1、书为心画中国书法 文字的起源及表现形式文字的起源及表现形式 Calligraphy The origin and expression of Chinese characters鼎鼎tripod楷书-唐柳公权/魏碑/颜真卿多宝塔Regular or Standard script kai shu Emerging at the end of the Han dynasty, in the 3rd century A.D., regular script was the result of another effort to simplify writing. It is the easiest
2、 to read and is very suitable for learning calligraphy. The brushstrokes are clearly drawn.草书/王铎/唐代张旭Cursive script cao shu Literally “grass” or “straw” script, the Chinese also call it “mood writing.” All the strokes for a single character are shortened and linked together; most of the time, the ch
3、aracters run into each other, making them practically illegible for modern Chinese.汉简-隶书Clerical script li shu The script was adopted as a way of simplifying brushstrokes. It is a legible script today despite being established during the Han dynasty. Small or large, Chinese seal script is a script t
4、hat was designed to be engraved. It is the oldest script but it is still used because it has remained to be popular.篆书Seal script zhuan shu 行书Running script xing shu Also known as the semi-cursive script since it is halfway between regular and cursive. Running script and regular script are the most
5、popular styles today. The strokes in each character are connected and simplified, which makes writing faster. However, the characters remain separate from each other.Orchid Pavilion Preface文房四宝The Four Treasures of the StudyThe handles for Chinese brushes are made of hardwood, ivory, porcelain, or b
6、amboo, with the bristles made from rabbits hair, wools, horsehair, or the hair of wolves, foxes, etc. Writing Brush PaperIt must have a fine texture and the right absorbency. Modern glossy paper is no good. Ink StickThe ink stick is a block of dried ink dye. It looks like a large black domino and is
7、 used by most calligraphers. Ink sticks or pre-made bottled ink can be purchased in bookshops or other vendors. Ink SlabThe flat, hard slab is made from stone or pottery. The ink slab is made from stone or pottery used in Chinese calligraphy and painting for grinding dry ink and mixing with water. I
8、n China, there are four famous Chinese ink slabs: Anhui She Ink slab, Gansu Tao Ink slab Gansu, Guangdong Duan Ink Slab and Shandong Red silk Ink Slab.情境导入 唐代书法家怀素曾给朋友写了一封信，信中只有一句：“苦笋及茗异常佳，乃可径来。怀素上。”短短两行十四个字，言简意赅。为何昔日的平常信件，而今被人们当作一件珍宝收藏进博物馆，成为一件书法作品？brushworkword formation chapterink书法四要素：笔法、结字（结体）、
