[{"data":1,"prerenderedAt":58},["ShallowReactive",2],{"subject-zhong-feng-xing-bi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7587,"zhong-feng-xing-bi","中锋行笔","中锋行笔画高清赏析","精选中国历代中锋行笔题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg",0,2,[14,41],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","宋","黄庭坚","台北故宫博物院","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[23,24,25,26,7,27,28,29,30,31,32,33],"高清","书法","行书","宋代","笔画劲健","墨色变化","章法布局","印章","墨书","笔力雄健","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","纸本","29.1x213.8cm","",[],21,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":10,"material":35,"size":54,"collection":55,"collections":56,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":40},241409,"shu-lin-tie-lu-shi-wen-zhou-liu-yong-241409","书临帖录诗文轴","清","刘墉","北京故宫博物院","释文：\n野水参差落涨痕，踈林攲倒出霜根。扁舟一櫂向何处，家在江南黄叶村。 老松烧尽结轻花，妙法来从北李家。翠色冷光何所似，墙东鬒发堕寒鸦。刘墉。\n刘墉学古不追求外表的形似而注重用笔之法。起笔喜用藏锋，转折处用偃笔作折锋，字形丰满圆润，内中骨力强劲，犹如棉里裹铁；用墨于润中见枯，拙中见巧；结体疏密有致，点划轻灵多变，气韵苍遒。清人张维屏在《松轩随笔》中指出刘墉的书法特征：“貌丰骨劲，味厚神藏，不受古人牢笼，超然独出”，可谓中的。康有为也高度评价刘墉的书法成就：“力厚思沈，筋摇脉聚。近世行草书作浑厚一路，未有能出石庵之范围者，吾故谓石庵集帖学之成也。”\n作为刘墉书法的代表作，这件作品体现了上述多种特征。所书内容取自苏轼二首诗“书李世南所画秋景二首”其一，见《全宋诗》卷十八；“谢宋汉杰惠李承晏墨”，见《全宋诗》卷二十三。",[35,25,50,51,7,52,53,30],"临摹","墨色厚重","结构严谨","笔力浑厚","纵102厘米，横58.5厘米","书法精选",[55],4,1777535787681]