李建中 书法作品

 李建中书得欧阳询法，遒劲淳厚。行笔尤工，多构新体；草隶篆籀亦妙，人多以为楷模。

擅草、隶、篆、籀、八分等书体，多构新体，师法颜真卿及魏晋书风。其书笔致丰腴肥厚，结体端庄稳健，风格丰肌秀骨，气宇轩朗。有墨迹《同年帖》《宝宅帖》《土母帖》，石刻有翻刻《峄山碑》及法帖《千字文》等传世。

《土母帖》是李建中存世墨迹的代表作。天下十大行书之一，排第十。《土母帖》，行书墨迹，纸本。纵31.2厘米，横44.4厘米，10行，共104字。 作品中，字的结体紧密而修长，用笔沉着而丰腴。虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。

李建中 作品

 流传至今的李建中书法墨迹比较少，著名的有：

①《同年帖》，藏故宫博物院，白纸本，行书，帖中有“略表西京之物”的话，应是景德至大中祥符初年所写。帖后又驸书《怀湘南诗》。

②《贵宅帖》，藏故宫博物院，纸本，行书，帖中有：“昨东封”等语，当是指大中祥符元年(1008)真宗赵恒封祀泰山事，可知此帖也是李建中晚年所写，书法沉着朴厚，有唐人遗意。

③《土母帖》，藏台北故宫博物院，深牙色纸本，行书，曾刻入清《三希堂法帖》中。3帖以《土母帖》最为精美，集中地表现了李建中书法艺术的造诣和风格，可以看出其书法笔画丰腴肥厚，结字端庄稳健及与唐代书法的继承关系。《三希堂法帖》还刻有李建中的《齐古帖》，据记载上述3帖和《齐古帖》、《贤郎帖》、《左右帖》，原合装在一起，名为《李西台六帖》，清初时被拆散，后3帖的墨迹已佚。

 北宋黄伯思《东观余论》称：“西台本学王大令（献之）书，而拘挛若此，犹韩非之学黄老，李斯之师荀卿也。然观笔势尚有先贤风气，固自佳。

”宋高宗赵构《翰墨志》称：“本朝承五季之后，无复字画可称，至太宗皇帝始搜罗法书，备尽求访，当时以李建中字形瘦健，姑得时誉，犹恨绝无异。

 Li Jianzhong wrote Ouyang Inquiry Method, which was strong and honest. The style of writing is especially meticulous and multi-constructed, and the seal script of grass and Li is also wonderful, and most people think it is a model.

He is good at grassland, Li, seal script, Zhu, eight-grade style, multi-structure new style, learning from Yan Zhenqing and Wei-Jin style of calligraphy. His pen is rich and plump, graceful and steady, with rich muscles and beautiful bones and magnificent air. There are inkmarks of the same year, Baozhai and Tumu Ties, and stone carvings of Dushan Stele and Fa Tie of Thousand Characters.

Tumu Tie is Li Jianzhong's masterpiece of surviving ink. One of the top ten books in the world, ranked tenth. Tumu Tie, line calligraphy, ink, paper. Vertical 31.2 cm, transverse 44.4 cm, 10 lines, a total of 104 words. In the works, the structure of the characters is compact and slender, and the pen is calm and rich. Although it is a walking book, there are still rigorous regular scripts in the starting and closing places, which can reveal the characteristics of many Tang people's calligraphy. In addition, because the "Xin'anmen" mentioned in the ruler is near Luoyang, it is presumed that this was written by Li Jianzhong when he lived in Luoyang in his later years.