美术家推荐创建我的百科
邓石如原名琰,因避仁宗讳,遂以字行,少读书,好刻石,仿汉人印篆甚工。性廉介无所合。时翁方纲擅篆分,以石如不至其门,为之。刘墉、陆锡熊见其书,皆大惊。登门求识面。包世臣推其篆书为神品。钱坫与世臣游焦山,见壁间篆书心经曰:"此非少温(李阳冰)不能作,世间岂有此人耶?"少尝客江宁梅镠家,得纵观秦、汉以来金石善本,每种临摹各百本。曹文填称其四体书皆为清朝第1 。工刻印,出入秦、汉,而独树一帜 ,世称邓派。出生于寒门,祖、父均酷爱书画,皆以布衣终老穷庐。邓石如九岁时读过1 年书,停学后采樵、卖饼饵糊口。17 岁时就开始了靠写字、刻印谋生的艺术生涯,终身 社会地位低下。他本身 说:"我少时何尝 读书,艰危困苦,无所不尝,年十三四,心窃窃喜书,年二十,祖父携至寿州,便已能训蒙今垂老矣,江湖游食,人不以识字人相待。"邓石如30岁摆布 时,在安徽寿县结识了循理书院的主讲梁巘,又经梁巘介绍至江宁,成为举人梅镠的阶下囚 。邓石如在江宁大收藏家梅镠处8年,"每日昧爽起,研墨盈盘,至夜分尽墨,寒暑不辍"。不久得到曹文埴、金辅之等人的推奖,书名大振。乾隆5 十5 年(1790),乾隆皇帝80寿辰之际,户部尚书曹文植六月入京都,邀其同往。秋,途经山东,遂登泰山观览。进京后,邓石如以书法响誉书坛。乾隆5 十六年(1791),在两湖总督毕沅处做了3年幕僚。张惠言、包世臣都曾向他学习书法。
清代书法大家邓石如的行书《陈寄鹤书》还与历史上1 段著名的轶事有关。邓石如家中养两只鹤。据说,这两只鹤的年龄最少 有130岁。1 日,雌鹤死去了,仅隔十几天后,邓石如的发妻沈氏也相继去世。这类 巧合,在当时的文人当中产生了很多联想。59岁的邓石如伤心至极,雄鹤也孤鸣不已,与他相依为命。因不忍再看孤鹤悲戚的模样 ,邓石如因而 择地三十里外的集贤关佛寺,将鹤寄养僧舍中。从此,他担粮饲鹤,三十里来回 ,每月坚持不懈。忽然,又1 日,正在扬州大明寺小住的他得到传报,雄鹤被安庆知府看中,抓回了府中。他即刻启程赶回安庆,用行书写下了《陈寄鹤书》向知府陈情上书索鹤。
这篇文章写得哀婉动人,催人泪下,气势排山倒海,文辞如云幻天,以极尽排比、拟人等修辞手法历数得鹤、寄鹤悲欣往事。为了这只鹤,他可以将生死置之度外,正如书中所写"大人之力可移山,则山民化鹤、鹤化山民所不辞也。"知府接书,无言以答,不日将鹤送还佛寺。
邓石如9 岁随父读书,1 0 岁便辍学,1 4 岁"以贫故,不能从学,逐村童采樵、贩饼饵,负之转鬻"。然在其祖父和父亲的影响下,对书法、金石、诗文发生了深厚的兴味 ,并有长足进步。1 7 岁时,为"萧洒 老人"作《雪浪斋铭并序》篆书,即博时人好评。自此,便踏上书刻艺术之路。2 0 岁在家乡设馆,任童子师,不耐先生 "憨跳"而舍去,随父去寿州(今寿县)教蒙馆,2 1 岁因丧妻辞馆,外游书刻,以缓悲痛。
乾隆三十九年(1 7 7 4 年)他3 2 岁时,复至寿州教书,并常为寿春循理书院诸生刻印和以小篆书写扇面。深得书院主讲梁献(亳县人,以善摹李北海书名于世)赏识,遂推荐他到金陵(今南京)举人梅谬家学习。梅家既是宋以来的望族,又是清康熙御赐翰墨珍品最多的家族,家藏"秘府异珍"和秦汉当前 历代许多金石善本。石如纵观博览,悉心研习,苦下其功。在梅家8 年,前5 年专攻篆书,后3 年学汉分。于四十七年他4 0 岁时,离开梅家,遍游各处名胜,临摹了大量的古人碑碣,锤炼了本身 的书刻艺术,终究 产生了"篆隶真行草"各体皆备、独树一帜 的大量作品。乾隆四十七年,他游黄山至歙县,结识了徽派著名金石学家方君任和溪南经学家程瑶田,及翰林院修撰、精于篆籀之学的金榜。后经梅谬和金榜举荐,又结识了户部尚书曹文埴。 乾隆5 十5 年秋,弘历八十寿辰,曹文埴入都祝寿,要邓石如同去,石如不肯和文埴的舆从大队同行,而戴草帽,穿芒鞋,骑毛驴独往。 至北京,其字为书法家刘文清、鉴赏家陆锡熊所见,大为惊异,评论说:"千数百年无此作矣。"后遭内阁学士翁方纲为代表的书家的排挤,被迫"顿踬出都",经曹文埴介绍至兵部尚书两湖总督毕源节署(署武昌)作幕宾,并为毕源子教读《说文字原》。在署三年,不合旨趣,遂去。
