1101年），字子瞻，一字和仲，号东坡居士，眉州眉山（今属四川）人。苏洵之子。嘉祐年间（1056-1063年）进士。曾上书力言王安石新法之弊，后因作诗讽刺新法而下御史狱，贬黄州。宋哲宗时任翰林学士，曾出知杭州、颖州，官至礼部尚书。后又贬谪惠州、儋州。在各地均有惠政。卒后追谥文忠。学识渊博，喜好奖励后进。与父苏洵、弟苏辙合称“三苏”。其文纵横恣肆，为“唐宋八大家”之一。其诗题材广阔，清新豪健，善用夸张比喻，独具风格。与黄庭坚并称“苏黄”。词开豪放一派，与辛弃疾并称“苏辛”。 又工书画。有《东坡七集》、《东坡易传》、《东坡书传》、《东坡乐府》等。
The poem “Sun Shen Lao Qiu Mo Miao Ting Shi” is a seven character ancient poem created by Northern Song Dynasty writer Su Shi. This is a representative work that takes discourse as poetry. The first half of the article commented on the achievements and characteristics of calligraphers of various dynasties, and expressed disagreement with Du Fu’s view that “evaluating books is expensive, thin, and hard”. The poet believes that “short, long, fat, and thin have their own forms” and advocates that calligraphy art should attach importance to the promotion of various styles, demonstrating his insightful understanding of art and his broad mindedness towards art that is as diverse as a hundred rivers and a sea. The latter half of the article highly praises the good antiquity and elegance of friends, while also highlighting the origin and role of the construction of the “Momiao Pavilion” and the main theme of friends seeking poetry and chanting. At the end of the article, a valuable insight was expressed that although life is short, art can last forever. The highlight of this poem lies in its profound cultural heritage, which provides insightful insights and inspiration in the midst of discussions.

The authentic work of “Preface to the Orchid Pavilion Collection” written on cocoon paper has been buried in Zhaoling, and there are still traces of Wang Xizhi’s dragon leaping and tiger leaping in the human world. Duke Yan Zhenqing changed his calligraphy to create a new meaning, with strong and muscular fonts like autumn eagles. The calligraphy of Xu Qiao’s father and son is also extremely delicate, with a sharp yet powerful strokes. The stone carvings on Mount Yi display a model, and the inheritor of calligraphy for thousands of years is Li’s Yang Bing. I cannot accept Du Fu’s comment that calligraphy places special emphasis on thin and hard strokes. Calligraphy, whether short, long, fat, or thin, has its own posture. Yuhuan, Feiyan, and thin can say which one is not beautiful and unparalleled! The governor of Huzhou is truly ancient and elegant, willing to spend money to purchase the inscriptions on broken stones and remaining inscriptions. There is a turtle shaped pedestal in the pavilion, with dragon carvings embedded on the walls. The study is empty during the quiet day, and only the sound of rubbings can be heard climbing. You give wonderful rubbings to friends and travel around Wu and Yue, praising and discussing elegant things among them. I wrote a letter asking for poetry to be written by myself, so I held a wolf hair in my hand and wrote it on the famous paper, Shanteng. Later on, people looked at today just like they look back at the past, and the fleeting scenery of a hundred generations is just a lamp in the wind. In the future, people will also miss He Jian like Liu Lang did back then, regretfully not sitting with us to show their inner respect.

In the fifth year of the Xining reign of Emperor Shenzong (1072), Su Shi’s friend Sun Jue Jian Ting was named “Mo Miao Ting” in the Wuxing Mansion for collecting ancient stone tablets and calligraphy. He also asked Su Shi for poetry and chants. At that time, the poet Ren Hangzhou Tongjian wrote this poem and personally wrote it as a gift to Sun Jue.

Su Shi (1037-1101), also known as Zizhan and Hezhong, was a scholar of Dongpo and was born in Meishan, Meizhou (now part of Sichuan). Son of Su Xun. During the Jiayou period (1056-1063), he became a jinshi. He once wrote a letter strongly criticizing the drawbacks of Wang Anshi’s new law, but was later sent to the Imperial Censor’s Prison and demoted to Huangzhou for writing poems to satirize the new law. Song Zhezong was then a scholar in Hanlin and had knowledge of Hangzhou and Yingzhou. He was appointed as the Minister of Rites. Later, he was exiled to Huizhou and Danzhou. Beneficial policies are available in various regions. After his death, he posthumously received the posthumous title of Wen Zhong. I am knowledgeable and enjoy rewarding those who are less advanced. Together with his father Su Xun and younger brother Su Zhe, they are referred to as the “Three Sus”. His writing is arbitrary and unrestrained, making him one of the “Eight Great Masters of Tang and Song Dynasties”. His poetry has a wide range of themes, is fresh and vigorous, is adept at using exaggerated metaphors, and has a unique style. Together with Huang Tingjian, they are called “Su Huang”. The lyrics are bold and unrestrained, and together with Xin Qiji, they are called “Su Xin”. I also work on calligraphy and painting. There are “Dongpo Qiji”, “Dongpo Yizhuan”, “Dongpo Shuzhuan”, “Dongpo Yuefu”, and so on.

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