Friday, July 23, 2010

Su Demao at Calligraphy Exchange Gathering 苏德茂:书画交流雅集现场挥毫

Calligrapher Su Demao gave a talk at the 77th monthly Calligraphy & Painting Exchange Gathering organised by the Teochew Poit Ip Huay Kuan on 26 June 2010. The talk is on the importance of practising Chinese calligraphy by copying the model calligraphic works of the ancient calligraphers. In fact, he advocated that this is the only way to master the calligraphic skills.
He then touched on how to study and analyse accurately the model calligraphic works so that one can copy accurately the spirit and skills of the works. This website will publish the transcription from his talk once it is ready.
After the talk, calligrapher Su demonstrated on the spot the writing of calligraphy in front of about 70 attendees of the talk.
The gathering was also attended by Indian artist Rajib Bhattacharjee who was in Singapore from 23 to 29 June to conduct a study known as Project Singapore. His interest is in how the community as a whole and the urban space are affected by aggressive urbanisation. He is doing a project on Singapore as it is the most urbanised country in this part of the world. He is fascinated by the Chinese calligraphy as a unique art of lines and hopes to get some inspirations from it in his reflections of the character of the changing urban space.
Here are some photos taken during the exchange gathering.
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书法家苏德茂老师于6月26日在潮州八邑会馆主办的第77次书画交流雅集讲座会中谈临摹古代法帖对学习书法的重要性。其实,苏老师认为临帖时获得技巧的唯一方法。
苏老师也谈到如何准确地学习与分析古人优秀作品,这样我们临帖时才能学到其精神与技巧。本网站会把苏老师的讲稿整理后发表,敬请留意。
座谈后,苏老师也为大约70名座谈会的出席者当场挥毫。
来自印度的艺术家拉吉也出席了这次的交流雅集。拉吉于6月23日至29日访问新加坡,进行有关‘新加坡项目’的研究。拉吉的兴趣在于强力城市化对整个社区与城市空间所带来的影响。他有兴趣对新加坡进行研究时因为新加坡是本地区最城市化的国家。他被华人书法这门独特的线条艺术所吸引,希望从中可以获得一些灵感来反映他对不断变化城市空间的感想。
这里是交流雅集当日的一些图片。
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4 comments:

  1. 看了苏老的挥毫,就觉得新加坡书法界需要一批进入草书书写与理论的书法家。现在新加坡看到的都是写行书的人,而且多数写得规规矩矩,不注重用墨。自称代表新加坡书法的人已经如此,更何况他人。有写字的人,缺少研究书法的人,这就是新加坡书法界的问题。

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  2. 有人说,学书法本来就是一件寂寞的事,看来在新加坡,学草书更加寂寞,而作草书研究,其寂寞就更不用说了。我相信在新加坡有不少这类寂寞的人;希望这些人能众乐乐,则我等之福也。

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  3. 新加坡缺少草书书法家的主要原因是:草书是一门难学难专的书体,即使能创作好的草书作品,也会是曲高和寡,少有人看得懂和能欣赏,这就促使草书作品没有好的市场,聰明的书家们那会选这"吃力不讨好"的书体进行創作呢,规规矩矩的行书才会好卖啊。

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  4. 写讨好世俗的字,卖点钱养幼女,那倒是世之常情,而且有推动书风的效果,那是件好事。有人买,就表示新加坡还有欣赏书法的人,也是件好事。艺术嘛,总应该是雅俗共赏。但是一味书法商业化,没有曲高和寡的寂寞之人,对书法长期发展,就值得忧虑了。名书法家能起带头作用,除了学世俗之书,也精通曲高和寡之术,则我书坛之大幸也。

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