论文部分内容阅读
他从小就是一个内向的乖孩子,安静,听话,不爱玩。说起学习书法篆刻的缘起,熙春笑着说:“我小时候体弱多病,父母怕我出去玩挨欺负,就把我关在家里,给我支毛笔,让我在家练毛笔字。”这一关就关出个书法篆刻家,这对于出于朴素愿望的孙家父母,大概是始料未及的。20世纪70年代中后期,沈阳的某个筒子楼里,年少的熙春就这样每天被关在家里,守着一本《九成宫》和一堆宣纸,默默书写他淡色的年少时光。
He was an introverted good boy since childhood, quiet, obedient, not playing. Speaking of the origin of calligraphy and seal cutting, Xixiang said with a smile: “When I was young, I was weak and sick. My parents were afraid I would go out and play bully. I shut up at home and gave me a brush to help me to practice brush writing at home.” Once off, a calligraphy and seal cutting house is closed, which is probably unexpected for grandchildren who are out of simple desires. In the mid-to-late 1970s, in a certain tube building in Shenyang, young Xichun was kept in his home every day, guarding a “Jiucheng Palace” and a pile of rice paper, silently writing his pastel years.