“隶”身行己
名字：刘美辰
鉴赏项目：书法艺术（隶书）
语录：正书法，所以正人心也，所以闲圣道也
书法艺术
隶书的介绍（Introduction of
Calligraphy – Official Script）
学习一种书法艺术的书体，首先要了解它的历史背景，理清其发展脉络。书体在演化过程中，会有很多不完善、不确定，正是这种不确定性，让书法艺术有了变化和调整的空间。概括来讲，隶书起源于战国，孕育于秦代，形成于西汉，兴盛于东汉。东汉以后隶书走向了衰落，直到清代才逐步复兴。从战国末期到西汉末期，这四百多年间是隶书孕育和发展的阶段。
The art of calligraphy entered the Han Dynasty, especially after the initial stage of the Han Dynasty gradually entered a period of prosperity. Official Script followed by Zhou Dynasty and Qin Dynasty and brought to Wei Jin Dynasty. The glyph structure turned "from the circle to the square" and lead the foundation of the Chinese character to block character. In the turning point of history of the development of Chinese characters from the "ancient body" to the "modern body", Official Script is in the key position.
To learn the script of a calligraphy art, we must start with understand its historical background and clarify its development context. In the process of the evolution of the script, there will be many imperfections and uncertainties and it is the uncertainty that gives the art of calligraphy a space for changes and adjustments. To sum up, Official Script originated in the Warring State Period, was conceived in the Qin Dynasty, was formed in initial stage of the Han Dynasty, and flourished in the late stage of the Han Dynasty. After the late stage of the Han Dynasty, Official Script went into decline, and it was gradually revived in the Qin Dynasty. From the end of the Warring State Period to the final phase of the initial stage of the Han Dynasty, these four hundred years were the stage of the cultivation and development of Official Script.
鉴赏与心得（Art Appraiser and Reflection）
鉴赏（Appreciation）
中国汉字是由甲骨文到金文、篆书，再演变为隶书等字体的。通过“隶变”，汉字由篆书演变了隶书，因此隶书的笔法相对较简单，结构有规律可循。
《曹全碑》是汉隶的代表作之一，属于风格秀逸多姿一类。清代万经评：“秀美飞动，不束缚，不驰骤，洵神品也。” 此碑也是保存汉代隶书字数较多的一通碑刻。《曹全碑》每字多有一两个主笔，主笔较其他笔画粗长突出，借以平衡重心。字中以横为主笔时，厚重而特长，可平衡字的重心；以撇捺为主笔的，左右相对舒展。此碑的字多取横势，但字与字之间仍然有长短或横竖之分的。因此《曹全碑》的碑文可说是随字赋形，各具变化的。
Chinese characters are derived from oracle bone script to Chinese bronze inscriptions, the seal script, and then evolved into Official Script and other fonts. Through the the period of "Libian", the Chinese characters evolved from the seal script to Official Script, so the techniques of calligraphy of the Official Script is relatively simple and the structure can be learned and refer easily.
"Stele of Cao
Quan" is one of the masterpiece in
Han Dynasty’s Official Script, which belongs to the category of beautiful and
tidy styles artwork of Official Script. Wanjing commented "Stele of Cao Quan" in Qin Dynasty: "Beautiful and flying, not
stiff, not rushing and is a masterpiece too." This stele is also a stele
that provided a large number of words in the Han Dynasty. Each word of the
"Stele of Cao
Quan" has one or two main strokes,
and the main stroke is thicker and more prominent than other stroke to balance
the center of word. When the horizontal line is the main stroke, it is thick
and long, which can balance the center of the word. If the left-downward slope
line or short pausing stroke became the main stroke that the lines are
relatively stretched. The words on this stele are mostly horizontal, but there are either have long and short or horizontal and vertical between the words. Therefore, the words on the "Stele of Cao Quan" can be said to be given shape with the characters itself and has its own variations.
心得（Reflection）
通过这次课业，我开始学习隶书并临帖《曹全碑》。经过着三、四个月的磨练后，学习书写隶书不仅提升了我的书法水平，更让我重拾了学习书法的热情。
此次艺术展主题我定为 – 《“隶”身行己》，其实是是取自成语“立身行己”，指的是“存身自立，行為有度。” 我认为学习书法后都能对各朝代大家的书法作品具备一定程度上的审美能力，但是我们不能骄傲且需保持谦虚学习，精进自身书法能力的觉悟。所以只要不轻易放弃，我相信书法艺术进来还是能够被很多人所喜爱并传承下去。
Through this coursework, I began to study the Official Script and imitated the "Stele of Cao Quan". After three or four months of imitating the "Stele of Cao Quan”, learning to write Official Script not only improved my calligraphy level, but also made me regain my enthusiasm for learning calligraphy.
