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东汉碑额因其丰富多元的美饰品质,已然成为汉代书刻艺术中的一个亮点,自清代以来受到众多书法篆刻家的青睐,并为书法篆刻风格的创新提供了有益的启发。笔者曾撰文分类赏析了一些代表性的碑额(见《书法》二○○八年第五期),鉴于其风格的芜杂,采用了南朝以来流行的“杂体”作为分类参考,并主要借鉴了三种杂体的概念,即“垂露篆”、“悬针篆”、“倒薤篆”。近日读法国美术史家福西永《形式的生命》,于是在笔记
Because of its rich and diversified beauty, the Eastern Han Dynasty monument has become a bright spot in the calligraphy art of the Han Dynasty. It has been favored by many calligraphy and seal-cutting artists since the Qing Dynasty and provides a useful inspiration for the calligraphy and seal cutting style innovation. The author has written classification Appreciation of a number of representative monument (see “Calligraphy” fifth issue in 2008), in view of its style of miscellaneous, the popular “hybrid” since the Southern Dynasty as a classification reference, and the main Draw on the concept of three kinds of hybrids, that is, “hanging seal ”, “hanging pin seal ”, “inverted 薤 seal ”. Recently read the French art historian Fu Xiyong “form of life,” so in the notes