郑板桥创造六分半书 Zheng Banqiao Created Liufen Ban （Six and a Half Point）Style

虽然我们说八分书是从隶书演变到楷书之间的一个过度时期书体，可是八分书到底是怎样的一种书体，至今众说纷纭，尚无定论。有言“八分”生于隶书，亦有言隶书即是“八分”；有言有挑法者为“八分”，无挑法者为隶书。亦有言无挑法者为“八分”，有挑法者为隶书；有言“八分”即字方八分。

清代郑燮（郑板桥）在这个背景下，又自称创造了“六分半“书体。

郑燮（1693—1765年），字克柔，号板桥，清代画家、文学家。汉族，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。一生主要客居扬州，以卖画为生。“扬州八怪”之一。中进士后曾历官河南范县、山东潍县知县，有惠政。以请赈饥民忤大吏，乞疾归。其诗、书、画均旷世独立，世称“三绝”，擅画兰、竹、石、松、菊等植物，其中画竹已五十余年，成就最为突出。他的诗清新脱俗，朴实泼辣。著有《板桥全集》。

对“六分半书”之名的阐释有两种情形。

其一据板桥自述，其自称“六分半书”是在“汉八书”是由“汉八分”再度分变而来，为“汉八分”之八分（即八成），八八六十四，约为六分半，故“板桥体”称为“六分半书”。

其二是说“六分半书”仅是板桥“戏言”、“谐称”，并无实据，不足可考。

六分半书的本质是什么？

历代文艺家、史学家、收藏家力求诠释者甚众，但亦无定论。

有的说是隶楷二体相参，“（板桥）书隶楷参半，自称‘六分半书’，极瘦硬之致，亦间以画法行之”（蒋宝龄《墨林今话》卷一）。“以八分书与楷书相杂”（李斗《扬州画舫录》卷十）。“书法《瘗鹤铭》而兼黄鲁直，合其意为分书”（李玉棻《瓯钵罗室书画过目考》卷三）。

也有说是隶楷行三体相参，如“（板桥）书法以隶、楷、行三体相参，有别致，古秀独绝”（窦镇《国朝书画家笔录》卷二）。

更有说是四体相参，如“板桥世大父，……中年始以篆隶之法阑入行楷，蹊径一新，卓越成家”（郑銮《跋郑燮临兰亭叙》）。傅袍石先生《郑板桥试论》一文对“六分半书”有过比较完整的阐释：“大体说来，他的字，是把真、草、隶、篆四种书体而以真、隶为主的综合起来的一种新的书体，而且又用作画的方法去写。”此论渐为学界所认同，达成的共识是“六分半书”是“杂体”（即世称“破格体”）并非“纯体”（即常说“楷、行、隶、篆”）。

也有论者郑燮的书法还不止是将“真隶相参”而以行草的笔法写之，他的字中还参入了画兰竹的笔法，蒋士铨有诗云：“板桥作字如写兰，波磔奇古形翩翻；板桥写兰如作字，秀叶疏花见资致。下笔别自成一家，书画不愿常人夸;颓唐偃仰各有态，常人尽笑板桥怪。”（《忠雅堂诗集》）

现代著名的画家傅抱石也说郑燮的字“是把真、草、隶、篆四种书体而以真、隶为主的综合起来的一种新书体，而且是用作画的方法去写。”（《郑板桥试论》）

因此有人认为郑板桥对于书法，是决意要背叛传统，进行大胆地自我创新的。这种创新，主要表现在两个打破上。一是打破篆、隶、正、行、草等各种书体的界限，而将文字的点画和结构随意安排，主要是楷书、隶书相互参用；二是打破书画的界限，将画竹画兰之法融入书法之中。他曾说他作书“往往以沈石田、徐文长、高其佩之画以为笔法。”（《郑板桥题〈墨竹图〉》）

看他的字，其点画或粗或细、或浓或淡、或长或短，其结体或疏或密、或正或斜、都一任自然，并略做夸张地表现出来。形成一种随物赋形、随形就势的特点。而整体上看，其字体多呈左低右高的扁方形状。由于这种结字特点，他的书法在章法上则是纵有行而横无列，且字与字、行与行之间形成一种疏密错落、揖让相谐的“乱石铺街”之状。

不过并不是每个人都认可六分半书。反对者认为在纷繁复杂的热闹外表下，郑板桥体的后面少了一种内敛的艺术敏感性。混合了这么多元素，自以为集百家所长，最后却显得不伦不类，如同儿戏。

