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在我的篆刻创作中,我一直奉行“平中出奇,工而不板”的创作理念。这一理念之下,拙作大都以工稳平正一路作派示人。需要注意的是,工稳印风最忌板滞匠气,并且很难展现个性。这就是工稳印局限所在,解决办法之一就是多写篆书,同时要探求古文字、借鉴吸收前贤经典作品的营养,比如字形、结字、用笔、节奏等等,使之转移到我们的篆刻创作中。这是“印从书出”的创作之路,此外在印式探索上,还要广收
In my carving creation, I have been pursuing the creative concept of “surprisingly, no work in the middle”. Under this concept, most of the clumsy shows are sent by workers in a stable manner. It should be noted that the most vulnerable to stability and stability of the board staggering, and it is difficult to show personality. This is one of the limitations of work stability. One of the solutions is to write more seal scripts. At the same time, it is necessary to explore ancient writings and draw lessons from the nutrition of the predecessors’ classic works such as shape, knot, pen, rhythm, etc., and transfer them to our seal cutting In creation. This is the “Indian from the book,” the creation of the road, in addition to explore in India, but also widely accepted