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王铎所倡导与实践的高堂大轴与大写意行草书风,在晚明书坛独树一帜,与黄道周、倪元璐一起被喻为明末书坛“三株树”。王铎崇古的学书观念、尚奇的章法布白、多变的文化心态、活泼的艺术理路,开创出一种前所未有的书法样式。不同于徐渭的狂、傅山的逸,王铎擅长用中庸之道来调整书法流派中的异端,以“王”《阁帖》为底料,将狂、怪、奇诸元素熔于一炉。正是这样的艺术理念,使得王铎的艺术探索获得了成功,也赢得了大批书法受众,一度形成“王铎书法热”。
Wang Duo advocated and implemented by Gao Daxing axis and cursive cursive writing style, unique in late Ming Dynasty altar, and the zodiacal week, Ni Yuanlu together as the end of Ming Dynasty calligraphy “three trees.” Wang Duo Chong ancient concept of learning, Shang Qi’s cloth, changing cultural mentality, lively art management, creating an unprecedented style of calligraphy. Different from the madness of Xu Wei, Fu Shan’s Yi and Wang Duo are good at adjusting the heresy in the calligraphy genre by means of the golden mean, melting the elements of madness, strangeness and strangeness in the “king” and " A furnace. It is this artistic concept that made Wang Duo’s art exploration successful and won a large number of calligraphy audiences.