怀素:草书天下称独步 Huai Su: Whose Calligraphy of Cursive Script is Unmatched

唐朝草书三杰中，贺知章比较少为人知，而怀素与张旭齐名，人称“张颠素狂”或“颠张醉素”。

贺知章：http://icalligraphy.blogspot.sg/2012/01/he-zhizhang.html

张旭：http://icalligraphy.blogspot.sg/2013/10/zhang-xu-sage-of-calligraphy-of-cursive.html

怀素，字藏真，湖南零陵郡（今长沙）人。生于唐玄宗开元二十五年（737），卒于德宗贞元十五年（799）。因他出家为僧，书史上称他“零陵僧”或“释长沙”。《高僧传》记载，怀素的曾祖父钱岳，唐高宗时做过纬州曲沃县令，祖父钱徽任延州广武县令，父亲钱强做过左卫长史。陆羽《怀素别传》说：怀素的伯祖父释惠融也是一个书法家，他学欧阳询的书法几乎可以乱真，所以乡中称他们为“大钱师，小钱师”。

怀素生得眉清目秀，自幼聪明好学，做事少年老成，甚得父母钟爱。因此人人说他“学必成功，才当逸格”。怀素十岁那年，“忽发出家之意”，急得双亲唉声叹气，想阻止也阻止不了。所谓“猛利之性，二亲难阻”。他在《自叙帖》里也说：“怀素家长沙，幼而事佛，经禅之暇，颇好笔翰。”

他勤学苦练的精神是惊人的。李肇《唐国史补》中曾描写道：“怀素好草书，自言得草圣三昧，弃笔堆集埋于山下，曾曰‘笔冢’。”《怀素别传》说：怀素家贫，家里买不起纸，只好在寺里的墙上、衣帛上、器皿上练字。又说，尝于故里种芭蕉万余株，剪其叶以供挥洒。后来又做了一块漆盘和一块漆板，写了擦，擦了写，以致把盘、板都写穿了。怀素“弃笔成冢，盘板皆穿”的勤学苦练精神，难怪李肇说他“有笔如山墨作溪”。他还不辞辛劳，千里求教，可见其专学之毅力，其草书风格，为历代书家所钦羡。

所谓“醉素”，缘由这位出家人嗜酒茹荤，醉后“草圣欲成狂便发”，敢从破体变风姿，字字笔走龙蛇，“风骤雨旋”，笔下气势磅礴，著实给人以“剑气凌云”的豪迈感。怀素的草书用笔圆劲，“使转如环”，所学对象不拘一格——大自然、长辈、再传弟子，甚至在公孙大娘的舞剑中也能颖悟笔法，此种精神，是这位大书家成大器的秘奥所在。

他也能做诗，与李白、杜甫、苏涣等诗人都有交往。唐肃宗乾元二年（759），怀素二十二岁。这年李白已五十九岁，在巫峡遇赦后，从长流夜郎乘舟回江陵。在南游洞庭潇湘一带时，被怀素找到求诗。两人虽是忘年交，李白精神十分振奋，当即写了一首《草书歌行》，赞扬他：

少年上人号怀素，草书天下称独步。
墨池飞出北溟鱼，笔锋杀尽中山兔。
八月九月天气凉，酒徒词客满高堂。
笺麻素绢排数厢，宣州石砚墨色光。
吾师醉后倚绳床，须臾扫尽数千张。
飘风骤雨惊飒飒，落花飞雪何茫茫。
起来向壁不停手，一行数字大如斗。
恍恍如闻神鬼惊，时时只见龙蛇走。
左盘右蹙如惊电，状同楚汉相攻战。
湖南七郡凡几家，家家屏障书题遍。
王逸少，张伯英，古来几许浪得名。
张颠老死不足数，我师此义不师古。
古来万事贵天生，何必要公孙大娘浑脱舞。

怀素的狂草风格是糅取各家之长而形成的。他兼容并蓄地把篆书、隶书、蝌蚪文、虫书、稿草、章草、飞白等笔意容纳在其中。所以有人说狂草的瘦劲朴野则出于虫、篆；点画波发则出于八分；转换背向则出于飞白；沉着痛快则出于章草。

黄庭坚说过，数百年来只有三个半人懂得这个道理。这三个半就是张旭、怀素和黄自己，苏舜钦只能算半个。他说：“近时士大夫罕得古法，但弄笔左右缠绕遂号为草书耳！不知与蝌蚪、篆、隶同法同意，数百年来唯张长史、永州狂僧及余三人悟此法耳。苏才翁有悟处而不能尽其宗趣，其余碌碌耳！”

草圣张旭 Zhang Xu: The Sage of Calligraphy of Cursive Script

The development of calligraphy of Cursive Script had reached a new height during the Tang dynasty, and it is not surprising that it produced Three Outstanding Calligraphers for Cursive Script. He Zhizhang is one of them. The other two are ZhangXu and Huai Su.

