以我个人对书法篆刻的审美而言,比较偏重于古拙的风格再现。走进经典,临帖是入古的不二法门,然而不泥古,则是对传统纵深掘进后的出新。不论碑帖,“形象”与“神似”二途,尤其重要。就神韵而言,应多侧重其遒丽秀逸之特征,但于“形象”来讲,多来源于对总体书风之定位。从结构特点上来讲,大字难于结密而无间,小字难于宽绰而有余,太工整易流于平板,姿态欹侧又易流于散乱,很难表现其姿态的灵动。 To my personal aesthetic of calligraphy and seal cutting, more emphasis on the ancient style of reproduction. Into the classic, temporary quote is the only way into the ancient, but not muddy, it is the traditional deep after heading a new. Regardless of the tablet, “image ” and “God-like ” two-way, is particularly important. As far as the charm is concerned, more attention should be paid to the characteristics of its beauty, but in terms of “image ”, it mostly comes from the orientation of the general style of writing. From the structural point of view, the characters are difficult to knot dense, and small characters difficult to generous and more than too fluid and easy to flow in the flat, easy to flow in the side of the mess, it is difficult to show their attitude smart.