乾隆5 十九年他5 2 岁时,由武昌回故里,买田4 0 亩,翌年建屋1 栋,并亲书匾额"铁砚山房"置于门首。常将书刻售资救济乡人,贫不能葬者,都尽力帮助 。当前 的1 0 年,他的书刻艺术越臻化境,他不顾年迈,常游于京口(今镇江)、南京、扬州、常州、苏州、杭州等地。临终前1 年,还登泰山,会晤友人,切磋技艺。6 0 岁时,他游京口,结识包世臣,授书三年,并以书法要诀示曰:"疏处可以走马,密处不使透风,常计白以当黑,奇趣乃出。"包以其法验六朝之书都全符合。他6 3 岁临终这1 年,仍收录门生程蘅衫,为篆书《张子西铭》。 是年,得知泾县有八块碑需以大篆、小篆、分书、行楷各体书写,慨然应邀,仅书1 碑因病而归,阴历1 0 月卒于家。
邓石如身材高大,胸前飘1 绺长长的美髯,遇人落落,性情 耿介,无所合,无款曲,无媚骨,无俗气,称得上顶天立地的1 个伟男子。
邓石如登岱图
邓石如登岱图由于 其祖辈出身寒微,枯老穷庐,他的终身 更备尝人间的酸甜苦辣,过着"采樵贩饼饵,日以其赢以自给"的生活。他以"山人"自居,于荒江老屋中高卧,把功名两字都遗忘 了。
为何 淡泊如此?他生活的时代,是历史上堪称盛世的"乾嘉时代"。他来到这个世界时,政局早已不变 ,天下亦早已被爱新觉罗氏那双射雕射虎的手抚摩得比较熨帖了。生活随着时间的河流,日复1 日地平静地流去。我们只晓得 他戴草笠,着芒履,策毛驴,浪迹天下名山大川,有如云水之间孤独的浮鸥。他的好友师荔扉曾经送他这样两句诗:"难得襟怀同雪净,也知富贵等浮云。"看淡了浮华、浮夸、浮名,也就与浮躁相去甚远。"忍把浮名,换了浅斟低唱",柳永那种怀才不遇的牢骚他没有;"患名之不立,患年之不长",贾逵的雄心进取他缺乏;"名飞日月上,义与风云翔",李白的济世大志他也不具备。他只是归于淡,把世间万物都看得淡了,淡到自甘寂寞,阔别 红尘。可是,他又真正地热爱着书法,1 天也舍不得丢弃。每日清晨,他研1 盘满满的墨水,就着净几挥洒,必待墨水用干了才上床休息。所谓"热爱",在邓石如的人生里,除了出身寒微,饱受生活的煎熬之外 ,还得把功名利禄置于脑后而全身心肠 投入艺术的艰苦锤炼中。他不怕板凳1 坐十年冷,更不愿像某些"名人"那样热衷于今天上电视,明日登报纸,后天获大奖,不然就日子1 天也难过。
当年,他为湖广总督毕沅的幕友时,"与人论道艺,所持侃凿,丝毫不肯假借,布衣棕笠,贵客公卿间,岸然无所诎也。"俨然1 种平民艺术家的本色。但是,"日见群蚁趋膻,阿谀而佞,此今之所谓时宜,亦今之所谓捷径也。得大佳处,大抵要如此面孔。而谓琰能之乎?日与此辈为伍,郁郁殊甚。"他看不惯官场的群蚁趋膻,也不愿阿谀权贵。那么,虽为幕友,却也是落落寡合的--他不适合那个生态环境。因而 ,他拂袖而去,返回民间,适者自适,从此终身 六十余年再也没有混迹于官场。
邓石如不愿媚俗取巧的固执 ,说得斯文与时髦1 点,是不是他正有着平常文人欠缺的所谓"平民认识 "或"民间情结"?邓石如原名琰,字石如,自号顽伯、完白山人、完白山民、龙山樵长、凤水渔长等。以石自比,以
顽石自况,1 个山野之人的特立独行,飘然如在眼前。说到邓石如的为人,与他同时代的人评价甚高。有说"高尚"、有说"高洁"。我这里只说两件事。第1 件,邓石如初入都,当时的人都之内 阁学士翁方纲为书法的宗师,翁亦骄横1 时,而邓石如"独不谒"。不去登门拜访翁宗师,是不愿结交权贵呢,还是本身就看不起他的书法?我不敢妄猜。但后果却是在他的预料 当中 的,盛气凌人的翁方纲极度贬抑邓石如的书法,而邓石如1 笑置之,"不与校也"。另1 件事,或许 可以见出邓石如的高洁了。邓石如常居集贤关,得1 鹤,精心豢养 后蓄于僧院中,他陪它散步,它伴他读书,"朝朝两件闲功课"。不料,某太守见而爱之,携鹤而去。邓石如极是不平,写了1 封措辞严峻 的信索还。从此,与鹤为伴,晨昏无间。邓石如死时,那鹤发出尖厉的唳声,哀鸣数日后,打了1 个旋,消逝 在大漠青空当中 ,羽化而去。鹤唳、青空、远去--这是我心头漫过的图景,也是眼前流过的诗境。是的,1 袭布衣,俯视 苍天,有所牵挂而来,无所牵挂而去;既知万物有灵,更轻身外之物;"你自归家我自归"--人鹤两化,只留下1 段聚散情义于古今。他的好友、桐城派散文大家姚鼐曾给他写过这样1 副对联:
茅屋八九间钓雨耕烟须信富不如贫贵不如贱;
竹书千万字灌花酿酒益知安自宜乐闲自宜清。
不慕富贵而自然隽永,不闹情绪而旷达平和。钓雨耕烟,灌花酿酒的人生,洗去的是庸脂
清代汤禄名绘《邓石如小像》
