欧阳询观看索靖书写的碑文分为三个层次：（用原文回答）

对,建议写颜真卿,有前途,易上手,实用

不对,初唐四家指唐朝初年的四大文人:薛稷、褚遂良、欧阳询、虞世南的合称

王羲之的书法总的来说在于意,对于笔锋的运用出神入化,要有极高的掌控能力.欧阳询的字体结构呈内紧外松,转折处于颜体、柳体都有一些区别,比较圆滑.字体较为秀气.在《九成宫醴泉铭》中体现的很明显.颜真卿的字正好与欧...

王羲之 c
欧阳询D
颜真卿A
柳公权B

（1）为欧阳询的《九成宫醴泉铭》
（2）为柳公权的《玄秘塔碑》
（3）为颜真卿的《颜勤礼碑》

褚遂良对文学,历史方面很精通,尤其擅长写隶书,褚遂良父亲的朋友欧阳询非常看中他.唐太宗对侍中魏征说“：自从虞世南死后,就没有人可以与我讨论书法了.”魏征说：“褚遂良下笔的时候遒劲有力,很像王逸少的字体.”太宗当天召令他（褚遂良）随侍书写.太宗曾经出国库的黄金布匹来购求王羲之书迹,天下士人争着购买古书,进宫献给皇上.当时没有人能辨识出古书的真伪,褚遂良对每件古书的鉴定评论都有根有据,从来没有出过差误.

c

“颜筋柳骨”,颜真卿的字稍圆润,是标准的正楷,而欧阳询的字圆润中少露锋芒,更有力量一些.柳公权的字硬,所以说是“骨”,而最瘦硬的应该是宋徽宗瘦金体了.

原文:
欧阳询尝行,见古碑,晋索靖所书.驻马观之,良久而去.数百步复反,下马伫立,及疲,乃布裘坐观,因宿其旁,三日方去.
译文:
唐代欧阳询,有一天骑马赶路,无意中看到一块古碑.原来是晋代著名书法家索靖书写的,他驻马浏览,看了很久后离开.他走离古碑几百步又返回来,下了马站在碑前观察,等到疲乏,又铺开皮衣坐下来观察,竟然守在碑前三天三夜方才离去.

这是不是现在的小学课文啊?怎么这么多问的,却不曾听说如此题目
欧阳询曾经出行,看见一块古碑,是晋代的索靖书写的.（他）停住马观看（古碑）,过了很久才离开.他骑马走了几百步后又返回来,下了马站在碑前（观赏）,等到疲乏了,又铺开皮衣坐下来观察,因为住宿的地方在古碑旁,所以三天后才离开.

书法中的很多形容都是难以描摹的,都是评论者在看过很多字之后下的评价,单以文字来说明到最后你还是不会写,有点只可意会不可言传的意思,建议多看一些书家的字,再进行比对.你会有自己的心得.所谓“险峻”,分“险”和“峻”.所谓“险”,应该是用笔不训旧法,于不意处行墨.所谓“峻”,应该是整体结构的间架.不好形容啊~看过很多之后自然有体会的.楼主想写好字的话就多多看,多多练

Chu Suiliang’s calligraphy, which followed the example of Ouyang Xun at first, then Yu Shinan, and finally took Wang Xizhi as model, has digested the official scripts of Han Dynasty. His calligraphy has the following characteristics: the regular scripts are full, round and gorgeous, and has developed as his own style; the running cursive scripts are gentle, free, varied and graceful with a lot of variances. He was as famous as Ouyang Xiu and Yu Shinan, and enjoyed many followers, even the famous mid-Tang Dynasty calligraphist Yan Zhenqing, was influenced by him.
Among the top four calligraphists in early Tang Dynasty, Chu Suiliang was quite a junior. His calligraphy, which followed Wang Xizhi, Yu Shinan and Ouyang Xun, has obtained a high proficiency and has established his own system. The characteristics of his calligraphy are, as inosculated the writing skills of Yu and Ouyang as one of his own, the free appearances both in squareness and roundness, which was more smooth than his seniors and won great appreciation of Li Shiming, the Emperor Taizong of Tang Dynasty. Once a time Li Shiming showed Chu some Wang Xizhi’s calligraphies kept in the imperial storehouse and asked him to verdict their genuineness, and he verdicted them all correctly without a single mistake. This is an unimpugnable proof that he had studied Wang’s calligraphies proficiently and masterly.
Because of the style of inheriting the traditions with his own creativity, his calligraphy was praised by ‘Review of Masters of Tang Dynasty’ as “having gold in the characters and jade between lines, gentle and elegant in style, graceful and pleasing in appearance”. Even Mi Fei, a great calligraphist and painter of Song Dynasty who looked down upon the calligraphies in Tang Dynasty, extolled his calligraphy with the most beautiful words as “exquisite as splendid music and dance performance, grace as elegant cranes and egrets filling the hall, pleasant as clangs of jade, beautiful as pretty ladies", which demonstrated the unique and infectious charm in the style and structure of his calligraphy.
注：【九奏】指古代行礼奏乐九曲.【万舞】古代舞名.先是武舞,舞者手拿兵器；后是文舞,舞者手拿鸟羽和乐器.泛指舞蹈.

