Page 66 - 第22屆大墩美展專輯電子書

書
法

類

林 文山
George LIN
Calligraphy
名 三 第 ─
作品說明
孫過庭曾云：「草乖使轉，不能成字。」草書
以使轉為本質，千古定論。包世臣亦曾於〈藝
舟雙楫〉中論述，草書行筆應為“絞轉”，而
非時下學書者的“硬轉”，差之毫釐，失之千
里，不能不察。
Third Prize
吾人以為學好草書須破除直線式的排列組合，
融入西方繪畫的透視理論，使書法作品具有圖
形概念，而非僅具線條而已。用墨因濃淡、乾
濕、大小、粗細所產生的各種變化，更能增加
作品的視覺效果，引人入勝。

Description
According to SUN Kuo-Ting,“A wrong turn
will ruin the character.”The foundation of
cursive script is in the turns, and this has long
been established as the principle. In“Two
Oars of the Art Ship,”BAO Shi-Chen argues
that when writing cursive script, the strokes
should be twisted and turned, rather than
the hard and direct turning technique used at
the time; this minor difference will generate
drastically different outcomes, and people
must pay attention to this.
Nowadays some argue that to excel in cursive
script, we must break the conventional way
of linear arrangements, and fuse the theory
of perspectives of Western painting, so that
calligraphic works embody pictorial concepts
rather than just presenting lines. There are
many changes due to darkness, wetness,
size, and thickness of ink strokes, which will
enhance the visual effect of a work, making it
more intriguing.

李白〈行路難〉／“Difficult Roads”by LI Bai 181×90cm

66