论文部分内容阅读
毛泽东书法艺术风格的形成与演进,与其早期在书法技能上的基础性训练密不可分。对毛泽东青少年时代的取法对象与摩习路径进行考察,可以分析归纳出影响其日后书法风格的基本原因与内在理路,以及他在书法实践上的方向选择与审美追求。1921年之前毛泽东的文稿手迹,大致有六类:结体规整、用笔精良的小楷;纵向取势、楷法入笔的行楷书;字形横拓、用笔圆转的行楷书;字势连带、笔锋外拓的行书;结体雍容、行笔内敛的行书;造型典雅、运笔灵动的行草书。通过爬梳对比毛泽东的文稿手迹,可以得出以下几点认识:第一,毛泽东青年时期的书法实践,遵循了“小楷—行书—草书”的路径;第二,毛泽东在早期书法研习上表现出十分明显的主动性、针对性与包容性;第三,这一时期毛泽东的书法呈现出继承重于创新、传统重于个性的特征。
The formation and evolution of Mao Zedong’s calligraphic art style are inextricably linked with his early basic skills in calligraphy. Studying on the target and practice path of Mao Zedong’s youth, we can analyze and summarize the basic reason and inner logic of his future calligraphy style, as well as his direction selection and aesthetic pursuit in calligraphy practice. Before 1921 Mao Zedong’s writing handwriting, there are roughly six categories: knit structured, good pen with a small script; portrait, portrait script into the line of the regular script; glyphs, with pen rotation script; , Bifeng extension of the line book; knot grace, line pen restraint of the line book; elegant, lucky brush line cursive. Through the comparison of Mao Zedong’s manuscripts, we can draw the following conclusions: First, the practice of calligraphy in Mao Zedong’s youth followed the path of “lower-order scripture-cursive scripture”; secondly, Mao Zedong’s early calligraphy study Showing the obvious initiative, pertinence and inclusiveness. Third, the calligraphy of Mao Zedong in this period showed the characteristics of inheriting more important than innovation and tradition more than individuality.