He Zhizhang: http://icalligraphy.blogspot.sg/2012/01/he-zhizhang.html
Huai Su：http://icalligraphy.blogspot.sg/2013/11/huai-su-whose-calligraphy-of-cursive.html

Zhang Xu, also named Bogao, was a native of Suzhou. He became an official during the reign of Emperor Xuanzong of Tang. He had the official title of Administrative Adjutant and was known as Administrative Adjutant Zhang.

Zhang was known as one of the Eight Immortals of the Wine Cup. Legend has it that whenever he was drunk, he would use his hair as brush to perform his art of Chinese calligraphy, and upon his waking up, he would be amazed by the quality of those works but failed to produce them again.

Though well known for his cursive script, he also excelled in the regular script. According to Zhang Xu himself, he picked up cursive script writing from watching the sword dance performed by Gongsun Danian, a top dancer of the time. In a departure from the tradition of discrete characters found in the cursive style of Wang Xizhi and Sun Guoting, Zhang Xu adopted the crazy cursive script style of writing the characters in a continuum, broadening the horizon of calligraphic expression. For this, he was known as the Sage of Calligraphy of Cursive Script (草圣).

Han Yu, a prominent poet of Tang Dynasty noted that “Zhang Xu is dedicated to Cao Shu and has lifted it up to a level so dazzling that you can hardly imagine.” Du Fu, another great poet of Tang Dynasty even dedicated a poem to Zhang Xu part of which states: “Three cups of alcohol rouse Zhang Xu’s ingenuity which will make him take off his hat and wield his brush before people of high ranks, and brilliant masterpieces come into shape”. Zhang was good at expressing his thoughts and feelings with abstract lines in a way never seen before. It could be stated that even though he uses the traditional techniques he manages to attribute uniqueness, creativity, diversity, freshness and daring to his works thus being head and shoulders above his predecessors and becoming an artistic symbol of the prosperity of Tang Dynasty.

Apart from the Regular Script “Note of Stele in Langguan”, his other two most famous works which are still cherished today are “The Stomachache Note” (Du Tong Tie), Four Ancient Chinese Poems (Gu Shi Si Tie).

草书发展到了唐朝，达到了一个高峰，所以出现了“草书三杰”，就不令人惊奇了。贺知章就是唐朝草书三杰之一。其他两人是张旭与怀素。

贺知章：http://icalligraphy.blogspot.sg/2012/01/he-zhizhang.html
怀素：http://icalligraphy.blogspot.sg/2013/11/huai-su-whose-calligraphy-of-cursive.html

张旭，名伯高，是苏州人，在唐玄宗的朝廷当官，位居“长史”，所以亦称“张长史”。

张旭也是“饮中八仙”之一。据说当喝醉了时，常以头发来写字，醒来后亦惊叹写得好，但是无法重写。

虽然他以草书出名，但是他也精通楷书，据说自己的说法，他是观看了当时出名的舞者公孙大娘舞了“剑器舞”后才领悟出草书书写的道理。他的草书与王羲之和孙过庭的字字独立不同，所写的狂草字字牵带连缀，扩大了情感表达，因此被称为“草圣”。

韩愈言“往时张旭善草书，不治他技”。唐代诗圣杜甫特为其写诗曰：“张旭三杯草圣传，脱帽露顶王公前，挥毫落纸如云烟。”张旭书法线条书法抒情，可说前无古人。

除了楷书《郎官石柱记》，张旭的传世名帖还有《肚痛帖》与《古诗四首》。

张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。

He Zhizhang 贺知章

The Four Masters of early Tang dynasty mainly made achievement in regular script. In the prime and middle periods of the Tang dynasty, the Three Outstanding Calligraphers for Cursive Script, namely He Zhizhang, Zhang Xu and Huai Su, who had been the most innovative calligraphers with high time spirit, fully developed the romantic calligraphic style represented by cursive script. With their unremitting efforts, cursive script witnessed an unprecedented thriving in the history of calligraphy.

