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启功书法以楷、行、草为大宗,其中行书、楷书更为多见,草书相对较少。从风格上看,他的草书与他的行书、楷书虽有动静之别、放收之异,但在对书法的笔法、字法的理解与运用上实际是一脉相承的。启功认为『行书宜当楷书写,其位置聚散始不失度。楷书宜当行书写,其点划顾盼始不呆板』,堪称甘苦之言。同样道理,作草书也宜有作楷书之意,才能『位置聚散』『不失度』,所谓『每笔起止,轨道准确,如走熟路。虽举步如飞,不忧蹉跌』(启功)。正因为启功对书法有这样的认识,所以我们看他的楷书,点画干净利落、顾盼有致,草书则映带牵丝历历在目,而位置妥帖,『杨柳昏黄晓西月,梨花明白夜东风』系元人宋子虚句,对仗工稳,文辞雅致。此作以草书作条幅,点画纤秾变化,相映成趣,且极意收放,擒纵自
Kai-kong calligraphy to Kai, line, grass as a bulk, which line books, regular script is more common, cursive is relatively small. From the style point of view, his cursive scriptures and his practice books are different from each other in style and style, but they are the same in understanding and using calligraphy. Kai-kung believes that “it is advisable to write a line of script, and its position is not lost or lost. Regular script should be written, should not be too dumbfounded ”, be terrible words. In the same way, cursive cursors should also be used as regular script to “gather together” and “not to lose their degrees.” Although the pace of flying, not worried about fall “(Qigong). It is precisely because Qigong has such understanding of calligraphy that we look at his regular script and draw neatly and neatly, looking forward to it. The cursive script is vividly illustrated and well-positioned. ”Yang Liu faint Xiao Xixian and pear understand the night Dongfeng Department of the son of the son of subjunctive sentence, stable work, elegant rhetoric. This made a cursive banner, dotted fiber change, side by side, and extremely accommodating, escapement from