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吴昌硕朱文印的残破处理,也是很有特点的。下面,我们结合印例来分析一下。图一“荫(荫)梧”一印,印边残破三边,仅留底边,全印形散而神不散。像这类残破,要因字形和章法需要来安排。图二“野西”一印,两字妙合无垠。“野”字的斜笔画深入中轴线左边,贯气以为“和”。此印边栏多失,临摹时要注意底边左右两端各留出一些残边。此印底边呈流线型,一波三折,临摹时要体会这些关键之处。图三“染于苍(苍)”一印,破上边与左边两边栏。临摹此印,
Wu Chang-seok Zhu Wen-yin broken handling is also very characteristic. Below, we combine printed examples to analyze. Figure one “shade (shade) Wu ” a print, India edge broken three sides, leaving only the bottom edge, all printed and scattered without God. Broken like this, due to glyphs and rules need to arrange. Figure two “Wild West ” a print, the word wonderful wonderful boundless. “Wild ” diagonal stroke of the word deep into the left axis, consistent with the thought of “and ”. This printed sidebar more loss, copying should pay attention to the bottom left and right ends of each leaving some residual edge. This printed base was streamlined, twists and turns, copying to understand these key points. Figure III “dyed in the Cang (Cang) ” a print, broken on both sides and the left side of the bar. Copy this print