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常和申阳兄会面,但是每回会面首先吸引我的都是他的字。在展览会上、报纸上、刊物里,我看到太多的小行书、小草书,一张张谦谦君子的面孔,文雅、礼貌、矜持。再就是粗犷、质朴的汉隶魏碑和汉隶魏碑式的行书,古雅沉雄。我很难想象这两大块风格竟涵盖了中国当代书法的十之八九。看到申阳的字,似自己一下子离开了『书法圈子』。事实上我每次去申阳那里,他就捧出他的一大卷字来,让我看,让我说。
Often meet Shen Yang brother, but each time the first meeting to attract me are his words. In the exhibition, in the newspapers and journals, I saw too many booklets, little cursive books, the face of a gentleman, elegant, courteous, reserved. Then there is the rough, rustic Han Li Weibei and Han Li Weibei style of writing, quaint Shenxiong. I can hardly imagine that these two major styles actually cover the ten most of Chinese contemporary calligraphy. When I saw the word of Shen Yang, I suddenly left the “calligraphy circle” myself. In fact, every time I go to Shen Yang, he took out a big volume of his words, let me see, let me say.