我读潘天寿书法

发布时间：2018-03-06 06:19

本文选题：潘天寿　切入点：书风　出处：《中国书法》2012年05期 　论文类型：期刊论文

【摘要】：正由于抗战时毁于兵火和十年浩劫中毁于动乱,现存的潘天寿书法作品,已难以串连起一条细致的发展脉络,但以二十世纪三十年代中期为界,仍可看到两个不同的阶段。前一阶段书体较多,取法较广,面貌辗转变化,而又有多凭天性书写的成分贯穿其间。后一阶段以融会黄道周一路书风为特征,书体渐趋稳定,法度日见精严,鲜明而强烈的个人面貌得以确立。在成熟期书风中,最富于特色、最引人注目的当属行草。与其篆隶书以圆笔筑基不同,诉诸行草书的多为侧锋方切和侧带
[Abstract]:It was precisely because of the destruction of the War of Resistance against Japan by the soldiers and fires and the destruction of the ten years of catastrophe in the turmoil that the existing calligraphy works of Pan Tianshou had been difficult to link up with a detailed development thread, but with the middle of 1930s as the boundary, We can still see two different stages. The former stage is characterized by a larger number of calligraphy styles, a wider selection of methods, a variety of features, and a more natural composition of writing throughout the period. The latter stage is characterized by the integration of the style of writing in the zodiac of the zodiac, and the style of the book is gradually becoming stable. In the mature period of calligraphy style, the most characteristic, the most noticeable is the grass. Unlike its seal script with round strokes to build the foundation, the recourse to cursive writing is mostly lateral front cutting and side belt.
【分类号】：J292.1

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