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Deng Shiru(邓石如)。 时人对邓石如的书艺评价极高,称之“四体皆精,国朝第一”,他的书法以篆隶最为出类拔萃,而篆书成就在于小篆。他的小篆以斯、冰为师,结体略长,却富有创造性地将隶书笔法糅合其中,大胆地用长锋软毫,提按起伏,大大丰富了篆书的用笔,特别是晚年的篆书,线条圆涩厚重,雄浑苍茫,臻于化境,开创了清人篆书的典型,对篆书一艺的发展作出不朽贡献。隶书则从长期浸淫汉碑的实践中获益甚多,能以篆意写隶,又佐以魏碑的气力,其风格自然独树一帜。楷书并没有从唐楷入手,而是追本溯源,直接取法魏碑,多用方笔,笔画使转蕴涵隶意,结体不以横轻竖重、左低右高取妍媚的方法而求平正,古茂浑朴,与时俗馆阁体格格不入,表现出勇于探索的精神。 Script Text, Calligraphy Text, Chinese Calligraphy, Japanese Painting, Chinese Painting, Chinese Art, Chinese Handwriting, Asian Artwork, Chinese Culture

Deng Shiru(邓石如)。 时人对邓石如的书艺评价极高,称之“四体皆精,国朝第一”,他的书法以篆隶最为出类拔萃,而篆书成就在于小篆。他的小篆以斯、冰为师,结体略长,却富有创造性地将隶书笔法糅合其中,大胆地用长锋软毫,提按起伏,大大丰富了篆书的用笔,特别是晚年的篆书,线条圆涩厚重,雄浑苍茫,臻于化境,开创了清人篆书的典型,对篆书一艺的发展作出不朽贡献。隶书则从长期浸淫汉碑的实践中获益甚多,能以篆意写隶,又佐以魏碑的气力,其风格自然独树一帜。楷书并没有从唐楷入手,而是追本溯源,直接取法魏碑,多用方笔,笔画使转蕴涵隶意,结体不以横轻竖重、左低右高取妍媚的方法而求平正,古茂浑朴,与时俗馆阁体格格不入,表现出勇于探索的精神。

Huai Su (simplified Chinese: 怀素; traditional Chinese: 懷素; pinyin: Huái Sù, 737–799), courtesy name Cangzhen (藏真), was a Buddhist monk and calligrapher of the Tang Dynasty, famous for his cursive calligraphy. Less than 10 pieces of his works have survived. Cursive Calligraphy, Cursive Handwriting, Chinese Words, Chinese Art, Chinese Alphabet, Japanese Calligraphy, Beautiful Calligraphy, Chinese Brush, Chinese Culture

pinyin: Huái Sù, courtesy name Cangzhen (藏真), was a Buddhist monk and calligrapher of the Tang Dynasty, famous for his cursive calligraphy. Less than 10 pieces of his works have survived.

神代文字-豊国文字旧字体その2 Ancient Scripts, Native American Symbols, Japanese Symbol, Japanese Language, Runes, Knowledge, Consciousness, Japanese

世界の秘密 − 不思議コラム 21〜30

Here are a handful of must-reads which decipher Chinese history, politics, and contemporary culture. Mythical Dragons, Asian Art, Chinese Writing, Chinese Art, Chinese Icon, Chinese Alphabet, Chinese China, Historia China, Ancient Scripts

L'ivre de matieres & de couleurs

“ Oracle turtle shell “ This is a replica of an oracle turtle shell with ancient Chinese oracle scripts inscribed on it. Fu Xi, traditionally, considered the originator of the I Ching, is said to have discovered the arrangement of the.

Zheng Fu(郑簠) ,(1622~1693)清代书法家。字汝器,号谷口,江苏上元(今南京)人。原籍福建莆田,明洪武间祖父一辈迁至金陵(今江苏南京)。为名医郑之彦次子,深得家传医学,以行医为业,终学不仕,工书,雅好文艺,善收藏碑刻,尤喜汉碑。簠少时便立志习隶,学汉碑达三十余年,为访河北,山东汉碑,倾尽家资,家藏碑刻拓片有四大橱。孔尚任在《郑谷口隶书歌》中道:“汉碑结僻谷口翁,渡江搜访辩真实.碑亭冻雨取枕眠,抉神剔髓叹唧唧”,是郑簠爱碑如痴的写照 。郑簠擅隶书,亦精行草书,兼工篆刻。初师宋珏,后改学汉碑,主要有《史晨碑》和《曹全碑》,尤得力于后者。所书字大小相近,粗细、疏密却富有变化,多姿又规整,既保持了《曹全碑》的特点,又具有飘逸奇宕的新意,世人谓之“草隶”。 Script Text, Calligraphy Text, Japanese Calligraphy, Caligraphy, Chinese Brush, Glyphs, Japanese Art, Stamps, Symbols

Zheng Fu(郑簠) ,(1622~1693)清代书法家。字汝器,号谷口,江苏上元(今南京)人。原籍福建莆田,明洪武间祖父一辈迁至金陵(今江苏南京)。为名医郑之彦次子,深得家传医学,以行医为业,终学不仕,工书,雅好文艺,善收藏碑刻,尤喜汉碑。簠少时便立志习隶,学汉碑达三十余年,为访河北,山东汉碑,倾尽家资,家藏碑刻拓片有四大橱。孔尚任在《郑谷口隶书歌》中道:“汉碑结僻谷口翁,渡江搜访辩真实.碑亭冻雨取枕眠,抉神剔髓叹唧唧”,是郑簠爱碑如痴的写照 。郑簠擅隶书,亦精行草书,兼工篆刻。初师宋珏,后改学汉碑,主要有《史晨碑》和《曹全碑》,尤得力于后者。所书字大小相近,粗细、疏密却富有变化,多姿又规整,既保持了《曹全碑》的特点,又具有飘逸奇宕的新意,世人谓之“草隶”。

Zhang Xu(張旭)。《古诗四帖》 , 传世书迹有《肚痛帖》、《古诗四帖》等。草书也具有绘画的特征。虽然它不表现具体的图像,也不具有绘画中的缤纷色彩,但书法中的一个个抽象的图形本来就是“具万象于一象”的,它那线条和线条的各种组合关系,构成了各具形态,但又不代表任何实体的图形。它纯净的黑白色彩又因墨色的浓淡、用笔的轻重缓急而变化无穷。在这种变化组合后构成的视觉效果和绘画是异曲同工的。而在书法个体中能表现书法这种艺术效果的也是以草书最为明显,草书的那种无拘无束的笔墨变化,结构图形的高度抽象,字势姿态的巧妙搭配,字字有法,最具有诗情画意。 Cursive Calligraphy, Cursive Handwriting, Chinese Words, Chinese Art, Chinese Alphabet, Japanese Calligraphy, Beautiful Calligraphy, Chinese Brush, Chinese Culture

pinyin: Huái Sù, courtesy name Cangzhen (藏真), was a Buddhist monk and calligrapher of the Tang Dynasty, famous for his cursive calligraphy. Less than 10 pieces of his works have survived.

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