标签:
杂谈 |
来源; 美术世界
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《石鼓文》为我国最早的石刻文字,刻于十个鼓形石上,故得名。每石有一首四言诗,内容是咏秦国君游猎之事,所以《石鼓文》又称“猎碣”文字。原石高约三尺,径二尺许,由于屡经兵火摧残,风雨侵蚀,故而漫漶颇甚。其中一石在宋代被改凿为臼,另一石也不存一字。据郭沫若统计,《石鼓文》字形完全的有465字。《石鼓文》线条较金文更加匀整圆润,字形结构较甲骨文和金文简单,整齐而略呈长方,平行线条多作排列装饰,严谨茂密,用笔圆劲挺拔,笔道遒劲凝重,字距、行距开阔均衡,疏朗如晴空星月,字大逾寸,气韵淳古,雄强浑厚,朴茂自然,颇受历代大家推崇,是入手大篆的极佳范本。明朱简《印章要论》说:“《石鼓文》是古今第一篆法。”
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吴昌硕(1844.8.1 —1927.11.29),清末著名书画家,篆刻家。原名俊卿,字昌硕,别号苦铁,浙江安吉人。少年时他因受其父熏陶,即喜作书,印刻。他的楷书,始学颜鲁公,继学钟元常;隶书学汉石刻;篆学石鼓文,用笔之法初受邓石如,赵之谦等人影响,以后在临写《石鼓》中融汇变通。沙孟海评:吴先生极力避免“侧媚取势”,“捧心龋齿”的状态,把三种钟鼎陶器文字的体势,杂揉其间,所以比赵之谦高明的多。吴昌硕的行书,得黄庭坚、王铎笔势之欹侧,黄道周之章法,个中又受北碑书风及篆籀用笔之影响,大起大落,遒润峻险。
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吴昌硕的作品诗、书、画、印配合得宜,融为一体,对艺术创作主张“出己意”、“贵有我”,因此他的作品具有浓厚的“性格特点”。其艺术风尚对我国近现代画坛影响极大,对日本影响也很大。吴昌硕著有《缶庐集》、《缶庐印存》。
石鼓文被历代书家视为习篆书的重要范本,数千年书史中,对《石鼓文》临习最多、最深且最有独到之处的当数吴昌硕。大凡评说吴昌硕,都要提到他临的《石鼓文》。《石鼓文》成全了吴昌硕,反过来,吴昌硕也使《石鼓文》的艺术价值得以发扬光大。
吴昌硕一生通临石鼓文无数,今天分享的是他75岁时所临,称得上是他晚年的精品力作。
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