论书法的结构原则  

On Principle of Structure in Calligraphy

作　　者：马俊青[1] 

机构地区：[1]太原师范学院,山西太原030012

出　　处：《太原师范学院学报（社会科学版）》2010年第1期107-108,共2页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：在书法创作中,都会遇到这样一个问题,中国常用的汉字少算也有七八千字之多。在书法创作中,如何做到个个不同,字字有别,单靠下死功夫记古人的字型,是根本无法满足这一要求的。只有总结出简便易行的书法结构总原则,以不变应万变,才能在千变万化的创作中自由驰骋。书法的结构总原则应归结为:一个心,两种方法。一个心,即字心,字心要凝聚。两种方法,即一收一放。A problem in calligraphy is that there are over seven to eight thousand Chinese characters.Even when one goes to great pains to remember the styles by ancient artists,it is still impossible to create identity to each character in the calligraphy creation.Only by summarizing a general principle of structure in calligraphy can the calligraphy work goes to a free state with variations.The principle can be summarized as a center and two methods： center of the character to be condensed;the methods of restraint and free stroke.

关 键 词：书法 结构 简便原则 

分 类 号：J292.1[艺术—美术]