清代汤禄名绘《邓石如小像》俗粉,尘泥污垢,浸润出来的却是经史子集里的书卷气质和1 身的仙风道骨。于人,互为表里,安身立命,也能够 "随心所欲不逾矩"了。人生1 达这类 境界,艺术的深沉和久远便应运而生。
作为震古烁今的书法大家,邓石如是以货真价实的创新博得 我们尊重 的1 个典范。与他同时代的包世臣在《艺舟双楫》中把他的书法列为"神品",誉为"四体书皆国朝第1 "。书法史上以"我自成我书"自傲 的"浓墨宰相"刘墉,当时见到邓石如的字,拍案惊呼道:"千数百年无此作矣!"连眼界很高,学富5 车的康无为 ,贬颜(颜真卿)贬柳(柳公权),贬晋帖,贬唐碑,而对邓石如之书不仅高度评价,还把他作为划时代的1 个标志。平心而论,卑唐贬晋,失之公允,而对邓石如的评价则言之成理。清代篆隶书的革新和碑学的衰亡 ,开拓出传统书法的重生 面,这个盖世功勋是由邓石如悄悄地在山野当中 建立起来的。邓之篆书结体的灵动,用笔的自然,打破了自李阳冰以来僵化的传统格局,难怪他这样自傲 :"何处让冰斯(斯指李斯)?"邓石如在书法理论上也颇多创见。"计白当黑"之论把"笔不到而意到"的道理具体化了。"疏处可以走马,密处不使透风",则把真假 对比的艺术理论阐释得明白如话。
邓石如为清代碑学书家巨擘,擅长四体书。其篆书初学李斯、李阳冰,后学《禅国山碑》、《三公山碑》、《天发神谶碑》、石鼓文和 彝器款识、汉碑额等。他以隶法作篆,突破了千年来玉筯篆的樊篱,为清代篆书开辟了1 个新天地。他的篆书纵横捭阖,字体微方,接近秦汉瓦当和汉碑额。隶书是从汉碑中出来,结体紧密,貌丰骨劲,大气磅礴,也使清代隶书面目为之1 新。楷书取法六朝碑版,兼取欧阳询父子体势,笔法斩钉截铁,结字紧密,得踔厉风发之势。行草书次要 吸收晋、唐草法,笔法迟涩而飘逸。大字草书气象开阔,意境苍茫。总观其四体书法,以篆书成就最大,楷、行、草次之。邓石如又是篆刻家,开创皖派中的邓派。他以小篆入印,强调笔意,风格雄壮 古朴、刚健婀娜,书法篆刻相反相成 。邓石如的印章有着"疏处可以跑马,密处不使透风"的特色。
时人对邓石如的书艺评价极高,称之"四体皆精,国朝第1 ",他的书法以篆隶最为出类拔萃,而篆书成就在于小篆。他的小篆以斯、冰为师,结体略长,却富有创造性地将隶书笔法糅合其中,大胆地用长锋软毫,提按起伏,大大丰富了篆书的用笔,特别是暮年 的篆书,线条圆涩厚重,雄壮 苍茫,臻于化境,开创了清人篆书的典型,对篆书1 艺的发展作出不朽贡献。隶书则从长时间 浸淫汉碑的实践中获益甚多,能以篆意写隶,又佐以魏碑的气力,其风格自然独树1 帜。楷书并没有从唐楷入手,而是追根究底 ,直接取法魏碑,多用方笔,笔画使转蕴涵隶意,结体不以横轻竖重、左低右高取妍媚的方法而求平正,古茂浑朴,与时俗馆阁体格格不入,表现出勇于探索的精神。
刘墉陆锡熊:"千数百年无此作矣。"
曹文埴:"此江南高士邓先生也,其四体书皆为国朝第1 。"
包世臣《艺舟双楫》:神品第1
赵之谦:"国朝人书以山人为第1 ,山人以隶书为第1 ;山人篆书笔笔从隶书出,其自谓不及少温当在此,然此正自越少温,善易者不言易,作诗必是诗,定知非诗人,皆1 理。"
沙孟海《近三百年的书学》:"清代书人,公推为卓然大家的,不是东阁学士刘墉,也不是内阁学士翁方纲,偏偏是那位藤杖芒鞋的邓石如。"
题字作品
安徽怀宁县城北大龙山下白麟板的邓家大屋内,有1 副以隶书书写的计有146字"龙门"长联,即:
沧海日、赤城霞、峨媚雪、巫峡云、洞庭月、彭蠡姻、潇湘雨、武夷峰、庐山瀑布,合宇宙奇观,绘吾斋壁;
少陵诗、摩诘画、左传文、马迁史、薛涛笺、右军帖、南华经、相如赋、屈子离骚,收古今绝艺,置我山窗。
这副署为"题碧山书屋"的门联,为清代中叶著名书法家、篆刻家邓石如撰并书。此联气势恢弘,构思奇特,有如南朝文论家刘勰所说的"视通万里""思接千载"之神奇。
上联摄景,5 彩纷吴;下联取文,绮章叠秀。上下联气脉连贯,1 气呵成。景物典型,文事精粹,言语 雅丽,含蕴深长,委属对中之杰构,联里之箐华。
此对联之所以盛传不衰,除上述以外 ,与作者善于应用 列锦修辞手法也有关。
列锦修辞法是以名词或名词为中心的定名结构组成语句,里面没无形 容词谓语,却能写景抒情;没有动词谓语,却能叙事述情。
处世劳尘事:传家宝旧书。--题苏州寒山寺碑廊
