![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F0bfd735cj00s24xtq0015d200gb00j1g00gb00j1.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
李叔同(1880~1942),出家前,天赋异禀、才华横溢的他就已在戏剧、绘画、书法、音乐、诗词等艺术领域享有了极高的声望。1918年出家后,他又成一位精进勤修、持律严谨的弘一法师,用他的『戒行』思想影响、感化了一代又一代人。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F3edbcf90j00s24xtr000hd200hs005fg00hs005f.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
具足大悲心(1929)
俗书
1918年8月之前
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临魏灵藏造像(早年)
这是李叔同写的《魏灵藏造像》,来,比一比:
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怎么样,像不像?
再来看一张《 张猛龙碑 》:
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2Fe1569fc1j00s24xts002rd200hs00oig00hs00oi.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
临张猛龙碑(早年)
除此之外,李叔同出家前还临摹过《石鼓文》《 峄山刻石 》《天发神谶碑》等一系列的魏碑造像,包括唐宋名书家的各种墨迹,可以说样样都有,学什么像什么!
曾一度在上海的《太平洋报·画报》霸屏,画报成了李叔同的个人书法连载。可以说是融会了古今,兼用了方圆。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F1ab57208j00s24xts002md200hs00img00hs00im.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
卫生金镜四条屏(约1897)
篆书,学邓石如,笔力健劲,气势沉着。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2Fcd30b77bj00s24xts002fd200hs00veg00hs00ve.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
隶书四条屏(临杨岘,1899)
隶书,学 杨岘 ,方圆兼用,方笔棱峭,圆笔轻细。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F341cfefdj00s24xtt000cd200hs0047g00hs0047.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
复归于婴儿(1900年前后)
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春鸿明月八言联
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一剪梅词半首
大字楷书,线条粗重方硬,结体茂密开张,北碑之风跃然纸上。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2Ffc74ccd4j00s24xtt0029d200hs00bkg00hs00bk.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
致徐耀廷札(1896)
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节录王次回问答词卷(1899)
行书,学的是苏轼黄庭坚,苏的宽扁结体,黄的开张用笔,也是学了个十足十。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F3f1e47cdj00s24xtu002cd200hs00olg00hs00ol.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
姜母强太夫人墓志铭(1918)
这是“俗书”时代的“绝笔”,明显受到了钟繇、二王的影响。
僧书
“弘一体”1918年后
李叔同出家后,就变成了 弘一 ,一个虔诚的苦行僧,一位律宗的大拿!他的书法,也开始一步步磨掉了锋芒,洗净了铅华。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F310de2d7j00s24xtv002yd200hs0172g00hs0172.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
一法万缘五言联(1919)
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即今若觅七言联(1921)
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佛号与莲池大師偈语(1922)
这五年多(1918年秋—1923年),弘一还没有走出“俗书”路子,北碑还是他书法的核心,《张猛龙碑》碑阴书法,帖学中的圆笔的运用,让北碑方笔的刚猛,慢慢减轻。
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佛号与慈照宗主法语
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元妙叶禅师《十大碍行》(1927)
这四年(1924—1927),弘一在印光的启发下,借鉴魏晋小楷,北碑风气终于被彻底打破,楷书新风格开始悄然形成:平静、沉稳而恬淡。不过,这只是正经创作的时候,写给朋友的 信札 可不是。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F15325f1dj00s24xtx004rd200hs013zg00hs013z.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
致某居士
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致刘质平
笔飞墨舞,轻松自如,在佛门敛去的艺术家气质,表露无疑。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F4177a2cdj00s24xtz002zd200hs0104g00hs0104.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
佛号(1930)
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2Faa915e7ej00s24xtz001od200hs015lg00hs015l.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
一即文随七言联(1931)
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广大清净七言联(1932)
这一个五年(1928—1932),变法,探索,终于早期的“弘一体”成形了。面目虽已清晰,却还左右摇摆。有时刚性犹在,有时一味恬静。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F91401aafj00s24xu10026d200hs01dkg00hs01dk.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
如来普贤八言联(1933)
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佛号(1934)
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《咏净峰寺》诗(1935)
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华严宗大法师名号(1936)
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极乐世界阿弥陀佛(1937)
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念佛救国六言联(1938)
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一心平等五言联(1939)
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闽南佛法四言联(1940)
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灵峰(蕅益)大师警训(1941)
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F1b90b13bj00s24xu4001vd200hs011pg00hs011p.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
常获恒涂五言联(1942)
这十年(1933—1942),弘一书法成熟了,烟火气一步步褪去,慢慢写出了佛系的自我。即使有,也只是丰腴到疏瘦的渐变。
![](https://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2023%2F1007%2F64c9b2a4j00s24xu4002td200hs00xrg00fy00u9.jpg&thumbnail=660x2147483647&quality=80&type=jpg)
遗嘱(1942)
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悲欣交集——绝笔(1942)
临终前的最后几天,弘一彻底放下了身心,看清了自己一生的“觉”与“空”,悲欣交集,返璞归真。
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(责任编辑:zgshw) |