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在行书中融入章草、隶书的笔意,古朴而未失之于直,优雅而不失之于媚,使其书法极富个性而不逾规矩。书法有碑帖之别。汉魏碑版质朴刚健,道健雄浑、峻峭方整,而帖学则秀逸摇曳,含蓄潇洒、温柔敦厚,在书法审美上,一为壮美,一为优美,本无高下之分。然宋元之后的书论者,似乎尤钟爱书法风格的高古。如“徐骑省书次韵高古,足为近代之冠”(宋岳珂《宝真斋法书赞》卷九),“孔庙卒史碑文既尔雅简质,书复高古超逸,汉石中之最不易得者”(清孙承泽《庚子销
In the book into the chapter cap, official script of the pen meaning, simplicity without losing straight, elegant without losing Mei, so that its calligraphy is very personal and not more than rules. Calligraphy has the distinction of rubbings. The Han and Wei Bei Ban are rustic and vigorous, Tao Jian is vigorous, and steep, and the whole school is graceful, while the postscript is elegant and swaying, subtle and graceful, gentle and respectful, in calligraphy aesthetics, one is magnificent, one is graceful. However, after the Song and Yuan Dynasty calligraphers, it seems especially love calligraphy style of the high ancient. Such as “Xu rhyme province book rhyme high ancient, enough for the crown of the modern ” (Song Yueke “Bao Zhenzhai book praise” Volume IX), “Confucian Temple history inscription both Er Ya simple, Han Stone in the least accessible ”(Qing Sun Chengze" Boxer sales