事业垂千古;馨香荐四时。--墨迹
座上南华秋水;屏间北苑春山。--自题
万花盛处松千尺;群鸟唱中鹤1 声。--自题
开卷神游千载上;望帘心在万山中。--自题
好书悟后三更月;良友来时四座春。自题
涉水跋山,来泻两行寒士泪;临风对月,常怀1 片故人心。--挽曹文埴
四周 积奇石几层,月色夹空,如窥古涧;其地有高松百尺,绿荫翳日,时到异人。--题扬州瘦西湖小金山草堂
茅屋八九间,钓雨耕烟,须信富不如贫,贵不如贱;
竹书千万字,灌花酿酒,益知安自宜乐,闲自宜清。
--述怀
容人却侮,谨身却病,小饮却愁,少思却梦,种花却俗,焚香却秽;
静坐补劳,独宿补虚,节用补贫,为善补过,息忿补气,寡言补烦。
--自题草堂
长七尺大身躯,享不得利禄,享不得功名,徒抱那断简残编,有何味也;
这1 块臭皮囊,要什么衣裳,要什么棺椁,不如投荒郊野草,岂不快哉。
--自挽
篆刻
《江流有声 断岸千尺》、《我书意造本没法 》、《淫读古文 日闻异言》、《家在四灵山水间》、《意与古会》、《笔歌墨舞》、《城1 日长》、《灵石山长》、《春涯》、《半千阁》《完白山人篆刻偶存》(文图)
书法
《游5 园诗》、《篆书文轴》、《篆书中堂》、《隶书四条屏》、《隶书七言联》、《隶书节录文心雕龙》、《陈寄鹤书》
诗文
《登岱》
岱秩巍巍秉节旄,峻嶒直上走猿猱。1 无所限唯天近,百不如人立脚高。
邓石如篆刻集
邓石如篆刻集
过眼云烟失齐鲁,增封诸岳视儿曹。尊岩莫讶风尘迹,终古乾坤几布袍。
《完白山人寄鹤书稿》完
完白山民邓石如顿首,奉书为启,陈寄鹤事。此鹤之主人闲有岁月可证者,已百三十有零岁,历公卿之门四。据宛陵张涵斋太史焘《古鹤行诗》,滇南中丞孙公曰秉刻之金陵藩署中,叙此鹤先在常熟蒋家,次居吴兴沈家,后归德清徐家。京口农部袁礼堂以千金聘归三十六峰山馆中,此百三十不足 岁可屈指而计者。其前之岁月,则不可得而考矣。山民游于袁公家有年,农部之子廷极命鹤谓山民曰:"此尔主也。"谓鹤与山民宜,遂以赠山民。山民年垂耳顺,得此为老伴,洵旷事也。嘉庆元年秋,舟过金陵,孙中丞悦之,欲聘山民鹤,兼以灰鹤二赠山民。此海雀也,非鹤也。与鹤为奴,鹤不受也。却之,载吾鹤归。山民家徒壁立,食指甚繁,每1 砚四方以活妻子,恐鹤遭野人之厄,遂择地而寄鹤于集贤关僧舍中。虽禅室荒陋,而林木蓊郁,竹树交翠,关隘险固,山石嵯峨,为达天衢之冲要道,又皖城龙脉所特起。僧欲仗佛力创兴之,以扶持行道,培护风水,其志诚深远矣。离山民居遥不三十里,担粮饲鹤,月有常例。虽待此鹤也,亦隐以待僧矣。因向僧唤鹤训而祝之曰:"尔乃胎禽浮丘,著经云门,鼓翅华表,飞声负霄汉凌云之志,恐终非贫家有也。尔有遐心,亦听尔之翱翔寥廓,可不尔羁也。今属尔寄于僧,以修尔龄。僧托于尔,以辅成其名。尔无负山翁寄鹤之意,以徜徉于此。此地有修竹古木,可庇荫尔;有古佛青灯,可忏悔尔;有灵幡宝盖,可威仪尔;有法座经坛,可庄严尔;有蹲狮伏象,可护持尔;有萝月松风,可徘徊尔;有山花野卉,可纾尔步;有溪泉潺湲,可濯尔羽;有积石漫山,可厉尔喙;有苔华绣砌,可逞尔狂;有高梧重重,可张尔盖;有苍藤垂垂,可排尔幢;有钟鼓镗鞳声,可遂尔海峤搏风盘礴乎青云之志;有风雨草木摇撼声,可触尔引领高唳,若有捍卫牧圉之任;有山禽鸣噪声,可助尔群下相融物我,熙熙共乐林泉之度;有车马行迈声,可慨其尘途仆仆,尔则梳翎戢羽,矫首而游观;有冠盖来往 ,贤士大夫之憩止,可念其干旌在野,载驰载驱,长路迢迢,趑趄日夕,益显尔之清旷劲逸,孑然而孤标。凡山中四时之致,雪月花风之候,阴晴雷雨之辱,尔得默领其常变。尔其钦承吾训辞。"
又曰:"僧归尔伴,僧出尔守。月白风清,听经点首。毋徒饮啄,端洁毛羽,他日太清衣裳楚楚,岂不尔驾骑,尔遨游。贯无十万,难上扬州。我居不远,于焉卅里。尔若怀归,龙山凤水。尔其谛听吾祝词。"祝毕,鹤四顾惶然,若有逸志。乃慰之曰:"尔来前,尔其安于此矣。"鹤遂皈依于佛。虽皈依佛,鹤仍为山翁之鹤也。僧拟其名,余曰:"是昂藏物,非可以几名辱之也,惟佛可以使之。"遂更其名曰佛奴。寄鹤之地莫此若也,怡鹤之情莫此适也。鹤耶僧耶,其相助为理耶。山民家无担石储,前曾以十金助僧创寄鹤亭,施茶以济行人。昨秋枯旱,犹以钱十千佐僧架此东轩,今修竹万竿,清阴满座,过者可凭涤烦嚣也。今闻僧言,阁下花骢住此,鹤舞阶下,从官称庆,以为官阶1 品之兆,直指日事耳。