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元末明初杰出的文化名人杨维桢(廉夫),是位杰出的书法家。从他所传世的墨迹看,呈现一派劲健飞动,铁划银钩的气派,而有别于当时流行的“二王”路子,风格个性异常突出。上海博物馆所藏《真镜庵募缘疏》(下简称《募缘疏》)(彩图21-26),就是其中颇有代表性的一件书法瑰宝。这件作品诞生于上海,六百多年后又藏于上海,说来偶然,实非偶然,它是上海城市文化发展过程中的历史标志物。具有特殊的历史、艺术、书法,甚至是宗教文化等方面的社会意义。但是,目前学界对此的研究,主
Yang Weizhen (Lian Fu), an outstanding cultural figure from the end of Yuan Dynasty and the early Ming Dynasty, is an outstanding calligrapher. From his ink handed down from the world, there is a factional style of flying and a silver hook, which is different from the prevailing “two kings” at the time. His style and personality are exceptionally prominent. Shanghai Museum collection “True Mirror Temple collection margin” (hereinafter referred to as “margin”) (Pictorial 21-26), is one of the most representative of a calligraphy gems. This piece was born in Shanghai and was hidden in Shanghai more than 600 years later. Occasionally, it was no accident that it was a historical landmark in the development of Shanghai’s urban culture. Has a special history, art, calligraphy, and even religious and cultural aspects of social significance. However, the current academic research on this subject