本文來源於 書法欣賞http://www.yac8.com/
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吳琚對書法的分布、結構、用筆有著獨到的體會。他像米芾一樣,作品追求“穩不俗、險不怪、老不枯、潤不肥”,即要求作品在變化中達到統一。從筆畫上看,他的線條豁達自在,不經太多修飾,卻極具表現力。吳琚能把書法中的藏與露、肥與瘦、疏與密、簡與繁等對立因素融合起來。他用筆果斷,中鋒與側鋒並用,提與按並施,一些字寫得精神外耀,頗富神采。字的起筆處往往稍重,到筆畫中間用力稍輕,遇到轉折時提筆側鋒直轉而下。他善於在正側、偃仰、向背、轉折、頓挫中營造飄逸超邁的氣勢。捺筆的變化也很多,下筆的著重點有時在起筆,有時在落筆,有時卻在一筆的中間,對於較長的橫畫還有一波三折。
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吳琚這件《雜詩帖冊》,實現了詩與視覺的微妙互動。我們品讀吳琚的作品,能感覺到一種情感的流動,仿佛聽到清新悅耳的音樂,有一種被解放的舒暢。
原文地址:
http://www.yac8.com/news/13527.html