纵观书法史，颜真卿《祭侄稿》笔墨参数可算，却难复书写时的悲愤沉郁；怀素《食鱼帖》笔法轨迹可 摹，却无彼时纵情快意的生命场景；赵孟頫《二赞二诗帖》酒后挥毫寄寓抑郁孤怀，笔墨间的心境起 伏，更非算法能再造。这些经典皆以情性为魂，深刻印证艺术的独特性在于心灵的专属投射。 人工智能的复刻能力，恰恰倒逼书法回归艺术本真，让情性抒发成为创作核心。技术可复刻笔墨肌理， 却触不到灵魂的悸动；算法能模拟章法布局，却装不下心底的赤诚。艺术的鲜活，本就是心底的期盼、 灵魂深处的呐喊，是创作者生命体验的赤诚流露，是精神世界的真切回响。真正的书法遗产从来不是被 3D扫描的墨迹，而是每个书者在当下时空中，以不可重复的生命体验完成的发自本心的书写。 人工智能已能精准复刻书法的笔墨形态、笔法轨迹与墨色层次，却始终无法复刻作品承载的情性与精 神，这恰印证核心命题：可量化复刻者皆为技术，唯有不可算计的心灵表达，方为书法艺术的本质内 核。 艺术的真谛从不在形式复刻，而在心灵与理念的极致显现。柏拉图在《理想国》中明确提出，"艺术是 理念的感性显现"，直指艺术的核心是精神内核的具象投射，藏着难被量化的情感温度与生命体悟。 庄木弟 ...

子培，是沈曾植（1850—1922）的字。他号乙庵，晚号寐叟；晚清著名学者、书法家。 西坡 钱锺书《围城》第三章描述方鸿渐到苏文纨家做客——他"把客堂里的书画古玩反复看了三遍，正想沈 子培写'人'字的捺脚活像北平老妈子缠的小脚，上面那样粗挺的腿，下面忽然微乎其微的一顿，就完事 了，也算是脚的！" 显而易见，钱先生对于沈子培的字很不以为然，评价刻薄。 确实，沈氏晚年，把字写得越发地丑，"小脚老太"笔法越发地突出。然而尽管"丑态百出"，书法江湖照 样认他为舵主；这不，大户人家出身且极其洋派的苏小姐家里就以悬挂一幅"小脚老太"为傲。 有人实在忍受不了那种丑，便劝沈氏把字写得端庄些，结果被一向儒雅敦厚的书法家直接怼了回 去："你还是多读点书再说吧！" 1913年，俄国哲学家卡伊萨林持辜鸿铭介绍信专访沈曾植后，由衷敬佩，尊为"中国大儒"。 沈氏探赜索隐，无书不窥，令读者生畏，其专著《蒙古源流笺证》《元秘史笺注》不必谈了，即使笔记 体《海日楼札丛》，也叫人脑涨。不过，"札丛"毕竟因颇具趣味性、多样性且短小精悍而不至于拒人于 千里之外。上世纪九十年代我从冷摊入手此书（中华书局出版，1962年7月上海第1次印刷，定价：2.1 ...

（来源：辽宁日报） 转自：辽宁日报 像吴玉彬一样来自基层的书法爱好者，在我省比比皆是。据辽宁省书法家协会数据显示，我省有国家级书法家700余人、省级书法家3300余人、市级书法家 约7000人。其中，专职书法家或从事与书法相关行业的会员数量很少，绝大多数来自各行各业，其中不乏乡村书法家。 阜新市两家子镇两家子村村民姚玉辉就是其中一员。作为一名牛经纪，他每天早上7时许，就会出发前往沈阳市法库县叶茂台镇的牲畜交易市场，赶在9点牛 市开市时"抓牛"。他的目标是价格好、体格小的牛，选好后卖给养殖户，有时一天就要卖上六七十头。与"牛倌儿"形成反差的是，姚玉辉还是省书法家协会 会员，他喜欢书法的时间，比养牛时间还长。"我从小喜欢写字，初中毕业辍学打工，始终没扔下书法，这些年没少下功夫，还参加过省展。"不管工作多 忙，姚玉辉结束忙碌的一天后，都要拿起笔墨写上一会儿才得劲儿。 导游、司机、会计、网格员、快递员……在记者采访的我省各级书法协会会员中，极少有专职人员，而是从事着各种工作，他们一手事业，一手笔墨，自得 其乐。 门槛不高收获不少 距离春节还有一个多月，阜新市彰武县老城社区书记郑丹就开始帮辖区居民张罗过年春联、福字的事 ...