摆布 不察,爰遣厮卒束缚以去,送至署中。僧号于途,鹤厄于卒,不闻轩车之迎,而有囚系之辱,物之报人以嘉祥者,顾身受如是之困乎?从此莲幕宾朋,竞赏芸窗不聘之禽,而使冷院枯僧,日?颜于寄鹤之山翁矣。山民知阁下意万不如是,不过近侍之人图此以邀赏赉耳。亦或梅开东阁,暂借娱情,张琼筵以咏花,命羽觞而醉客,不有?翟?翟之白鸟,其何足以畅此雅怀。乘兴招之,尽兴挥之,则鹤不日仍归山民。亦或政闲遐赏,睹物怀人,慕古人琴鹤之风,以益励其清廉,而光照皖国。山民得为治下之民,亦与有荣焉。若徒手而有之,山民能负袁郎中赠鹤之意乎?亦负惭于此鹤也。且起外议谓太守夺山人鹤之名。若以草野冒渎尊严而罪之,则山民化鹤,鹤化山民,所不辞也。故历陈古鹤之始末,与僧人、山民同此心事,特用缕述上陈,不胜恐惧悚惶之至。山民再顿。
又书后自记1 则云:"鹤寿不知其纪,人寿修短,极之不过百年。均宇宙之寄物耳。此鹤寄于公卿,寄于山民,寄于僧佛,又寄于太守。太守也,僧佛也,山民也,公卿也,皆寄于鹤耳。鹤寄于人耶?人寄于鹤耶?然人鹤之寿虽有长短不齐,亦终当还宇宙也,于我何有哉!余终年 仆仆四方,自有此鹤,归时不过以为耳目1 瞬之玩,究何尝 与鹤性灵相周旋也。作此书成,用鹤、恋鹤、训鹤、祝鹤,吾何得忘情于鹤。顾此虽亦无负于鹤,而心中有不释然于鹤者。存书以存鹤,可谓有鹤而无鹤,无鹤而有鹤也。鹤兮,鹤兮,不待吾他日碧水苍山偕游观于冥漠耶?奚去之遽也?
"江流有声,断岸千尺"句出苏轼《后赤壁赋》,是邓石如的代表作之1 。艺术构思最忌平均呆板,他在书法理论上曾提出的"字划疏处可使走马,密处不使透风"的美学观念,这方印可以说是这类 观念的生动体现。"流、断"二字繁写增其密度,以密衬疏。"江"字与"岸、千、尺"三字相呼应,笔势开张,大片宽地又正好与"断"字相呼应,加上流、有、声"之繁密构成 了鲜明的对比。他的用刀既不同于皖派,也不同于浙派,而是使刀如笔,含蓄 流畅,刻出了他刚健婀娜的风格。
"我书意造本没法 "1 印,在细白文刻法上,可说前无古人,戛戛独造他把宋元圆朱的刻法,发展到这类 细白文的刻法,印中文字的方圆曲折,完全视印之情势 随机搭配而出,而这类 白文的线条,最能体现出他书法的笔情墨趣和以刀当笔的金石风味。
"淫读古文,日闻异言",风格同上印,虽然刀法上不及上印挺劲,但章法上却是苦心经营。全印八个字分三行,疏其中行而密其摆布 ,是这方印的特色。
"家在四灵山水间"全印七字,1 如其书。此印的章法正好与上印相反两头 密而摆布 两边疏,紧密处不使人感到窒息,疏处则绰绰不足 。绘画大师黄宾虹受此影响,在他画论中也有"疏可走马,密可透风"的说法。
"灵石山长"、"春涯"二印,对角疏密呼应,朱白相映,全印笔酣墨饱,充满着圆浑、朴茂之感。1 方印常常 有1 个基调,比拟 上去 ,"春涯"加栏的白文印,由于转机 间略见的功力。艺术大师丰子恺曾说,篆刻艺术是"经营于方寸以内 ,而赏鉴乎毫发之细,审其疏密,辨其妍媸"。所以"书画同源,而书实深于画,金石又深于书"。因而 ,"非有精微之艺术涵养 ,不足与语也"。这些精辟的见解对我们理邓石如的艺术当有很深的意义。
Deng Shiru (1743-1805) Qing Dynasty seal carver, calligrapher, founder of Deng School, Anhui Huaining people. The beginning of the name of Yan, the word stone, such as, to avoid Jiaqing emperor taboo, then the word line, even after the word stubborn Bo, because of the public under the foot of Anhui Wan Shan, and the number of people complete Baishan, Gu Yu Taoist, Fengshui fishing long, Good seal carving, guest house Jinling Mei Jia eight years, make copies of the possession of the Qin and Han Dynasties has