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李艳春这幅隶书条幅一看便知取法《张迁》《鲜于璜》和《西狭》,以汉碑为基又融入摩崖意味。通篇跌宕错落而又不失庄重整饬,体势宏阔而又不失庙堂气象,字与字之间都有着某种关联但又看不出丝毫的刻意安排。这应该是一个自然的书写表达状态。对这个“格调”的把握,一方面源自作者对隶书和汉代文化的理解和感悟;另一方面也表明了作者内心对这种艺术语境的向往和追求。若论不足,一是作者表达手法还显匮乏,所以显得不够丰富,如
Li Yanchun this banner of the book a book to see that law will take “Zhang Qian” “Xian Yu Huang” and “West narrow” to the Han monument and into the cliff means. Throughout the ups and downs scattered but without losing the solemn and solemn, physically prosperous and without losing the temple weather, between words and words have some kind of connection but can not see the slightest deliberate arrangement. This should be a natural state of writing. The grasp of this “style”, on the one hand, stems from the author’s understanding and perception of the official script and Han culture; on the other hand, it also shows the author’s longing for and pursuit of this artistic context. If the theory is inadequate, firstly, the author’s expression is also scarce, so it is not rich enough