董其昌《燕然山铭》浅论

A Study of An Epigraph in Praise of Mount Yanran by Dong Qichang

董其昌书法生秀淡雅,行草点画圆劲、风神秀逸、布局疏朗,小楷飘逸空灵、古朴天真。出于对米芾书法的钟爱,董其昌在对其部分作品进行收藏、临习的基础上,又创作了一批墨色浓重、笔势雄强的行书作品,如作于明万历三十七年(1609年)的《岳阳楼记》卷和作于明万历四十年(1612年)的《天马赋》卷。此外,董其昌还有一种较少受到后世关注的楷书作品,以较大的字形和行书化的体势为典型面貌。这是他在书法生涯中,从"临古"出发,在"渐修"中有所"顿悟"的结果。临习米芾与"小字放大"两种创作方式相辅相成,在首都博物馆藏董其昌临米芾《燕然山铭》卷中得到完整的呈现。

Dong Qichang's calligraphy is featured with plain elegance.His cursive script and small regular script are superb with his unique characteristic.Out of admire towards Mi Fu's calligraphy,Dong Qichang collected and imitated Mi Fu's works and created several vigorous and forceful calligraphic works with semi-cursive script,including Memorial to Yueyang Tower [岳阳楼记]in 1609 and Ode to the Heavenly Horse [天马赋]in 1612.He has another type of calligraphic works with regular script that magnifies small characters in a magnificent style on the basis of imitation of Mi Fu.An Epigraph in Praise of Mount Yanran [燕然山铭]collected at the Capital Museum is a perfect example of this calligraphic creativity of Dong Qichang.