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“笔笔中锋”献疑

发布时间:2019-02-12 23:26
【摘要】:正"中锋用笔"由来已久,其理论渊源可追溯至蔡邕《九势》:"藏头,圆笔属纸,令笔心常在点画中行"。~([1])与"中锋"相对应的是"侧锋"。"侧锋"是指笔锋偏于点画一侧的运笔方式,其名首见于宋桑世昌《兰亭考》:"凡傍卷微曲蹙笔,累走而进之。直则众势失力,滞则神气怯散,夫努须侧锋顾右,潜嵂轻挫其揭"~([2])。明之前,"中锋"多以"正锋"之名出现,且论之者鲜,南宋姜夔是少有几家中,最早对"正锋"及其艺术效果有过专论的:"晋人挑剔或带斜拂,或横引向
[Abstract]:The theoretical origin of the "pen with the center front" can be traced back to Cai Yong's "Nine potential": "the head of the pen is a piece of paper, so that the pen's heart is always in the middle of the stroke". "[1] the correspondence between" center front "and" center front "is" side front "." "side front" refers to the pen front on one side of the stroke way, the first name in Song Sang Shichang "Lanting examination": "where the small curl frown pen, tiring into it." Straight is the loss of power, stagnation is diffident, Fu Nuxu side front to the right, subdued "[2]. Before the Ming Dynasty, the name of "center front" appeared in the name of "Zheng Feng", and those who discussed it were fresh. Jiang Kui of the Southern Song Dynasty was one of the few who had a special discussion on "Zheng Feng" and its artistic effect: "Jin people are picky or inclined to brush, or lead horizontally."
【作者单位】: 山东大学历史文化学院;
【分类号】:J292.1

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