Zhang Xu: http://icalligraphy.blogspot.sg/2013/10/zhang-xu-sage-of-calligraphy-of-cursive.html

Huai Su：http://icalligraphy.blogspot.sg/2013/11/huai-su-whose-calligraphy-of-cursive.html

He Zhizhang (659 – 744), a native of Yong Xing, Yuezhou (now Xiaoshan in Zhejiang), was famous for his cursive script. Li Bai and Lu Xiang compared him with Wang Xizhi and Wang Xianzhi in their poems respectively. People paralleled his cursive script with the stone from fallen star, crane drawn bu Xu Ji and phoenix drawn by Lang Yuling, and called them four master masterpieces in the Imperial Library.

However, few of his works survived through centuries. Classic of the Filial Piety, the only cursive script remained for present people, displayed a flowing and lucid style whose brushstrokes were intense and vehement. With thick and thin lines and clever arrangement of structures, he created an artististic world lingering between illusion and reality. The composition of his works was as smooth as stream, fully corresponding to his causal and unrestrained Romanticism.

His cusive script therefore introduced the romantic ethos to the prime and mid-Tang dynasty. In addition, he was also skilled in regular script.

.

Classic of the Filial Piety 孝经

初唐四大家的成就主要在楷书方面。草书则应推崇唐草三杰，即贺知章、张旭、怀素。他们是盛中唐时期最具有创新意识和时代精神的杰出书家。经过他们的不懈努力，使盛中唐以草书为代表的浪漫书风走向极致，并成就了草书史上的高峰。

张旭：http://icalligraphy.blogspot.sg/2013/10/zhang-xu-sage-of-calligraphy-of-cursive.html

怀素：http://icalligraphy.blogspot.sg/2013/11/huai-su-whose-calligraphy-of-cursive.html

贺知章（659 - 744），越州永兴（今浙江萧山）人，以草书著名。李白在诗中将他比喻成王羲之，陆象则将他比喻为王献之。当时的人还将他的草书与秘书省的落星石、薛稷画的鹤、朗馀令的凤合称为秘书省“四绝”。

然而，他的书法作品存世极少。现可见的草书作品只有《孝经》，其用笔酣畅淋漓，点画激越，粗细相间，虚实相伴；结体左俯右仰，随势而就；章法犹如潺潺流水，一贯直下，充分体现了他那风流倜傥、狂放不羁的浪漫情怀。

他的草书拉开了盛中唐草书浪漫风气的序幕。此外，他还擅长楷书。

Xue Ji 薛稷

Xue Ji (649 - 713), courtesy name Sitong, was born in an intellectuals’ family in Puzhou, Fenyang (now Wangrong County in Shanxi). He was considered one of the four greatest calligraphers of the early Tang, along with Ouyang Xun, Yu Shinan and Chu Suiliang.

He was a great-grandson of Xue Daoheng, a great writer and an important official of the Tang Dynasty's preceding Sui Dynasty, and his uncle Xue Yuanchao was once a Chief Councillor during Emperor Gaozong's reign. He actually had a successful official career and held a number of senior positions in the imperial court. Unfortunately, in 713, during Emperor Xuanzong’s reign, he was embroiled into the case of Dou Huaizhen, who plotted to stage a coup. Xue Ji was arrested and imprisoned and ordered to commit suicide at the age of 63.

His maternal grandfather Wei Zheng had a large collection of books and reading materials, among them were authentic calligraphic works of Yu Shinan and Chu Suiliang. He had seen many calligraphic works of Yu Shinnan and Chu Suiliang in his grandfather’s house and was inspired to practice calligraphy. Later, when he served in the inner court, he had the opportunity to learn from works of many famous calligraphers from Wei and Jin periods like Zhong Yao, Zhang Xu, Wang Xizhi and Wang Xianzhi.

However, Xue Ji left few calligraphic works. From his work left in small regular script, one can see the characteristics of the early Tang regular script: thin and rigid. His learning journey can be classified into three phases. During the first phase, he learned from calligraphy of Ouyang Xun and Yu Shinan. In the second phase, he favoured the work of Chu Suiliang and was very much inspired by Chu. During his later years, he was able to break away from the influences of Ouyang, Yu and Chu, and created his own style. He thus became a most famous calligrapher during the later period of the early Tang dynasty and exerted great influence on the later generations.

