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《李明书徐渭小品文四则》,虽洋洋逾千言、笔触纤毫毕现,却是处处体现出从容与变化,用笔之藏与露、粗与细、方与圆,结体之疏与密、宽与窄、正与欹,处处见真功,同时又处处现天机,不见半点造作或矫饰,更无拘谨、犹豫或靡弱,全篇一气呵成,极其协调、统一。故而,笔者每每审读之,仿佛见到作者挥毫时的那种精熟与随意。“我观古人小楷经典作品,精神流露处与草书作品无异,神采逼人。”所以,“我写小楷与写其它书体一样,离不开古雅的感觉和各种矛盾关系的处理。”(李明《古雅为尚》)当他如此理解、如此书写时,小
Although there are more than a thousand words in foreign books written by Li Mingxu, the slightest touch of writing can be seen everywhere. However, the brushwork and the dew are everywhere. The pen and the dew, the thick and the thin, the square and the circle, the sparse, dense and wide Narrow, positive and 欹 everywhere see the real power, but also everywhere, but not the slightest creation or pretense, but no cautious, hesitant or extravagant, the whole one go, extremely coordinated and unified. Therefore, I often read it, as if to see the author when the kind of skilled and casual swing. “I think the classic works of the ancients lower case, the spirit of the Department of exposure and cursive works is no different, exasperating. ” So, “I wrote the lower case and write other books, like inseparable from the quaint sense and various contradictions Treatment. ”(Li Ming“ quaint ”) When he is so understanding, so written, small