The theme of this art exhibition I set as "Li Shen Xing Ji" actually taken and refers to from the idiom "self-reliance and moderation of behavior”. This is because i think that after learning calligraphy, we can have the aesthetic judgment ability for the calligraphy works of all dynasties, but we must to be humble and learn to improve our own calligraphy level day after day. As long as we don't give up easily, I believe that the art of calligraphy can still be loved by many people and inherit this calligraphy culture to the next generation.
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ReplyDelete美辰同学您好，感谢您带来的隶书书法艺术。“由圆变方”一词令我想起了先秦的理性精神。此外，我也认为隶书对现今的汉字来说是较为奇特的，尤其是在您手机壳上的“似”字，竟然是用“口”而不是现今的点。此外，隶书也稍微带有倾斜，如您所书写的“时”字，还有看似想要占有整个空间的“福、顺、颂”等字，都奠定了“方块字”的基础。而我们常说，书法是可以反映一个人的性格的，因此，这些“正”，也正必反映您所题“隶”身行己，正书法，正人心的高尚品德。而有意思的是您把这些书写都置入了手机壳，可见创意与用心。
ReplyDelete美辰同学你好！在书法当中，我较多接触的是楷书，因此对于隶书并没有太多的了解。然而在你的影片当中，你向大家分享了关于书写隶书笔画的三个步骤和三个特征，这让我或多或少认识到了要怎么样把隶书写好。接着，我也非常欣赏你选择临帖《曹全碑》的勇气，因为《曹全碑》不仅是隶书的代表作，也是一帖不易掌握的经典书法作品，可见你拥有自我挑战的决心，实属让人钦佩。
ReplyDelete美辰同学您好!相较于方方正正的楷书，隶书显得较为圆润，字体也显得较为圆扁。但是无可否认的是，隶书与楷书一样皆有其美之处。我认为隶书最特别也最美的地方是“波横”的存在。波横作为一种“横”的写法，让字体显得较为灵动俏皮，另有一番美感。
ReplyDelete美辰你好，我认为你在呈现作品时是非常用心的。除此之外，我也很赞同你说的看法，即在这个科技发达，每个人的脚步都变得飞快的时代，人们往往很难慢下来去欣赏一些艺术或进行休闲活动，并且觉得为何现代人要去学古人的知识。然而，当这些所谓的“古人的东西”添加了实用性，并且能亲手制作，人们就会有想要了解这些事物的动力，并且尝试耐心地、不浮躁地亲手去完成。这将使得越来越多人开始接触及了解隶书这门书法艺术，希望未来和你多交流隶书融入现代人的日常生活的方法。
ReplyDelete美辰同学你好！感谢你带来精彩的隶书艺术表演。通过你的隶书艺术，我不禁回忆起中学时期所学习的楷书。相较于楷书的规整，隶书属于较为圆润的，在我看来甚至有些可爱，同时也展现出不一样的审美。
ReplyDelete你好美辰！长期接触楷书较多，因此对于隶书的认知确实较少。透过妳所临帖《曹全碑》以及书写的方式，确实能感受到写隶书的不易，需要具备耐心去写出每个字。隶书的字形不像楷书倾向方正固定的形式，而是倾向自由飘然的感觉，笔画较粗长，但是完全体现出隶书的特色。
ReplyDelete美辰同学你好。书法之美，建立在线条章法和形体结构上。私以为，楷书是书法登峰造极之体，其肥有骨、瘦有肉，飘逸灵动之际，又沉静温和。但经此一游，隶书之美处处绽放在从前我忽视的之处。隶书的宽扁、圆润，尽显其朴厚劲秀、丰盈充实之姿。从同学的作品中，我既看到了隶书的可爱多变，又看到了它的典雅庄重；既觉得它憨态可掬，又觉得它古朴浑厚。美辰同学写的不只是书法，更是文化的传承。
ReplyDelete美辰同学你好。感谢你的隶书书法呈现。透过你的作品，让我了解了楷书和隶书的分别，就如我们常接触的楷书字体是正正方方的，而隶书的字体较为圆润的。这让我能够透过隶书去了解隶书的其美之处。
ReplyDelete