9、章法、墨法。书法四要素：笔法、结字（结体）、章法、墨法。笔法：又叫用笔，是指写字时控制毛笔的运动，指书写作画时用笔或运笔的方法。笔法关系到字体笔画线条的外廓、力度和速度几方面。There are four elements of calligraphy: brushwork, word formation, chapter and ink.Brushwork: refers to the movement of the writing brush when writing, refers to the method of using the brush or moving the brush
10、when writing or painting.Strokes are related to the outline, strength and speed of the strokes.笔法笔法可以分为三种，即平动、提按、绞转。平动、提按、绞转。 平动：在书写过程中，笔与纸的距离不变，没有上下运动。小篆主要以中锋用笔，在书写过程中，笔锋始终处于笔画的中间部位，其笔法以平动为主。Strokes can be divided into three types, namely translation, lifting and twisting.Translation: In writing, t
11、he distance between pen and paper remains the same and there is no up and down movement. Xiao zhuan mainly uses the center stroke. In the writing process, the brush is always in the middle part of the stroke, and the stroke is mainly translational.笔法的分类 提按：笔有上下运动，有提有按。隶书、楷书兼有平动、提按的笔法，笔画形态不断丰富。 绞转：书写
12、时，笔毫在纸面上旋转运动。行书、草书大量使用绞转，书写出的线条活泼多变。Lifting and pressing: the pen moves up and down, lifting and pressing. Official script and regular script have both translation and lifting strokes, and the strokes are constantly enriched.Twist: When writing, the pen rotates on the paper. Running script, cursive
13、use of a large number of twisted, written lines lively and changeable.笔法的分类 笔法是书法技巧中最基本、最重要的内容之一； 学书法应首先学笔法，笔法是书法入门的基本功之一； 论书法也要先讲笔法；大书家沈尹默说，要学书法，首先要知道怎样用笔。Brushwork is one of the most basic and important aspects of calligraphy skills.Learning calligraphy should first learn brushwork, brushwork is o
14、ne of the basic skills of calligraphy entry;笔法的重要性 秦代前后：大篆、小篆以圆笔为主； 汉代前后：隶书，“破圆为方”，以方笔为主； 晋人笔法：“绞转”笔法，如二王行书； 唐人笔法：“提按”笔法，如唐人楷书用笔严格。书法笔法的发展书法笔法的发展篆书篆书上紧下松，讲究对上紧下松，讲究对称，体形方長。称，体形方長。隶书隶书体势宽扁，左舒右展体势宽扁，左舒右展，“蚕头雁尾蚕头雁尾”楷书楷书笔划平正，结体笔划平正，结体整齐，横平竖直整齐，横平竖直温故而知新温故而知新行书探究与发现探究与发现 请认真观察笔法示意图，说一说不同的笔法对应的线条有什么不同的特点。
15、探究与发现探究与发现比较三国时期与唐代的书法作品有何不同。贺捷表（拓本）三国钟繇麻姑山仙坛记（拓本）唐代颜真卿太山刻石太山刻石 秦李斯小篆体秦李斯小篆体汉代经典隶书笔法特汉代经典隶书笔法特点点张迁碑：张迁碑：结体方，用笔也方结体方，用笔也方曹全碑：曹全碑：结体扁，用笔圆结体扁，用笔圆晋王羲之行书晋王羲之行书颜真卿颜真卿告身帖告身帖颜体的钩颜体的钩唐代柳公权提唐代柳公权提按笔法严整，按笔法严整，圆中带方。圆中带方。郑板桥写字如画竹郑板桥写字如画竹间架：笔画的布局叫间架结构：偏旁及其他部首或部件的布局叫结构碧碧爱爱结构间架王王白白石石 结体结体结体指汉字的间架结构。均匀：笔画多少都均匀萋求爨品字堆
16、垒-末个大石鼓文战国张迁碑东汉颜勤礼碑唐代颜真卿探究与发现探究与发现 元代大书法家赵孟频定武兰亭跋中说：“书法以用笔为上，而结字亦须用工。盖结字因时相传，用笔千古不易。”他强调用笔的重要性。书法家启功论书绝句中说：“用笔何如结字难，纵横聚散最相关。”更强调结构的重要性，你怎么认为？ 章法是字与字之间、行与行之间的整体关系和安排。鉴赏书法作品的章法，关键在于对“势”和“行气”的把握。分为大章法与小章法。从哪些方面来谈谈书法的章法？样式，内容，布白，落款，钤印。 章法探究与发现探究与发现 尝试画出米芾蜀素帖、王铎草书五言诗轴中其余字的轴线，并体会米芾和王铎在章法布局上的异同。书法作品的样式幅式、格
