温梓鑫

 笔性墨情

姓名：温梓鑫

鉴赏项目：书法

语录：一点成一字之规,一字乃终篇之准。

书法的介绍 （Introduction of Calligraphy）

中国传统艺术门类之一，特指以毛笔表现汉字的艺术——书法。书法是中华民族的文化瑰宝，是人类文明的宝贵财富。其渊源流长，至今已有三千年的历史，是一门古老的书写艺术。书法是汉字的一种书写方法，借以传递书写者精神之美的艺术工具。自从甲骨文发明以来，中国书法的字体经历了由篆书到隶书、草书、楷书、行书的发展阶段。每个阶段都产生了数量众多的书法家和书法作品，而这些书法家和书法作品构成了中国书法的深厚传统。书法，是以汉字为基础的一种线条艺术，按照文字特点及其涵义，依循书体笔法、结构和章法抒写的艺术作品。

Brush-calligraphy is one of the Chinese traditional art categories which specifically refers to the art of expressing Chinese characters. Calligraphy is the cultural treasure of the Chinese nation and the precious wealth of human civilization. Calligraphy has a long history of three thousand years. It is an ancient art of writing. Calligraphy is a writing method of Chinese characters and an artistic tool to convey the spiritual beauty of the writer. Since the invention of the oracle bone inscriptions, the fonts of Chinese calligraphy have gone through the development stage from “seal” script to “official” script, “cursive” script, “regular” script and “running” script. Each stage produced a large number of calligraphers and calligraphy works, and these calligraphers and calligraphy works constitute the profound tradition of Chinese calligraphy. Calligraphy is a kind of line art based on Chinese characters. According to the characteristics and meaning of the text, it is a work of art that follows the calligraphy, structure and composition.

鉴赏与心得 （Appreciation）

书法，是个即平凡又深奥的艺术。我所临摹的是颜真卿《颜勤礼碑》的碑帖。这幅碑帖是颜真卿为其曾祖父颜勤礼所立之墓碑，书法苍劲有力，是他晚年的成熟之作。作为其晚年书法的代表作，《勤礼碑》最能反映其楷书成熟时期的书法风格，即宽博、浑厚。在笔法上，颜真卿一改初唐时期强调运用手指的力量，而加大腕力的使用。中锋用笔，方圆兼施，笔画横细竖粗，且主次有别。在粗细转折流畅清晰，笔画间气势连贯，节奏感强。而这种用笔方式，在突出强劲之势的同时，将颜体书风挺拔雄肆、雄厚浑圆的气魄显露出来。俗话说，要想临摹一位名家的书法，学习其书法风格尤为重要。故此，颜真卿道：“若论书法之道，还是智永的永字八法最为精辟而简明扼要，易于掌握”。一旦八法了然于心，任何书法书体皆容易上手。

以下简结我在临摹之时学习到其《勤礼碑》楷书的特点：颜真卿字形体态豁达端庄，雍容大方，疏密适当，字口丰满，竖多相向，整体结构均称。再来是点画特征：其书法落笔多藏锋，收笔回锋。起笔有着圆劲之势，横画起笔多斜角。他注重横画轻、竖画重，当两竖并存时就以左竖如横画粗细般，而另一竖则粗实有力。横画多上拱微右上，虽斜但重平。捺笔有着“蚕头燕尾”之姿即圆笔起分叉（如燕尾）收。转笔常以提法续圆转直下，呈内方外圆。此碑多“口”字，要求上宽下窄，两面对称。“竖弯钩”则于弯钩之时圆转，出钩处内方外圆，内直外斜。最后是其“四点画”需于三笔之内完成。

Calligraphy is an art that is both ordinary and profound. What I copied was the inscription on Yan Zhen Qing's "Yan Qin Li monument". This inscription is a tombstone erected by Yan Zhen Qing for his great-grandfather Yan Qin li. His calligraphy is vigorous and powerful, and it is his mature work in his later years. As a masterpiece of his calligraphy in his old age, "Monument of Qin Li" can best reflect his calligraphy style in the mature period of regular script, which is broad and vigorous. In terms of calligraphy, Yan Zhen Qing changed the emphasis on the use of fingers in the early Tang Dynasty and increased the usage of wrist strength. The centre point uses a pen, with both round and round strokes. The horizontal stroke is thin and vertical is thick, and the structure of the word is different. The transition between thickness and thinness is smooth and clear, the momentum is coherent between strokes, and the sense of rhythm is strong. And this kind of using the calligraphy brush, while highlighting the strong momentum, reveals the upright, bold and round style of Yan's calligraphy. There is the saying that if you want to copy the calligraphy of a famous artist, it is important to learn his calligraphy style. Therefore, Yan Zhen Qing said: "If you talk about the way of calligraphy, the character of Yong's eight methods of eternal characters that are the most incisive and concise, easy to master." Once you understand the eight methods, any calligraphy writing style will be easier for you. 

The following is my summary note. I learned the characteristics of the regular script of "Qin Li Monument". I learned that: Yan Zhen Qing's characters are open-minded and impressive, graceful, generous, dense and proper, full of mouths, multiple verticals facing each other, and the overall structure is even. Then there are the characteristics of stippling: its calligraphy draws a lot of sharpness, and it returns to the sharp edge. The strokes are round and vigorous, and the horizontal strokes have many oblique angles. He pays attention to gentle horizontal painting and heavy vertical painting. When two verticals co-exist, the left vertical has the horizontal stroke thickness, while the right-side vertical is thick and powerful. The horizontal strokes are mostly arched and slightly upper right, although they are oblique but flat. The left slanting stroke should be like "silkworm head and swallow tail" posture, that is the round stroke starts and diverges (such as the swallow tail) and closes. Turning the pen is often used to continue the circle and turn straight down, showing an inner circle and an outer circle. This monument has many "mouth" characters that require a wide top and a narrow bottom, symmetrical on both sides. The "vertical hook" turns round when the hook is bent, and the hook exits the hook inside and outside, and the inside is straight and the outside is inclined. Finally, the "four-point painting" needs to be completed within three strokes.