首页|吴历名款字法及款识书写习惯探究——兼及无纪年作品的时间判定

吴历名款字法及款识书写习惯探究——兼及无纪年作品的时间判定

On Wu Li's Ways of Inscribing Paintings—With Special Attention to the Time Estimation of Undated Works

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吴历字法有较明显的三个变化:一为 1659-1668 年的苏轼行楷,二为 1668-1672 年由苏轼行楷转为王、赵、倪小楷,三为 1674-1675 年回归苏轼字法,且向行草渐变.其书写习惯的共性为,一是字体呈向右上偏斜趋势,二是字形总体趋于竖短横长的扁状,三是笔画横笔细、竖笔粗、撇笔劲.这种共性在各时段的演变大致构成其款识书写的基本谱系,可有效解决其无纪年作品创作时间的判定问题.
There are three obvious changes in the Wu Li calligraphy:the first is the Su Shi regular script in 1659-1668,the second is the 1668-1672 transition from Su Shi to the small-character regular script of Wang Xizhi,Zhao Mengfu,and Ni Zan,and the third is the return to Su Shi,throughout the 1674-1675 period,and the subsequent gradual shift to running script.Three subsequent distinguishing traits of Wu Li's writing habits include the fact that his characters tend to skew towards the upper right corner,characters tend to be flat with short vertical and long horizontal strokes,while later characters are built with thin vertical,thick horizontal,and strong left-falling strokes.The evolution of this general physiognomy in each period roughly constitutes the basic evolutionary pattern of Wu Li's writing style,and may thus effectively solve the problem of dating his undated works.

Wu LiWriting styleInscriptionWriting habits

孔叙仁

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南京艺术学院 博士后科研流动站,江苏 南京 210013

吴历 款识 名款 书写习惯

国家社会科学基金艺术学重大项目

21ZD23

2023

艺术探索
广西艺术学院

艺术探索

CHSSCD
影响因子:0.156
ISSN:1003-3653
年,卷(期):2023.37(6)
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