楔子：已讲了两篇有关颜真卿之文。这次讲我们的乡前辈沈尹默。他出生于陕西，当年交通不便，纵有 乡愁，只能放在心中。我偶遇一次拍卖会，拍品中有柳州文庙珍藏的沈尹默墨宝，落款时间是："乙巳 岁秋分后一日"，即1965年9月24日。当时，沈尹默写了一幅店堂墨宝，名为"思柳轩"（纵34.5厘米，横 70厘米）。距今正好一个甲子，这幅60年前的作品，不但能一窥书体变迁，其在中国文化研究与艺术思 维上，也令后人注目。 "万物因我之存在而生"，沈尹默书法带着他的思想，笔者对比了能搜集到的他在扇面、对联、往来信札 上书写的多幅作品，无不带有浓厚的个人风格。其书法价值，以那店堂墨宝为例，超越了郭沫若1963年 第二次到柳州时题写的"思柳轩"。人们常说"字如其人"，在古今书法作品中，主观艺术时空尤为突 出，"人品既高，其气韵不得不高"，在这点上，前文已讲到的颜体，也是如此。 沈尹默，字中，号秋明、匏瓜。1883年6月11日，生于陕西省兴安府汉阴厅（今陕西安康市汉阴县城关 镇），祖籍浙江吴兴郡（现湖州市）。沈尹默生于一个官宦之家，父亲沈祖颐（1854 —1903），字诒 仲，号龠斋，浙江归安（今湖州）人。清光绪元年，沈祖颐考中进士后 ...

我与它的结缘，源于一次学校的书法作品展，硬笔书法作品刚劲有力又不失灵动的线条，仿佛一种无形 的魔力深深地吸引了我。从此，我便立志要写好钢笔字。 万事开头难，刚开始练习时，我遇到重重困难。握笔的姿势不正确，导致写字时手总是不听使唤地颤 抖，写字歪歪扭扭，毫无美感。为了纠正握笔姿势，我对着镜子反复练习，仔细观察自己的手指位置和 手腕角度，每天放学后我都会抽出1个小时时间专门练习握笔，手指常因长时间紧握酸痛不已，但我从 未想过放弃。 掌握了正确的握笔姿势之后，笔画的练习又成了我的绊脚石。笔画看似简单，却蕴含着无数的技巧，我 从最简单的笔画练起，为了写好一个笔画，我可能会练习上百遍。在这个过程中，我还学习了很多书法 的理论知识，认识了不同字体的特点和书写规律。 经过长时间的努力，我的字写得越来越好，还在学校的书法比赛中获得特等奖。还记得比赛那天，我怀 着紧张又激动的心情走进赛场，当我拿起笔的那一刻，所有的紧张都烟消云散了。我全神贯注地写着每 一个字，仿佛整个世界只剩下我和手中的笔，最终我凭借出色的表现获得特等奖。当我站在领奖台上， 心中充满了自豪与喜悦。 书法不仅让我获得了荣誉，还培养了我的专注力和耐心，这种专注力让 ...

Core Points - The articles highlight the cultural significance of the Mid-Autumn Festival through historical artworks and poetry, showcasing the emotional depth and artistic expression of ancient scholars [6][10][12]. Group 1: Zhao Ji's "Lunar Mid-Autumn Poem" - Zhao Ji, also known as Emperor Huizong of Song, composed a poem titled "Lunar Mid-Autumn" during a moonlit night, reflecting on nature's beauty and personal feelings [8]. - The poem is characterized by elegant language and a harmonious blend of natural imagery and personal sentiment, written in Zhao Ji's unique "slender gold" calligraphy style [9]. - The artwork, measuring 44.5 cm in width and 35 cm in height, features 7 lines and 60 characters, showcasing a distinct calligraphic style that combines strength and grace [9]. Group 2: Shen Zhou's "Moon Viewing at Youzhu Villa" - Shen Zhou created "Moon Viewing at Youzhu Villa" in 1486, inviting friends to enjoy the Mid-Autumn night, which reflects his complex emotions about the passage of time [10][11]. - The artwork includes a preface written by a friend and a poem by Shen Zhou, emphasizing the interplay of poetry, calligraphy, and painting [11]. - Youzhu Villa, a significant cultural gathering place for scholars, is depicted in Shen Zhou's work, highlighting its historical importance [10]. Group 3: Wen Zhengming's "Jinling Mid-Autumn Poem" - Wen Zhengming's poem "Jinling Mid-Autumn" captures the beauty of a post-rain autumn night in Jinling (Nanjing), using vivid imagery to express nostalgia [12][13]. - The poem's first line uses "Chang'an" as a literary device to refer to Jinling, emphasizing the city's historical significance [13]. - The calligraphy, measuring 141.8 cm in height and 68.8 cm in width, showcases Wen Zhengming's mastery of various calligraphic styles, particularly in running script [14].