been rare. Sui Gong four-body book, especially longer than the seal to the Qin Li Si, Don Li Yang ice for the case, slightly Participation Italy, known as the gods. Sex-mediated, traveled through the landscape, to book carved self-sufficiency. "End of the White Mountain people seal carving occasional."
Biography
Tang Shi, such as the original name Yan, Yan Zong taboo due to avoid, then the word line, less reading, good stone, imitation Han seal seal very work. Of cheap referral nothing. When Weng Fang Gang good at the sub-seal to the stone, such as not to its door, whom. Liu Yong, Lu Xiong Xiong its book, are shocked. Door seeking knowledge. Bao Shichen pushed its seal for the gods. Qian and the Shi-chen travel Jianshan, see the wall between the seal heart Sutra said: "This is not less temperature (Li Yang Bing) can not be, the world has this person Yeah?" Less taste Jiangning Mei Ping home, look at Qin, Han Jinshi rare, each copy of the 100 copies. Cao Wen said the four-volume books are the first in the Qing Dynasty. Engraved, out of Qin, Han, and since a home, the World said Deng faction. Born in the cold door, ancestors, fathers are fond of painting, are commoner poor old cottage. Deng Shi-year-old, such as when reading a year book, after the suspension Caiqiao, selling bread bait life. At the age of 17 began writing, engraving the art of life, life, social status is low. He said: "I was young when the study was not difficult, difficult and difficult, nothing to taste, in thirteen four, heart steal hi book, twenty years, grandfather brought to Shouzhou, already able to teach Meng down this old man, "Deng Shiru about 30 years old, in Anhui Shouxian met with the theory of the College of lectures Liang, and Liang introduced to the Jiangning, a lifts Meijian seat passengers. Deng