论文部分内容阅读
陈志鸿:硬笔书法很难表现毛笔书法的墨色变化,在这一点上,硬笔书法总是显得先天不足,力不从心。观石文献先生的这幅硬笔草书作品,的确拉近了与毛笔书法之间的距离,其用墨浓淡、润燥分明,线条粗细变化,看起来酷似毛笔书法。该作品应为硬笔蘸墨书成,整幅由四则横幅组成,每则横幅,天头齐平,地脚参差,行距疏朗得体,结字笔法灵动多变,每行行气贯通,错落有致,显示出作者较好的学书功力。但因作者可能平时养成了起行蘸墨的书写习惯,故形成了此作中千篇一律的上浓下淡、上重下轻、上湿下枯的不良习气,此乃该作品的突出缺陷,作者应力避之。建议作者学习借签毛笔草书墨色错落分布规律。
Chen Zhihong: hard pen calligraphy is difficult to show ink brush calligraphy ink changes, at this point, hard pen calligraphy always appears to be inadequate, powerless. This piece of hardcover cursive work by Mr. Kuan Shih-bian indeed narrowed the distance between brushwork and calligraphy. His ink-brushing, moistening and clear-cut lines changed in thickness and looked exactly like brush calligraphy. The work should be dipped in hard ink into a book, the entire banner consists of four banners, each banner, the sky is flat, uneven feet, row spacing graceful, knot strokes Smart and changeable, each line of gas through, patchwork, It shows that the author better study skill. However, since the author may usually develop a writing habit of dipping his ink, he has formed the one-of-a-kind unhealthy habit of concentrating light, The author should avoid it. It is recommended that the author learn to borrow the law of ink brush writing ink patchy distribution.