On the whole, Chu Suiliang had the most influential impact on Xue Ji’s calligraphy as Xue faithfully learned and retained Chu’s style of writing.

.

薛稷（649-713）字嗣通，出生于蒲州汾阴（今山西万荣）的一个书香世家。他是初唐四大书法家之一，其他三名是欧阳询、虞世南与褚遂良。

他是大文学家与唐前朝隋朝名臣薛道衡的曾孙。从父薛元超在唐高宗时期做过中书令。他的仕途其实不错，在朝廷中作过不少高职官位。不幸的是，他被卷入了窦怀贞密谋政变的案件。薛稷被捕关进监牢，并被令服毒自杀，时年63岁。

他的外祖魏征，家富图籍，多有虞世南、褚遂良墨迹。薛稷因此在他外祖家中看到虞世南与褚遂良的书法而受到启发，锐精模写。后来，他在内廷做事时，有机会学到魏晋多名著名书法家的书法，例如：钟繇、张旭、王羲之与王献之等。

但是，薛稷传世作品不多。从所流传的小楷，我们到可以见到初唐书法的特征：瘦硬。薛稷的书法可以分前、中、后三个时期，前期书艺，宗欧阳询、虞世南；中期宗褚遂良，并给予较大的启发。到晚年时期则摆脱欧、虞、褚三家的影响，而独创一格，成为初唐晚期最有影响的一位著名书家。

但总的来看，褚遂良对他的影响最大，他忠实地承袭了褚书的面貌。

Chu Suiliang 褚遂良

Chu Suiliang (597–658) was one of the greatest calligraphers in early Tang Dynasty. Chu Suiliang was born in 597, during the reign of Emperor Wen of Sui. His father Chu Liang had been a mid-level official during both Chen Dynasty and Sui Dynasty, and was known for his literary abilities. Chu Liang was in charge of court protocol matters in the Sui Dynasty together with Ouyang Xun, a famous calligrapher. He provided a good condition for his son to learn calligraphy.

Chu Suiliang 褚遂良

By 636, when Li Shimin had been emperor for 10 years as Emperor Taizong, Chu Suiliang was serving as a low-level official in the imperial archival bureau, when he was put in charge of recording Emperor Taizong's acts for historical records. In 644, when Emperor Taizong, at an imperial gathering, stated to his key officials their strengths and weaknesses, he spoke, with regard to Chu:

‘Chu Suiliang is knowledgeable and firm. He often submitted faithful advice and is close to my heart, just as a delicate bird that deserves tender treatment.’

Chu Suilang became one of Taizong’s trusted officers and was promoted to be Head of the Legislative Bureau. After Taizong’s death, Zhangsun Wuji and Chu Suiliang worked well together and were effective in assisting Emperor Gaozong in governance, and that therefore, early in Emperor Gaozong's reign, the government was as effective as during the reign of Emperor Taizong. Later due to his strong objection to Gaozong’s decision to make Wu Zetian his new empress, Chu was not entrusted with heavy responsibility. He passed away shortly in 658.

In calligraphy, Chu Suiliang was able to learn from difficult styles and took the advantage to create his own style. According to the history, he had learned from Ouyang Xun, Yu Shinan successively and later was influenced by Wang Xizhi and Wang Xianzhi’s calligraphy. His calligraphy is known as ‘Chu Style Calligraphy’.

Some of the famous calligraphic works by Chu Suiliang are Notes for Yinque Buddhist Niche, Stele Inscriptions for Master Meng and Preface for Sacred Instruction in Tower of Wild Goose.

.

褚遂良（597-658）为初唐大书法家之一。褚遂良出生于597年，隋文帝当政时期。他的父亲褚亮在陈、隋朝当个中级官员，以文才出名。褚亮在隋朝宫中与欧阳询公掌管礼仪制度。他为褚遂良学习书法提供了良好条件。

公元636年，李世民已经做了十年的唐太宗，褚遂良还是个起居郎的小官，负责记录皇帝日常行动与国家大事。公元644年，太宗在宫廷集会，评论各官员的优缺点时，这么说褚遂良：

‘褚遂良学问稍长，性亦坚正，既写忠诚，甚亲附于朕，譬如飞鸟依人，自加怜爱。’

褚遂良成为太宗所信任的臣子之一，官至中书郎。太宗死后，长孙无忌与褚遂良共同有效地辅助高宗皇帝治理国家，以致政府与太宗时期一样有效率。后来因为反对高宗立武则天为后而不被重用，不久,褚遂良逝世于658年。