Shiru, a collector at Jiangning, was eight years old. "Everyday, it is refreshing to study the ink dish, to make ink in the night, and to stop the cold and heat." Soon Cao Wen Zhi, Jin Fu and others of the award, the title of the vibration. Fifty-five years of Qianlong (1790), Emperor Qianlong 80 birthday, the Ministry of Commerce Cao Wenzhi in June into Kyoto, invited to the same. Autumn, via Shandong, then climb to Mount Taishan. After arriving in Beijing, Deng Shiru to calligraphy Xiangyu altar. Fifty-six years of Qianlong (1791), at the two lakes Governor Bi Yuan Department for 3 years. Zhang Huiyan, Bao Shichen have to learn calligraphy.
Past episodes
The calligraphy of the Qing Dynasty Deng Shiru, such as the line of the book, "Chen book" also with the history of a well-known anecdotes. Deng Shiru raised two cranes at home. It is said that the two cranes at least 130 years of age. One day, female cranes died, only separated by ten days later, Deng Shiru, such as the wife's wife is also phase
Wu Qizhong painted "Deng Shiru like"
Wu Qizhong painted "Deng Shiru as" following the death. This coincidence, at the time of the literati which produced a lot of association. 59-year-old Deng Shiru extremely sad, Xionghe also lonely endless, and he had each other. Because can not bear to look at the look of solitary crane grief, Deng Shiru then choose to thirty miles outside the Jixian pass Buddhist temple, the crane foster care homes in. Since then, he was worried about food and feed cranes, thirty miles from each month unremittingly. Suddenly, another day, a large temple in Yangzhou, he got a small report, the Anqing prefect was fancy, caught back in the Fuchu. He immediately set off back to Anqing, with a line of writing under the "Chen sent the book" to the prefects petitioned cable crane.
