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奠字隶书怎么写

来源:baiyundou.net   日期:2024-09-22

王铎,明末清初著名书法家,得学于钟繇、王献之、颜真卿、米芾,笔力雄健,长于布局。有北宋大家之风。当时书坛流行董其昌书风,王铎与黄道周、倪元璐、傅山等人提倡取法高古,于时风中另树一帜。那么,擅长行草的书法大家王铎先生,写隶书作品是什么样的体验?

王铎隶书《三潭诗卷》纸本,261.2*27.3厘米,自作诗七律一首,凡32行,共103字,自署书于崇祯十七年(1644),收藏于辽宁省博物馆。一般认为,这是王铎传世最佳隶书。

三潭。地灵深秘势峥

嵘。倚石肃然旅魄惊。雷

(声)响砰轰霖雨蓄。神共

摩盪药苗荣。即观元气

同开辟。岂与寒泉共死

生。怪岛休将人境说。栖

真玄灏有天声。予素未。


书隶。寓苏门始学汉体

恨年异壮。学之晚。虽然

羲之。高适五十可也。王铎甲申春正月为顺後亲丈书求教。

王铎(1592—1652),字觉斯,一字觉之,号十樵、嵩樵, 又号痴庵、痴仙道人,别署烟潭渔叟,河南孟津人。明末清初书画家 。他的书法与董其昌齐名,有“南董北王”之誉。王铎工正、行、草书,得力于钟繇、王献之、颜真卿、米芾,笔力雄健,长于布局。有北宋大家之风。当时书坛流行董其昌书风,王铎与黄道周、倪元璐、傅山等人提倡取法高古,于时风中另树一帜。

在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书,还是他那飞腾跳踯的行草书,在晚明书坛上都应说是一流的。正书在王铎作品中不多见,源于唐人而能自出胸襟。王铎降清后八、九年时间,书风更趋成熟老辣,其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣,故作品已失去崇祯朝的扛鼎之力和奋发之气,而转为理性和孤冷。来源:书法思考

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