在书法上，褚遂良能学习难度高的书体，并以此来创造自己的风格。据史书所载，他先后向欧阳询与虞世南学习书法，后来受王羲之与王献之书法的影响。他的书法被称为褚体。

褚遂良的名法帖包括：《伊阙佛龛碑》、《孟法师碑》、《雁塔圣教序》。

Ouyang Xun 欧阳询

Ouyang Xun (557-641), also named Ouyang Xinben, was a Confucian scholar and calligrapher of the early Tang Dynasty. He used to be an official in the Sui dynasty and was a close friend of Li Yuan, founder of the Tang dynasty. Ouyang Xun was intelligent since young and performed well academically. He served under the Tang Dynasty as scholar at the Hongwen Academy where he also taught calligraphy. He was one of the principal contributors to the Categorised Collections of Literature and Articles.

During the Tang period, the predominant script was the regular or standard script, with a stylistic emphasis on brush methods or structure. The regular script was believed to have reached its maturity during the early Tang, representing a culmination of previous developments.

As early as in the Sui Dynasty, Ouyang's calligraphy was widely known, and by the time of Tang Dynasty, as the man got older and his calligraphy got better, both the person and calligraphy had attained a high degree of perfection. His calligraphy was first influenced by the style of stele inscriptions in the Northern Dynasties and the Sui dynasty. Later he followed Wang Xizhi and Wang Xianzhi’s style and was the representative of their style in the Tang dynasty. He had also learned from Suo Jing’s calligraphy.

Ouyang Xun's calligraphy, largely kaishu (regular script), was known for its rigorous and grand strokes as well as its unique order and structure, and was called ‘Ou Style’ by later generations. His famous works of regular script include ‘Commemorative Stone Tablet for the Sweet Spring at the Jiucheng Palace’ (Jiucheng Gong) which is said to be the Best Regular Script in history and has become one of the best model calligraphy for learners of kaishu calligraphy. His well known works on walking or running script (xingshu) are Mengdian Tie and Zhanghan Tie. Besides being an expert in kaishu and xingshu, Ouyang also wrote excellent lishu (official script).

In Chinese calligraphy history, Ouyang Xun is one of the Four Masters of Early Tang Dynasty. His is also as one of the four best calligraphers of regular script in history. The other three are Yan Zhenqing, Liu Gongquan and Zhao Mengfu.

.

.

欧阳询（557-641），亦名欧阳信本，是初唐儒士与书法家。他曾在隋朝庭中当官，又是唐朝开国君主李渊。欧阳询自小聪敏，读书颇有成就。为唐朝弘文馆学士，并在那里教书法。他也是《艺文类聚》的主要编纂者。

在唐代，楷书是主要的书写字体，其所强调的是笔法与结字。一般相信，楷书到了初唐已经成熟，代表楷书发展达到的一个高峰。

早在隋朝，欧阳询的书法就已经声名远播；到了唐代，则已进入了人书俱老的完美境界。他的书法最初受到北朝与隋朝碑文的影响，后来跟随二王书体，他的楷书在唐代代表二王的书体。他也学习索靖的书法。

欧阳询的书法，主要是楷书，以刚健雄伟著名，尤其是其独特的结字与章法，被后代称为‘欧体’。他有名的楷书有《九成宫醴泉铭碑》（简称《九成宫》）。《九成宫》被誉为楷书中的绝品，成为书法学习者学习楷书的最好法书之一。他的有名的行书有《仲尼梦奠帖》、《季鹰帖》。他除了精于楷书与行书，隶书也写得很好。

在书法史上，欧阳询是初唐四大家之一。他也是历史上楷书四大家之一。其他三位楷书大家是颜真卿、柳公权与赵孟頫。

Yu Shinan 虞世南

China's calligraphy had its heyday during the Wei Kingdom (220-265), Jin (265-420) and Tang (618-907) dynasties when all scripts of Chinese characters - zhuan-shu, li-shu, kai-shu, xing-shu and cao-shu - had appeared and got continuously perfected.

Owing to the government's promotion, calligraphy was all the rage during the Tang Dynasty. Well-known calligraphers in the early years of the Tang Dynasty included Yu Shinan, Ouyang Xun, Chu Suiliang and Xue Ji. They are collectively known as ‘Four Masters of Early Tang Dynasty’.