颜真卿 王羲之

驻马观之,良久而去——于是他就停下马观看,很久后才离开
乃布裘坐观——铺开大衣坐下来观看
道理：
要想擅长什么,必须要精深下去,必须要专心致志,刻苦磨练.
要善于向他人学习
矫：纠正,变弯为直 枉：弯曲.过正 意思：把弯曲的东西扭直,超过了正常限度,反而弯向另一边.比喻纠正谬误超过了应有的限度
A
常恨无赀,不能尽传写——我经常恨没有钱,不能把书全部抄录下来
手不释卷：书本不离手,形容勤奋好学

1.偏侧

完全相反……
1对.很难判断.不过háng zhōu 没错,Hang zhou也没错吧,只不过没标符号~不知道题目有问题没……
2对.欧阳询还是隋朝的,不知道有影响吗,那么隋唐
3错
朱自清的 “匆匆”,说作者悲观,那不是消极了,所以反映这种企图超脱现实的思想
4对,如果鼎志昌盛不是,那么为什么不改正?
是宝鼎 记载着人类社会的繁荣兴
5错,漫卷诗书喜欲狂 下句,却看妻子愁何在,妻子就在身边……
而“漫卷诗书喜欲狂”的主要原因是“剑外忽传收蓟北”,祖国大好河山被收复了

欧阳修（1007－1073）,字永叔,号醉翁,又号六一居士.汉族,吉安永丰（今属江西）人,自称庐陵（今永丰县沙溪人）.谥号文忠,世称欧阳文忠公,北宋卓越的文学家、史学家.欧阳询（557一641年）,汉族,字信本,公元557年出生于...

痴迷书法,专注投入

欧阳询刻苦学书的精神,是值得我们学习的.
或者 刻苦学书的欧阳修是值得我们学习的榜样.

王羲之：骨力遒劲,结构严谨 行书修为最高,书法历史上成就最高.天下第一行书的创造者.
欧阳询：笔力挺拔,结体明快
颜真卿：用笔老辣 笔力浑厚,结体凝重,端庄大方
柳公权：笔法独特,用笔险峻,骨力苍劲,点画斩钉截铁,楷书中极品

从书法艺术上看,以唐代 的欧阳询、虞世南、颜真 卿、柳公权等为主,形成 不同风格的楷书大家.

因:于是,就.
布裘：布袍.

启示：说明欧阳询做事认真,在有了一定的成就职后,仍然虚心学习,不骄傲,有上进心.

指的是唐朝初期的欧阳询、盛唐的颜真卿、唐朝后期的柳公权和元朝的赵孟頫四位书法家.

王羲之
兼善隶、草、楷、行各体,精研体势,心摹手追,广采众长,备精诸体,冶于一炉,摆脱了汉魏笔风,自成一家,影响深远.其书法平和自然,笔势委婉含蓄,遒美健秀,世人常用曹植的《洛神赋》中：“翩若惊鸿,婉若游龙,荣曜秋菊,华茂春松.仿佛兮若轻云之蔽月,飘飖兮若流风之回雪.”一句来赞美王羲之的书法之美.
柳公权
其书结体紧密,笔画锋棱明显,如斩钉截铁,偏重骨力,书风遒媚劲健,可与颜真卿的雄浑雍容书风相媲美,被后人誉为颜筋柳骨.
颜真卿
颜真卿的书法初学禇遂良,后又得笔法于张旭,彻底摆脱了初唐的风范,创造了新的时代书风.颜真卿的真书雄秀端庄,结字由初唐的瘦长变为方形,方中见圆,具有向心力.用笔浑厚强劲,善用中锋笔法,饶有筋骨,亦有锋芒,一般横画略细,竖画、点、撇与捺略粗.这一书风,大气磅礴,多力筋骨,具有盛唐的气象.他的行草书,遒劲有力、真情流露,结构沉着,点画飞扬,在王派之后为行草书开一生面.
欧阳询
书法成就以楷书为最,笔力险劲,结构独异,后人称为“欧体”.其源出于汉隶,骨气劲峭,法度谨严,于平正中见险绝,于规矩中见飘逸,笔画穿插,安排妥贴.楷书以《九成宫醴泉铭》等,行书以内画家 一丁(聂磊)楷书作品
《梦奠帖》、《张翰帖》等为最著名.其他书体,也无一不佳,唐张怀瓘《书断》中说：“询八体尽能,笔力险劲,篆体尤精,飞白冠绝,峻于古人,犹龙蛇战斗之象,云雾轻宠之势,风旋雷激,操举若神.真行之朽出于大令,别成一体,森森然若武库矛戟,风神严于智水,润色寡于虞世南.其草书迭荡流通,视之二王,可为动色,然惊其跳骏,不避危险,伤于清雅之致.”

唐朝.著名楷书四大家之一,代表作楷书有《九成宫醴泉铭》、《皇甫诞碑》、《化度寺碑》deng

都是唐代的

唐代有颜真卿、柳公权等书法大家,欧阳询,颜真卿,柳公权的代表作分别是皇甫诞碑、颜氏家庙碑、玄秘塔碑.欣赏学习这些艺术大师的杰作,我受益匪浅.