This article was written in a moving, tear-down, momentum overwhelming, dictionaries cloud cloudy days, to the best row, anthropomorphic rhetoric, such as the number of cranes, Crane happy. For the crane, he can be life and death, as the book written, "the power of adults can be moved mountains, then the mountain of the crane, the mountain of the people of the crane also stop." Prefects to take the book, speechless answer, Will be returned to the temple crane.
Deng Shiru, such as 9-year-old father read a book, 10-year-old will drop out of school, 14-year-old "to poor, can not learn from the village child mining firewood, trafficking cake bait, However, under the influence of his grandfather and his father, on the calligraphy, stone, poetry had a deep interest, and has made great progress. 1 7 years old, as "chic old man" as "Xuelang Zhai Ming and order" seal, that is, Bo praise. Since then, they embark on the art of writing the road. 20 years old in the home to set up a museum, the boy division, impatient students "foolish jump" and rounding, his father went to Shouzhou (now Shouxian) to teach the Mongolian Museum, 21 years old because of his wife, , To ease the grief.
Thirty-nine years of Qianlong (1774), he was 32 years old, the complex to the Shouzhou teaching, and often for the Shouchun classics Zhuzhou students to write and seal the small seal. Won the Academy Speaker Liang Xian (Bo County, to good copy Li Beihai name in the world) appreciation, then recommended him to Jinling (now Nanjing) lifts Meimu home learning. Mei is both Song
Stone statue of Deng
Deng Shiru stone statue since the prominent family, but also the Qing Emperor Kangxi Royal Misty Han ink treasures most of the family, possession of the "secret treasures different Jane" and the Qin and Han dynasties after many precious stones. Stone, such as in the Expo, careful study, hard work. In Mei eight years, the first five years specializing in seal script, after three years Han points. In forty-seven years he was 40 years old, left the plum home, traveled throughout the attractions, copying a large number of ancient stele, temper their own book engraving art, and finally produced a "seal of the real grass" A large number of works. Qianlong forty-seven years, he traveled Huangshan to Shexian, met with the emblem of the famous emblem fangjian Fang Jun Ren and creek scholar Cheng Yao Tian, and the Imperial Academy Xiuzhuan, proficient in Zhuanzhou the gold list. After Mei Mei and Jinbang recommended, but also get to know the Ministry of Commerce Cao Wen Zhi. Fifty-five years of the fall of Emperor Qianlong, Hongli eighty birthday, Cao Wen Zhi into the birthday, to Deng as to stone, stone, such as refused and Wen Zhi from the brigade counterparts, and wearing straw hat, wear mans shoes, riding donkey solitary. To Beijing, the word for the calligrapher Liu Wenqing, connoisseurs Lu Xiong see, was surprised, commented: "After a hundred years without this carry on." After the cabinet by the Bachelor Weng Fang Gang as the representative of the exclusion of the book, ", Cao Wenzhi introduced to the Bingbushangshu two lakes governor Bi Yuanyuan Department (Department of Wuchang) as the screen guest, and to complete the source of the child to read" that the original text. " In the Department for three years, different purposes, then go.
Fifty-nine years of Qianlong, he was 52 years old, from Wuchang back to the hometown, to buy 40 acres of fields, the following year to build a house, and pro-book plaque "iron Yanshan house" placed at the door first. Often the book engraved capital relief relief township people, poor can not be buried, are trying to subsidize. After 10 years, his book engraving art of the more sublimation, regardless of his age, often travel in Jingkou (now Zhenjiang), Nanjing, Yangzhou, Changzhou, Suzhou, Hangzhou and other places. Dying the year before, also Taishan, meeting friends, learn skills. 6 0 years old, he travel Jingkou, get to know Bao Shichen, grant books for three years, and to calligraphy tips show: "sparse Department can go horse, not to make the air at the dense office, often white when black, Trolltech is out. "Package with the law of the six books are in full compliance. His 63-year-old dying this year, still included door Chengheng Heng shirt, for the seal "Zhang Zi Ming." Is the year, that Jingxian eight monument need to seal, Xiaozhuan, sub-book, Xingkai all body writing, generous invitation, only a monument due to illness and return to the lunar calendar 10 months at home.
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