Friday, February 11, 2011

Practical Functionality: The Attractiveness of Chinese Calligraphy 实用性:中华书法的魅力所在

新加坡书法家曾广纬的书法 By Singaporean Calligrapher Chang Kwang Wee 
We believe that the attractiveness of Chinese calligraphy comes from its artistic value as well as its practical functionality. These two elements of artistic value and practical functionality are equally important and they complement each other.
The artistic value of Chinese calligraphy is derived from calligraphers’ ability to apply skilfully the brush and ink on paper. (Click here to read more.) The practical functionality of Chinese calligraphy is evidenced by the following facts:

1. Since ancient times, it has always been a tool for written communication, fulfilling the practical function of information exchange through writing Chinese characters with brushes, ink, and paper. However, as brush writing has gradually become obsolete, Chinese calligraphy has lost this most practical and basic functionality.
2. It is a revered symbol of tradition, excellence and self cultivation. Self-cultivation means specifically those activities pursued with an eye to the eventual goals of having a healthy body, becoming a nobleman and ultimately the goal of sage hood.
3. It is closely linked to the Chinese personal and commercial lives. Calligraphic works are used to decorate sitting rooms, studies and bedrooms. Signboards with inscriptions by famous figures are often found in shops and shopping centers, adding an antique elegance to busy and noisy trading areas. Characters in special styles appear as masthead inscriptions for newspapers or magazines, or as the titles of books.
4. It condenses the Chinese culture. Usually, the calligraphic work contains a poem, a pair of couplets or a motto that will surely inspire its viewers.
5. The traditional Huichun activities during the Chinese New Year will spice things up and create an enjoyable atmosphere. Huichun refers to writing of festival couplets and short messages that express good wishes for the year. The end products are calligraphic works produced specially for the celebration of the Spring Festival, the most important traditional festival of the Chinese people. Written on red paper, such couplets and messages are posted on gateposts, door panels, rice and food containers, walls or columns of houses.
6. Chinese Calligraphic works are displayed in temples, gardens, mountains, pavilions, towers and buildings in various scenic spots. Such calligraphic inscriptions on wooden boards or rocks integrate harmoniously with the surrounding scenery, and add radiance and beauty to it.
7. It has very close relation with other traditional Chinese arts, especially the Chinese painting.
8. Calligraphy can be used as a tool for the teaching of Chinese language and culture. As Chinese calligraphy is about writing Chinese characters, it is natural that it is most suitable tool for helping out students in learning Chinese language and culture. (Click here to learn more on this topic.)

Chinese calligraphy has certainly not lost its practical functionality and much can be done by calligrapher lovers to promote this unique art form by getting more people to participate in it to realize its practical functionalities.
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我们相信中华书法的魅力来自它的艺术价值与实用性。艺术价值与实用性相同重要,它们相辅相成,缺一不可。
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不要读成吉大春新啊!书法的实用性因时相传
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中华书法的艺术价值来自书法家应用毛笔与墨汁在纸上书写的能力。(请点击这里阅读有关谈论。)中华书法的实用性有以下事实可以说明:

1. 自古以来,它一直就是书写的沟通工具,以毛笔、墨汁与纸来书写以达到信息交流的实用功能。但是,随着毛笔日常应用逐渐的消失,书法也就失去了这个最实用及基本的功能。
2. 它是最受人敬仰的代表传统、卓越与修身的符号。修身就是那些着眼于达到健康身体、成为君子及最终成为圣人的目标的活动。
3. 书法与个人生活及商业活动有密切的联系。它被用来装饰客厅、书房、卧室。商店、购物中心常常可以看到名家所写的招牌匾额,为繁忙吵杂的场所增添了古典雅致气氛。报纸、杂志的刊头及书本封面也常有特别书写的书体。
4. 它浓缩了中华文化。书法作品一般上写的是诗词、对联或名言,这肯定会对观众有启发激励作用。
5. 传统的春节挥春活动增添了节日情趣与营造了欢乐气氛。挥春是以春联与吉祥语,为庆祝华人最重要节日春节而写的书法。写在红纸上的春联及吉祥语会被贴在门柱、门板、米与食物罐缸、墙壁或屋子的柱子上。
6. 中华书法在华人庙宇、花园、山岭、庭院、高塔及建筑物,随地可见。这些刻在木板或石板上面的书法作品和谐的融入周围环境,增添光彩与亮丽。
7. 书法与其它的中华艺术关系密切,尤其是绘画。
8. 书法可以作为教导华文与中华文化的教学工具。书法本来就是书写中华文字,很自然的它适合用来帮助学生学习中文与中华文化。(请点击这里阅读有关课题。)

书法肯定还没有失去其实用性,书法爱好者还可以为推进这门独特的艺术,吸引更多人参与并实现其实用性做出更多的贡献。
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7 comments:

  1. 朋友说,新加坡的书法家可能生活提条件比较好,比较倾向于清高派,不大走书法实用的道路,所以书法不能深入民间与商业机构。这点与马来西亚比起来,我们就显得十分不足了。个人的观察是,历年的挥春活动其实是不少的,就是搞不出气氛来。为什么会这样呢?这是值得我们思考的问题。

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  2. 其实,新加坡的书法活动已经搞得不错了。我看新加坡书法界的朋友不是清高派,而是低调派。虽然有一两个属于书法作秀派,一般都是低调务实,默默耕耘。

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  3. 说的不错,新加坡有一批默默耕耘的书法爱好者。书法的实用性是不容忽视,是书法能够代代相传的根本原因。问题是实用性应该随时代风俗而调整,否则看不出当代书法与千年前老祖宗所写的有何分别。我们谈传统,但也不应该忽略当代。所以要提出新书风的课题。共勉之。

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  4. 网主最近花了不少时间与精力大谈书法的误区:新书风、书法作为教学辅助工具、书法的实用性,好像都没有引起大家的兴趣。

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  5. 对新课题持着观望的态度,是很平常的,尤其是我们华人。一般说,只问耕耘,不问收获,我却认为,有耕耘,就有收获。以后还会谈书法的误区,包括书法的学习问题。请耐心的等吧。

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  6. 很有深度地探讨书法面对的问题,在这个时候,有人来关注新加坡书法的发展前景,以及付诸行动是及时的,虽然和者不多,但总反应出本地书法界还是有积极地一面,我们希望这样风气能够得到呵护并健康的发展,同时要对这样有心并真正致力本地书法艺术发展的书法工作者予给以最诚挚的敬礼!

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  7. 任何事物能够发展都是由利益驱动。 想发展新加坡的书法, 首先要解决两个问题,1当代书法的实用性在哪里; 2这些实用性有市场吗, 能给书法从业者带来好处吗。 无论如何清高, 无论怎么掩饰都回避不了这个问题。 古代书法兴盛,最主要的推动力就是科举,写不好字,当不了官,这个动力强大吧。当代的驱动力在哪呢

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