Core Viewpoint - The event aims to promote traditional Chinese culture and enhance the youth's interest in calligraphy, while also supporting the cultural heritage of the Xianbei community in Longkou Town [5][6]. Event Overview - The "Youth Calligraphy Live Competition" took place in Xiaonan Village, Longkou Town, with 100 middle and primary school students participating [3][4]. - The competition featured two rounds, with primary school students writing four designated characters in 10 minutes and middle school students writing eight characters in 13 minutes [9][10]. Judging and Awards - A panel of judges, including prominent figures from calligraphy associations, evaluated the participants' works and provided feedback [6][7]. - Awards were given in both primary and middle school categories, with two first prizes, three second prizes, and five third prizes awarded in each group [12][16]. Cultural Significance - The event not only showcased the students' calligraphy skills but also emphasized the importance of preserving and promoting the Xianbei culture through art [23][25].

Group 1 - The article discusses the transition of seasons in Beijing, particularly the arrival of the "Chushu" solar term, which brings a refreshing change in climate and influences people's moods [1] - Historical literary works and calligraphy from various dynasties are referenced, showcasing the artistic expressions related to the autumn season, including pieces by Su Shi and Wang Xizhi [1] - The "Jiu Hua Tie" (韭花帖) by Yang Ningshi is highlighted as a significant calligraphic work, inspired by the enjoyment of a dish made from chive flowers, reflecting a sense of tranquility and appreciation for the season [1] Group 2 - The aesthetic qualities of the "Jiu Hua Tie" are analyzed, noting its spacious layout and the contrast between dense and loose spacing, symbolizing the transition from heat to coolness associated with the Chushu period [2] - The calligraphy is described as embodying a serene and unadorned beauty, devoid of the restlessness and anxiety found in everyday life, inviting readers to enjoy the peacefulness of the season [2] - The article emphasizes the subtle changes in the mindset of calligraphers during seasonal transitions, with "Jiu Hua Tie" representing a moment of calm amidst the chaos of life [2]

Core Points - The "Mi Fu Cup" International Youth Calligraphy Exhibition is a significant event aimed at promoting calligraphy among youth aged 6-18, with participation from young calligraphy enthusiasts from various regions, including Malaysia [1][2] - The event features live calligraphy writing, expert evaluations, and lectures on Chinese character culture, highlighting the artistic charm of calligraphy and its cultural significance [1][2] Group 1 - The event took place over three days at the Mi Fu Calligraphy Park, with nearly 600 young participants showcasing their skills in a competitive environment [1] - The exhibition includes a judging process where experts provide feedback and select outstanding works for display, including a special "Mi Fu level" recognition [1] - Additional activities include visits to local museums and hands-on experiences, further enriching the participants' understanding of calligraphy and Chinese culture [1] Group 2 - The event is organized by various cultural and educational institutions, emphasizing the collaboration between local government and cultural organizations to promote calligraphy as a key aspect of Zhenjiang's cultural identity [2] - The initiative aims to enhance the city's reputation as a "City of Calligraphy," reflecting the growing scale, influence, and authority of the event [2] - Renowned calligrapher Yan Gongda serves as the chief advisor for the judging panel, adding credibility to the event [2]

Group 1 - The article highlights the significance of historical remembrance and the value of peace through various calligraphy works [5][10] - It features notable works by Liu Xiulong, a member of the Chinese Calligraphers Association and director of the Xibaipo Calligraphy and Painting Institute, emphasizing his contributions to the art [10] - The calligraphy pieces include famous literary works, showcasing the blend of literature and visual art in Chinese culture [6][7][8] Group 2 - Liu Xiulong has published several collections of poetry and calligraphy, indicating his active role in promoting Chinese cultural heritage [10] - The article mentions various platforms where Liu's works have been published, reflecting his influence in the field of calligraphy and poetry [10]