Yu Shinan was born in Yuezhou (now Yuyao in Zhejiang). He was one year younger than Ouyang Xun, and passed away at age 81, being one of those calligraphers who lived a long life. He came from a noble family and was taught by Gu Yewang and Xuling, both were men of letters. According to historical records, Yu Shinan was by nature a quiet person who kept a pure heart and few desires, studied very hard and single-mindedly devoted to his studies. He was also always in a deep thought. He had rich knowledge in literature.

It was his good fortune that he met Li Shimin, the second emperor of the Tang dynasty. Appeared to be gentle by nature, Yu was actually a pretty strong character who always spoke his mind when giving advice to the emperor. According to historical records, the emperor once wrote a courtly love poem and asked Yu to respond with another poem. Yu Shinan told the emperor, ‘What your honour has written is indeed excellent in form, but its content is not proper. It is naturally that your servants will do and follow what your honour likes to do. But I am concerned that once the poem is published, writing this type of poetry will become a trendy thing among the people. Therefore, I dare not fulfil the wish of your honour.’ The emperor replied, ‘Well said. I actually just want to know what is in your mind.’ He then rewarded Yu with 50 rolls of cloths. Once, the emperor asked Yu to write the ‘Stories of Exemplary Women’ in calligraphic form on folding partitions. As the text was not available at that time, Yu wrote the calligraphy based on his memory, and it was proven to be a perfectly written work without a single mistake. The emperor had commented that ‘Yu Shinan is a man of five absolute merits, namely, good virtue, faithfulness and righteousness, rich in knowledge, good at writing and calligraphy’. When Yu passed away, the emperor was so sad that he cried and said that Yu was like part of his body, and every time he committed a mistake, Yu would fearlessly point it out to him. Where to find someone to replace Yu, now that he had gone?

Another reason that Li Shimin respected Yu was due to his calligraphy. Yu can be said to be Li Shimin’s calligraphy teacher. So when Yu passed away, the emperor lamented that he would not be able to find another person to discuss calligraphy with him. In the history of calligraphy, there is no other person received such special honour from an emperor.

Yu Shinan had learned calligraphy from Zhi Yong and followed Zhi Yong to taken in the essence of Wang Xizhi and Wang Xianzhi’s calligraphic style. Steady and with strength, upright and elegant, some of Yu’s works were really free and rakish. One of the most famous works of Yu is the ‘Confucius Temple Stele’. The character in Confucius Temple Stele tends toward the slender look. The spatial composition follows the rule of ‘compact upper part and looser lower part', creating a neat, forceful look.

.

中国书法在魏（220-265）、晋（265-420）与唐（618-907）可说是最辉煌时期，所有字体，篆书、隶书、楷书、行书、及草书都已出现并继续发展得更完美。

由于政府的推广，唐朝的书法风行一时。初唐著名书法家有虞世南、欧阳询、褚遂良与薛稷。他们被合称为‘初唐四大家’。

虞世南，越州（今浙江余姚）人，比欧阳询小一岁，享年81岁，是个高寿书法家。出生于门阀高贵的官宦之家，受学于当时的大文学家顾野王、徐陵。史书上称虞世南‘性沈静寡欲，笃志勤学’，又‘精思不倦’，文学上造诣很深。

改变虞世南人生的机遇是遇上了李世民。虞世南虽然容貌儒雅，但志性抗烈，常常加以规谏。史书记载，帝尝作宫体诗，使虞和。世南曰：‘圣作诚工，然体非雅正。上之所好，下必有甚者，臣恐此诗一传，天下风靡。不敢奉诏。’帝曰：‘朕试卿耳！’赐帛五十匹。尝命写《列女传》于屏风，于时无本，世南暗疏之，无一字谬。帝每称其五绝：一曰德行，二曰忠直，三曰博学，四曰文词，五曰书翰。虞世南逝世时，李世民悲伤痛哭，说虞世南与他犹如一体，我每次有过失，他都会犯颜规谏，以后再也没有像他这样的人了。

所以李世民看重虞世南的另一个原因就是书法，可说是李世民的书法老师。虞世南去世后，李世民又感慨无人可以与他论书法了。在中国书法史上，没有哪一位书法家得到过如此殊荣。

虞世南的老师是智永，跟随智永继承了二王传统。其字外柔内刚，笔致圆融冲和而有遒丽之气。《孔子庙堂碑》是他著名的书法作品。全篇字体秀丽细长，结体‘上密下疏’，体现出灵巧而有力的外观。

Zhi Yong 智永

In Chinese history, the Qin and Han dynasties witnessed the most dramatic change of Chinese writing system. However, it was during the period of Wei, Jin and Southern & Northern dynasties that the prominence was given to the development of calligraphy. This period is defined by modern calligraphers as ‘the establishing period of Chinese calligraphy’.

