• 品类：书画类 • 尺寸：长66cm 宽41cm
启功《空潭写春，古镜照神》：墨韵中的澄澈之境
在启功先生众多令人赞叹的书法作品中，《空潭写春，古镜照神》这一佳作犹如一颗明珠，散发着独特的艺术魅力，展现出先生深厚的书法功底与超凡的艺术领悟力。
“空潭写春，古镜照神” 原句出自唐代司空图的《二十四诗品》，其描绘的是一种空灵、澄澈且深邃的意境。空潭，清澈无波，能够倒映出春天万物生长的蓬勃之景；古镜，古朴厚重，可清晰映照出世间万象的神韵。当启功先生以书法艺术将这八个字呈现时，赋予了它们全新的生命力。
启功先生的书法风格独树一帜，而在此作品中体现得淋漓尽致。从笔法上看，笔画刚劲有力却不失灵动，起笔收笔干净利落，毫无拖沓之感。横画平稳舒展，如千里阵云，展现出大气磅礴之势；竖画挺拔刚健，似苍松屹立，尽显坚韧之姿。转折处，笔锋的转换自然流畅，既有骨力又含韵味。
在结构布局方面，启功先生巧妙运用了他所总结的 “黄金分割率” 来安排字体结构。每个字的重心稳固，笔画之间疏密得当，相互呼应。“空” 字上半部分的宝盖头宽博舒展，犹如苍穹覆盖，下方 “工” 字紧凑协调，稳稳托住；“潭” 字左右结构比例恰到好处，三点水灵动活泼，“覃” 字端庄大方，二者相得益彰。整体来看，八个字排列整齐，字与字之间的间距适中，行气贯通，给人以和谐、统一的视觉感受，宛如一幅精心布局的画卷。
作品的墨色变化也十分精妙。墨色浓淡相间，干湿互见。浓墨处，如苍松翠柏，彰显出深沉厚重之感；淡墨时，似山间云雾，增添了几分空灵之韵。在某些笔画的起笔或收笔处，还能看到自然的飞白效果，这不仅增加了书法的节奏感，更使作品充满了一种古朴、典雅的气息。
启功先生的这幅《空潭写春，古镜照神》不仅仅是书法技艺的展示，更是其心境与艺术追求的表达。先生一生历经风雨，却始终保持着对传统文化的热爱与坚守，对艺术的执着与探索。他以书法为载体，将 “空潭写春，古镜照神” 所蕴含的那份超脱尘世、澄澈纯净的精神境界融入其中，让观者在欣赏作品时，仿佛能够透过笔墨，感受到先生内心的宁静与深邃。
从收藏价值的角度而言，启功先生作为中国近现代书法大家，其作品一直备受藏家追捧。《空潭写春，古镜照神》此作无论从艺术水准、文化内涵，还是作品的完整性来看，都具有极高的收藏价值。它是中国书法艺术宝库中的珍品，见证了一个时代的书法风貌，也承载着启功先生独特的艺术灵魂。
当我们静静凝视这幅作品时，仿佛能置身于那空潭之畔，感受春天的气息扑面而来；又似面对古镜，洞察世间万物的神韵。启功先生以他的妙笔，为我们呈现了一场跨越时空的艺术盛宴，让我们在墨香中领略到传统文化的博大精深与无穷魅力。
Qi Gong's "An Empty Pond Mirrors Spring, An Ancient Mirror Reflects Spirit": The Clear Realm in Ink Rhythm
Among the numerous impressive calligraphic works by Mr. Qi Gong,"An Empty Pond Mirrors Spring, An Ancient Mirror Reflects Spirit" shines like a bright pearl, exuding unique artistic charm and demonstrating his profound calligraphic skills and extraordinary artistic insight.
The original phrase "An empty pond mirrors spring, an ancient mirror reflects spirit" comes from Sikong Tu's Twenty-Four Styles of Poetry in the Tang Dynasty, which depicts an ethereal, clear and profound artistic conception. An empty pond, clear and undisturbed, can reflect the vigorous scene of all things growing in spring; an ancient mirror, simple and heavy, can clearly reflect the charm of all things in the world. When Mr. Qi Gong presented these eight characters through calligraphic art, he endowed them with a new vitality.
Mr. Qi Gong's calligraphic style is unique, and it is fully reflected in this work. In terms of brushwork, the strokes are strong yet flexible, with neat and decisive starts and ends, without any sense of procrastination. The horizontal strokes are steady and stretching, like clouds stretching for thousands of miles, showing a majestic momentum; the vertical strokes are upright and firm, like green pines standing tall, fully demonstrating a tough posture. At the turning points, the transformation of the brush tip is natural and smooth, with both strength and charm.
In terms of structural layout, Mr. Qi Gong skillfully used the "golden ratio" he summarized to arrange the font structure. Each character has a stable center of gravity, with appropriate density between strokes and mutual echoes. The upper part of the character "空 (kong, meaning empty)" is a broad and stretching cover, like the vault of heaven, and the lower part "工 (gong)" is compact and coordinated, steadily supporting it; the left-right structure ratio of the character "潭 (tan, meaning pond)" is just right, with the three dots representing water being lively and the character "覃 (qin)" being dignified and elegant, complementing each other. Overall, the eight characters are arranged neatly, with moderate spacing between them, and the vitality runs through, giving people a harmonious and unified visual experience, like a carefully laid out painting.
The changes in ink color of the work are also very exquisite. The ink color alternates between light and dark, with both dry and wet touches. The dark ink, like green pines and cypresses, shows a deep and heavy feeling; the light ink, like clouds in the mountains, adds a touch of ethereal charm. At the start or end of some strokes, natural flying white effects can be seen, which not only increases the rhythm of the calligraphy but also fills the work with an ancient and elegant atmosphere.
Mr. Qi Gong's "An Empty Pond Mirrors Spring, An Ancient Mirror Reflects Spirit" is not only a display of calligraphic skills but also an expression of his state of mind and artistic pursuit. Throughout his life, Mr. Qi Gong experienced ups and downs, but he always maintained his love and adherence to traditional culture, as well as his dedication and exploration of art. He took calligraphy as a carrier, integrating the transcendent, clear and pure spiritual realm contained in "An empty pond mirrors spring, an ancient mirror reflects spirit" into it, making viewers seem to feel the peace and depth of Mr. Qi Gong's inner world through the brush and ink when appreciating the work.
From the perspective of collection value, as a great modern Chinese calligrapher, Mr. Qi Gong's works have always been sought after by collectors. The work "An Empty Pond Mirrors Spring, An Ancient Mirror Reflects Spirit" has extremely high collection value in terms of artistic standard, cultural connotation and integrity. It is a treasure in the treasure house of Chinese calligraphic art, witnessing the calligraphic style of an era and carrying Mr. Qi Gong's unique artistic soul.
When we gaze at this work quietly, we seem to be able to stand by the empty pond, feeling the breath of spring coming; or face the ancient mirror, 洞察 ing the charm of all things in the world. With his wonderful brush, Mr. Qi Gong presented us with a timeless artistic feast, allowing us to appreciate the profoundness and boundless charm of traditional culture in the fragrance of ink.
