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我学习书法经历了三个阶段:一九六四年上学到一九九○年去北京大学书法研修班进修之前,这二十多年我对书法靠的是一种朦胧的兴趣驱动。最初能看到的字帖是欧阳询《九成宫》、颜真卿《多宝塔》和柳公权《玄秘塔》选字本。那时纯粹是照猫画虎,信笔涂鸦,但对书法却有了初步的感悟。作为一个北方汉子,我渐渐对宽博沉雄的颜真卿书法迷恋日深,于颜真卿《勤礼碑》《大麻姑仙坛记》《李玄靖碑》《大唐中兴颂》等用功尤勤。一九八八年我在全国获一等奖的那幅作品正是颜体行楷书法,那次获奖给初出茅庐的我以巨大动力。一九九○年
I studied calligraphy through three stages: from 1964 to 1990, I went to Peking University to study calligraphy classes. In the past two decades or so, I have had a faint interest in calligraphy. The original copybook that can be seen is Ouyang inquiry “Jiucheng Palace”, Yan Zhenqing “multi-pagoda” and Liu Gongquan “mysterious secret tower” selected words. At that time, it was purely a cat’s tiger, a letter pen and a graffiti, but there was a preliminary understanding of calligraphy. As a northern man, I gradually became obsessed with Yen Chin-ching’s calligraphy and became hardworking. She worked hard on Yan Zhenqing’s Qin Li monument, Cannabis Fairy Tale, Li Xuan Jing Monument, and Datang Zhongxing Song. The piece that I won the first prize in the whole country in 1988 was just a script calligraphy exercise, and I was given a huge impetus to the fledgling prize. 1990