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十九、秀中有拙中国艺术追求丰富的内涵,追求对立而统一。秀与拙二者是两种相对的审美风格。汉代隶书中存在多种样式,本文虽着力于清秀飘逸一路,但这一路隶书却是秀中有拙。也就是说,在整体上呈现秀的面貌,局部的字则趋于拙朴。如《张迁碑》《鲜于璜碑》等拙朴厚重一路的隶书书法的形态,在《曹全碑》《礼器碑》这些秀逸一路的隶书中也能找到。这体现了汉隶的包容性与丰富性:在总体上呈现出某一种风格面貌的同时,兼容并蓄了其他种风格样式的字形姿态。
Nineteenth, the show has a humble Chinese art pursuit of rich connotation, the pursuit of opposites and unity. Both show and clumsy are two relative aesthetic styles. There are many styles in the official scriptures of Han Dynasty. Although this article focuses on the graceful and graceful, this book shows clumsy lizards. In other words, in the overall appearance of the show, the local words tend to be simple. Such as “Zhang Qian monument” “in the monument” and other Zhuang Pak heavy book lined calligraphy morphology, “Cao monument” “monument monument” these Xi Yi all the way to the official script can also be found. This reflects Han Li’s inclusiveness and richness: in the overall appearance of a certain style, at the same time, compatible with the other kinds of style style glyph gesture.