论董其昌的笔法观
发布时间：2018-12-15 08:13
【摘要】：正董其昌对书法的讨论见于《容台别集》与《画禅室随笔》。董氏论笔法,以正锋提笔、泯灭棱痕为要;论结字,崇尚不作正局、以奇为正;论气韵,以为"淡之玄味,必由天骨";论通变,则倡言"妙在能合,神在能离"。所论出于自身的作书体验,亦出于对时习之矫正,于晚明书学独树一帜。
[Abstract]:The discussion of calligraphy by Dong Qichang can be found in the Collection of tolerance for Taiwan and the essay on painting Zen Room. Dong's method of writing is based on the point of taking the pen from the upright front and devoid of the vexation mark; on the conclusion of the characters, it advocates not doing the right thing, but taking the strange as the correct; on the charm, it thinks that "the subtle taste of the light is bound by the heavenly bones"; and on the general change, it advocates that "the best is in the energy, and the God is in the separation." From its own book experience, but also out of the correction of the custom, in the late Ming Dynasty, the study of calligraphy is unique.
【作者单位】： 北京师范大学艺术与传媒学院;
【分类号】：J292.1
本文编号：2380318
[Abstract]:The discussion of calligraphy by Dong Qichang can be found in the Collection of tolerance for Taiwan and the essay on painting Zen Room. Dong's method of writing is based on the point of taking the pen from the upright front and devoid of the vexation mark; on the conclusion of the characters, it advocates not doing the right thing, but taking the strange as the correct; on the charm, it thinks that "the subtle taste of the light is bound by the heavenly bones"; and on the general change, it advocates that "the best is in the energy, and the God is in the separation." From its own book experience, but also out of the correction of the custom, in the late Ming Dynasty, the study of calligraphy is unique.
【作者单位】： 北京师范大学艺术与传媒学院;
【分类号】：J292.1
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