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他(林信存)转益多师,在书法方面,上宗晋唐下窥明清,近承书法名家张海、欧阳中石,形成质朴典雅、平和简约、道丽天成的书风。其字势静中欲动、刚柔并济,将人工与自然之美和谐地统一,为书法美学打通了一道宽门。他的花鸟画,上承宋元、明清诸家,尤得益八大、徐谓之精髓,近涉齐白石、潘天寿之神韵,一墨笔之,表现汀花野竹、水鸟渊鱼。他的《喜看竹君初长成》《流泉洗心》《清溪幽声》《天地为庐近无尘》等均用笔精细,融
In his calligraphy, he saw the Ming and Qing Dynasties under the Jin and Tang dynasties and Zhang Hai and Ouyang Zhongshi, the masters of the calligraphy, formed a simple, elegant and concise style of Tao Li Tiancheng. The word is quiet, rigid and soft, harmonious unity of man and nature, for calligraphy aesthetics opened up a wide door. His flowers and birds paintings, on the Song and Yuan Dynasties, Ming and Qing dynasties, especially the eight, the essence of Xu said that near the Qi Baishi, Pan Tianshou the charm of an ink pen, the performance of Tinghua wild bamboo, waterfowl Yuanyu. His “like to see the beginning of the bamboo grow” “wash heart”, “Clear River Silent Sound” “Heaven and earth for the near dust-free,” and so are fine with a pen, financial