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Mi Fu (Chinese: 米黻; pinyin: Mǐ Fú, 1051–1107), also known as Mi Fei (米芾), was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. / *  http://en.wikipedia.org/wiki/Mi_Fu

Mi Fu (Chinese: 米黻; pinyin: Mǐ Fú, 1051–1107), also known as Mi Fei (米芾), was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. / * http://en.wikipedia.org/wiki/Mi_Fu

Deng Shiru(邓石如), Ancient Prose from the Xunzi, done in seal script, Collections of the Palace Museum 1796。 邓石如(1743年-1805年),即著名的“完白山人”。邓原名琰,字顽伯,号完白山人、完白、故浣子、游笈道人、凤水渔长、龙山樵长,清代集书法家、篆刻家、画家、文字学家于一生的艺术大师和学者,安徽怀宁(今安徽安庆)人。 邓少时家贫,9岁时读过1年书,停学后采樵、卖饼饵糊口。后又靠写字、刻印谋生。曾在江宁大收藏家梅镠处8年,十分勤奋向学。后研习碑拓,苦练隶书等书体,终于成为有清一代杰出的书法家和篆刻家。乾隆五十六年(1791年),在湖广总督毕沅处做了3年幕僚。张惠言、包世臣都曾向他学习书法。 他在书法篆刻上长期苦心钻研,使他融会贯通这两大艺术领域,得到诸多如“求规之所以为圆,与方之所以为矩者”等的艺术体悟。由于他的篆刻艺术风格鲜明,独树一帜,技法精湛,世称“邓派”。他在书法史篆刻史上都是一位承前启后的大师巨匠。

Deng Shiru(邓石如), Ancient Prose from the Xunzi, done in seal script, Collections of the Palace Museum 1796。 邓石如(1743年-1805年),即著名的“完白山人”。邓原名琰,字顽伯,号完白山人、完白、故浣子、游笈道人、凤水渔长、龙山樵长,清代集书法家、篆刻家、画家、文字学家于一生的艺术大师和学者,安徽怀宁(今安徽安庆)人。 邓少时家贫,9岁时读过1年书,停学后采樵、卖饼饵糊口。后又靠写字、刻印谋生。曾在江宁大收藏家梅镠处8年,十分勤奋向学。后研习碑拓,苦练隶书等书体,终于成为有清一代杰出的书法家和篆刻家。乾隆五十六年(1791年),在湖广总督毕沅处做了3年幕僚。张惠言、包世臣都曾向他学习书法。 他在书法篆刻上长期苦心钻研,使他融会贯通这两大艺术领域,得到诸多如“求规之所以为圆,与方之所以为矩者”等的艺术体悟。由于他的篆刻艺术风格鲜明,独树一帜,技法精湛,世称“邓派”。他在书法史篆刻史上都是一位承前启后的大师巨匠。

14628002456000.jpg

14628002456000.jpg

Words, books, and calligraphy form central elements of Xu’s work, which often questions the effectiveness of written communication. In this piece, Xu challenges the high-art status of calligraphy within the Chinese cultural tradition while also blurring the linguistic and cultural boundaries between East and West

Words, books, and calligraphy form central elements of Xu’s work, which often questions the effectiveness of written communication. In this piece, Xu challenges the high-art status of calligraphy within the Chinese cultural tradition while also blurring the linguistic and cultural boundaries between East and West

王铎的书法笔记,再忙也要看

王铎的书法笔记,再忙也要看

서희환에 대한 이미지 검색결과

서희환에 대한 이미지 검색결과

ZENG XI (1861-1930)  Calligraphy  Hanging scroll, ink on paper  40 7/8 x 19 7/8 in. (103.7 x 50.6 cm.)  曾熙  書法  水墨紙本  立軸  題識:天監井闌其歲亭字究與隺名同意。得明搨井闌與水前本校益,信古人不欺。  瑋人仁兄法家正之。七十髯叟熙。  鈐印:曾熙之印、農髯  40 7/8 x 19 7/8 in. (103.7 x 50.6 cm.)

ZENG XI (1861-1930) Calligraphy Hanging scroll, ink on paper 40 7/8 x 19 7/8 in. (103.7 x 50.6 cm.) 曾熙 書法 水墨紙本 立軸 題識:天監井闌其歲亭字究與隺名同意。得明搨井闌與水前本校益,信古人不欺。 瑋人仁兄法家正之。七十髯叟熙。 鈐印:曾熙之印、農髯 40 7/8 x 19 7/8 in. (103.7 x 50.6 cm.)

Chinese Calligraphy,Calligraphy Art,Chinese Art,Rune Symbols,Handwriting,Menu,Nike

精彩!黄庭坚信札10件

精彩!黄庭坚信札10件

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