<p class="ql-block"><br></p><p class="ql-block">现代书法</p><p class="ql-block">Modern Time </p><p class="ql-block">(after 1912)</p><p class="ql-block">民国初期,书家们承接晚清碑学大势,将理论与实践进一步深化。同时也开始反思,调和帖学与碑学，如李瑞清、曾熙等。甲骨、汉简、敦煌文献的发现，为书法的创新提供了新的借鉴。</p><p class="ql-block">二十世纪以来,各种艺术都在产生深刻变化,书法展览、教育、出版日益发达，为传统书法注入了新的生机。李叔同等人组织书画社团,发行刊物开风气之先;于右任编纂《标准草书》，提倡草书的标准化;沈尹默、白蕉等人掀起了一场回归“二王”的帖学运动;潘天寿、沙孟海等在院校建立首个书法篆刻专业,开中国书法高等教育之先河。</p><p class="ql-block">At the beginning of the Republic of China, calligraphers continued the trend of stele calligraphy in the late Qing, deepening the theory and</p><p class="ql-block">practice in this direction. Calligraphers like Li Ruiging and Zeng Xi also began to reflect on and reconcile the model calligraphy and the stele calligraphy. The discoveries of oracle bones, Han dynasty bamboo slips, and documents in Dunhuang provided new references for calligraphers. After the 20th century, art in different disciplines all underwent profound changes.The constant advances in exhibition, education, and publication of calligraphy infused fresh vitality into the traditional calligraphy art.</p><p class="ql-block">Calligraphers like Li Shutong organized calligraphy and painting societies and pioneered publishing periodicals. Yu Youren compiled the Standard Cursive Script, advocating the standardization of cursive . Shen Yinmo, Bai jiao, and others initiated a movement to return to the model of the "Two Wangs' Style." Pan Tianshou and Sha Menghai established the first calligraphy and seal carving major in universities, setting a precedent for higher education in Chinese calligraphy.</p> <p class="ql-block"><br></p><p class="ql-block">现代 罗振玉 篆书小臣宅敦铭轴</p><p class="ql-block">罗振玉(1866一1940),字叔言,号雪堂,晚号贞松老人，浙江上虞人。近现代考古学家、古文字学家、金石学家。擅篆书,工甲骨文及金文。此系临其家藏小臣宅簋(今藏中国国家博物馆)，结体谨严，笔力遒劲。</p> <p class="ql-block"><br></p><p class="ql-block">现代 梁启超 行书赠克刚语轴</p><p class="ql-block">梁启超(1873-1929),字卓如,一字任甫,号任公、饮冰室主人,广东新会人。中国近现代著名学者、思想家。此作用笔沉着稳健,圆转外拓。</p> <p class="ql-block"><br></p><p class="ql-block">现代 李叔同 楷书左太冲五言句联</p><p class="ql-block">李叔同(1880一1942)，字息霜，后出家为僧，法名演音，号弘一，祖籍浙江平湖，生于天津。擅书，工篆隶。早年多法魏碑，晚年自成一体，冲淡朴野。此联节录西晋左思《招隐》，用笔朴拙浑沦。书于一九一二年，时年三十三岁。</p><p class="ql-block">夏弘宁捐赠。</p> <p class="ql-block"><br></p><p class="ql-block">现代 李瑞清 楷书五言联</p><p class="ql-block">李瑞清(1867一1920),字仲麟,号梅庵、清道人,江西南昌人。清光绪二十一年(1895)进士，历官翰林院庶吉士、两江优级师范学堂监督。善书画,工篆隶。此作取法《郑文公碑》,宽博雄浑。书于一九一九年，时年五十三岁。</p> <p class="ql-block"><br></p><p class="ql-block">现代 于右任 草书五言联</p><p class="ql-block">于右任(1879-1964)，字伯循，号太平老人，陕西三原人。中国近现代高等教育奠基人之一。工楷、行、草,倡导“标准草书”。此作笔力雄强深厚，以魏碑之法作草,气势磅礴。书于一九五零年,时年七十二岁。</p><p class="ql-block">庄长江、庄良有捐赠。</p> <p class="ql-block"><br></p><p class="ql-block">现代 沈尹默 行书录大珠慧海禅师语轴</p><p class="ql-block">沈尹默(1883-1971)，原名君默，字中，号秋明，浙江湖州人。书法家、教育家。</p><p class="ql-block">工正行草，与于右任并称“南沈北于”，推</p><p class="ql-block">崇“二王”书风。此轴书唐代高僧大珠慧</p><p class="ql-block">海语录,秀逸舒朗，雅正平和。</p> <p class="ql-block"><br></p><p class="ql-block">现代 黄宾虹 篆书七言联</p><p class="ql-block">黄宾虹(1865一1955),原名懋质,后改名质,字朴存，号宾虹,祖籍安徽歙县,生于浙江金华。能书擅画。其曾迁居上海近三十年，在书局、学校等供职。此联金石气息浓厚，有稚拙之趣,书于一九四三年，作者时年七十九岁。</p><p class="ql-block">朱砚因捐赠。</p> <p class="ql-block"><br></p><p class="ql-block">现代 潘天寿 行书论画轴</p><p class="ql-block">潘天寿(1897-1971)，原名天授，字大颐,号阿寿,浙江宁海人。国画家、教育家。得吴昌硕指授。曾任中国美术家协会副主席、浙江美术学院院长。此录画论一则，用笔斩钉截铁，遒劲峻利。书于一九四七年，时年五十一岁。</p> <p class="ql-block">与可道</p><p class="ql-block">Yuke's Path</p><p class="ql-block">上博书画馆八景之五</p><p class="ql-block">5/8 Scenes of the Museum's Calligraphy and Painting Galleries</p><p class="ql-block">文同,字与可,擅画竹,身与竹化,史称“竹圣”,</p><p class="ql-block">创“湖州竹派”。姻亲苏辙《墨竹赋》载其“朝与竹乎为游,暮与竹乎为朋”,表弟苏轼《文与可画篑谷偃竹记》称“故画竹必先得成竹于胸中”,典故“胸有成竹”即源于此。“与可道”位于三馆交织通道，琉璃巨竹，错落于卵石、青砖之间，竹影婆娑，意在“道也放乎竹”之超然境界,传递“道可道,非常道”之画理玄机。</p><p class="ql-block">Wen Tong, also known as Yuke,was famed for his bamboo paintings, so that he was called the "Sage of Bamboo” and the founder of the</p><p class="ql-block">Huzhou Bamboo School. In Su Zhe's Ode to Ink Bamboo of the Northern Song dynasty, he wrote: "In the morning,he wanders with the</p><p class="ql-block">bamboo; by evening, the bamboo is his friend. He eats and rests within the bamboo's embrace." Yuke's Path sits at the intersection of three</p><p class="ql-block">halls, where glass bamboos rise from pebbles and stone bricks. Their swaying shadows and the soft whispers of the breeze evoke a tranguil realm. This design aims to the lofty state of the spirit of "the Dao embodied in bamboo." reflecting the profound philosophical theory of</p><p class="ql-block">"The Dao that can be told is not the constant Dao," implying a deep connection between the principle of painting and the Daoist philosophy.</p>