17、式幅式、格式条条 幅幅横横 幅幅又称又称“楹联楹联”“”“对子对子”“”“联语联语”对对 联联中中 堂堂 是竖行书写是竖行书写的长方形的作品。的长方形的作品。屏屏 条条 指成组的条幅，也称指成组的条幅，也称“条屏条屏”。斗斗 方方是竖行书写的正方形的作品。是竖行书写的正方形的作品。镜镜 心心 是指把斗方加工而成的圆形的作品。是指把斗方加工而成的圆形的作品。扇扇 面面 扇面，扇面，分分折扇折扇和和团扇两种。团扇两种。册册 页页匾匾 额额长长 卷卷 又叫又叫“手卷手卷报报 头头题题 签签书籍、杂志的封面题字。书籍、杂志的封面题字。说说下列书法作品的样式。说说下列书法作品的样式。1235647812
18、11109书法作品的内容诗词、歌赋、对联诗词、歌赋、对联格言、佳句、散文格言、佳句、散文正文正文书法作品的布白竖式竖式 横式横式竖竖 式式横横 式式 笔法与墨法互为依存，相得益彰，正所谓“墨法之少，全从笔出”。用墨直接影响到作品的神采。历代书家无不深究墨法，清代包世：臣在艺舟双楫中说：“书法字法，本寸：笔，成于墨，则墨法尤书芝一大关键已。”明代文人画兴起，国画的墨法融进书法，增添了书法作品的笔情墨趣。古人有墨分五色之说。 墨墨 法法 古代书家颜真卿、苏轼都喜用浓墨。苏东坡对用墨的要求是：“光清不浮，湛湛然如小儿睛，”认为用墨光而不黑，失掉了墨的作用；黑而不光则“索然无神气”。细观苏轼的墨迹，有
19、浓墨淋漓的艺术效果。清代刘墉用墨亦浓重。书风貌丰骨劲，有“浓墨宰相”之称。浓墨浓墨 浓墨是最主要的一种墨法。墨色浓黑，书写时行笔实而沉，墨不浮，能人纸，具有凝重沉稳，神采外耀的效果。 淡墨介于黑白色之间，呈灰色调，给人以清远淡雅的美感。叫代的其昌善用淡墨，书法追求萧散意境。从作品通篇观来，浓淡变化丰富，空灵剔透，清静雅致，仙住所著画禅室随笔中说：“用墨须使有；闰，不可使其枯燥，尤忌浓肥，肥则大恶道矣。”清代的上文治被誉为”淡墨探花”，书法源出于董香光，传其风神，作品疏秀占淡。其实，川浓淡墨各有风韵，关键在掌握，用墨过淡则伤神采；太浓刚弊于无锋。正如清代周星莲所说：“用墨之法，浓欲其活，淡欲其华
20、活与华，非墨宽不可。不善用墨者，浓则易枯，淡则近薄，不数年间，已奄奄无生气矣，”淡墨淡墨涨墨涨墨 涨墨是指过量的墨水在宣纸上溢出笔画之外的现象。涨墨在“墨不旁出”的正统墨法观念上是不成立的。然而涨墨之妙正在于既保持笔画的基本形态，又有朦胧的墨趣，线面交融。王铎擅用涨墨，以用墨扩大了线条的表现层次，作品中干淡浓湿结合，墨色丰富，一扫前人呆板的墨法，形成了强烈的视觉艺术效果。黄宾虹对墨法研究更有独到之处，提出了“五笔L墨”的理论。他偶尔将涨墨法应用于篆书创作中，又表现出一番奇趣。渴笔、枯笔渴笔、枯笔 渴笔、枯笔分别指运笔中墨水所含的水分或墨大多失去后在纸上行笔的效果。渴笔苍中见润泽；枯笔苍中见老辣
21、。在书写中应用渴笔、枯笔二法，应控制墨量适宜。 宋代米芾的手札经宿帖“本欲来日送，月明，遂今夕送耳”几字，以渴笔、枯笔表现，涩笔力行、苍健雄劲。 书法的墨法表现技巧十分丰富，画谭说：“墨法在用水，以墨为形，水为气，气行，形乃活矣。占入水墨并称，实有至理”。 另外，用墨的技巧还与笔法的提按轻重，纸质的优劣密切相关。 书法作品的墨色变化，会增强作品的韵律美。当然，墨法的运用贵有自然，切不可盲目为追求某种墨法效果而堕入俗境。 古人论画时讲用墨有四个要素：一是“活”，落笔爽利，讲究墨色滋润自然；二是“鲜”，墨色要灵秀焕发、清新可人；三是“变幻”，虚实结合，变化多样；四是“笔墨一致”，笔墨相互映发，调和
22、一致。课堂总结课堂总结 书法是从实用书写活动中产生出来的美术形式。其内容的可读性是书法艺术的首要原则。同时，书法又是以特定的工具毛笔、墨和宣纸通过对汉字的创造性书写，来表现作者抽象的审美意趣的一种艺术形式。 由于书写技法的不同、墨法的灵活运用，形成了每件作品特定的形式美感。正是由于书法兼具实用功能与审美性，怀素随笔写的书信才被后世当成了一幅名帖。 书法的审美价值来自抽象形式与情感意趣的和谐统一。书写者笔下文字随心而变，使书法化为扬雄所谓的“心画”。Hold the brush midway up the handle. Place the handle on the inside of the
23、 index finger, supporting it on the opposite side with the tip of your thumb. The tips of the index and middle fingers rest on the top of the handle: the ring and pinkie fingers are placed behind. Leave an open space in the palm of the hand, allowing for a full range of movement. None of the fingers
24、 should touch the inside palm. To achieve a full range of brushstrokes, hold the brush in a gentle and relaxed manner. The Upright Brush: Hold the brush upright and perpendicular to the paper. Apply varied speed and pressure to create a range from thin, delicate lines to wide, powerful strokes. For long, sweeping strokes, hold the brush higher up the handle. For detail work and shorter strokes, hold the brush closer to the brush hairs.The character yong “福”Bless谢 谢
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