Fast forwarded to Sui dynasty that was founded in 581 AD. During this period, the society flourished in every aspect, including calligraphy. However, calligraphy of the Sui dynasty, represented by Zhi Yong, was really just a transition from one high point in Wei Jin dynasties to another in Tang dynasty.

Zhi Yong, also name Faji, was born in Huiji (now Shaoxing in Zhejiang). His family name was Wang, and according to the records of some ancient books, he was the seventh-generation descendent of Wang Xizhi, the sage of calligraphy. His birth year was unknown. He first became a monk in Yongxin Temple and moved to Ximing Temple in Chang-an later. Yongxin Temple was originally the residence of Wang Xizhi, was converted to a temple for unknown reason. When it was converted, it was called Yunmen Temple.

Zhi Yong’s calligraphic works were first known by people in the Chen period (557 – 589) of the Southern Dynasties and became very famous in the Sui dynasty. So his calligraphy is considered to be part of Sui calligraphy. He was also famed by his student, Yu Shinan, a great calligrapher in Tang Dynasty.

Zhi Yong became a monk when he was very young and lived a seclude life in Yongxing Temple for 30 years. During that period, he got up early every morning and prepared a large grail of calligraphy ink to practice in Wang Xizhi’s model calligraphic works. He was good at regular script and cursive script. His work in regular script was brisk and yet precise, and his cursive style was free and firm.

His famous calligraphic work is ‘The Thousand-Character Essay in Regular and Cursive Scripts’ (Zhencao Qianziwen). It is said to be a piece from heaven, and is widely used by calligraphy learners as a model book.

.

中国的历史里，中文在秦汉的改变最大。但是，书法在魏晋南北朝时的发展最为显著。现代书法家把这个时期称为‘书法的建立时期’。

隋朝于公元581年建立。这个时期，社会各方面都很发达，包括书法。但是，以智永为代表的书法在隋朝其实是由魏晋的一个高峰到唐朝的另一个高峰的过渡期。

智永又名法极，生于会稽（今浙江绍兴）。他俗性王，据古书记载，是书圣王羲之的第七代孙。他的生年不详。开始在永欣寺出家为和尚，后来到长安的西明寺。永欣寺原为王羲之旧宅，后不知为何改成寺庙，当时称云门寺。

智永的书法在南朝之陈代（557-589）就有所闻，到了隋朝就更加著名了。所以他的书法就放入隋朝来叙述。他的书法还靠他的学生虞世南而闻名。虞世南是唐代大书法家。

智永从小就出家为僧，在永欣寺过了30年出家人的生活。这期间，他每天很早就起身，磨了一大盘墨，临写王羲之的字帖。他擅长真草二体。真书活泼严谨，草书自由沉稳。

他有名的书法作品为‘真草千字文’，被誉为‘神妙之作’，为历代书法爱好者所临摹的书法范本。

Wei Shuo 卫铄

Wei Shuo (273-349), commonly addressed just as Lady Wei, was a calligrapher of Jin Dynasty (266-420). She was unusual and outstanding in her era during which Chinese women were required to restrict themselves to the care of their homes and children and obedience to their husbands and parents-in-law.

Born in Dong-an Town, Jin He (today’s Xia County, Shanxi), Wei Shuo was the daughter of Wei Zhan and niece of Wei Guan, a famous calligraphy in Jin dynasty.

She was introduced to calligraphy at very young age when she was allowed to watch her uncle Wei Guan practice writing calligraphy. She observed carefully her uncle’s writing style and technique: how he held his brush, execute the strokes and compose the characters. After her uncle finished his practice, she would quickly go into her own room and practiced what she had learned.

She later learned calligraphy from the great calligrapher Zhong Yao. With much practice, Wei became well known for her Lishu (Official or Clerical script) and Kaishu (standard script).

Her calligraphy was described as being beautiful, fascinating and harmonious; it was like a fairy playing with her shadow or like a lovely young lady walking gracefully out onto a stage to perform.

Wei was also a great calligraphy theoretician whose theories resolved around the structural composition of an entire piece of calligraphy.

There is another reason that made her famous in calligraphy. She was the teacher of the sage of calligraphy, Wang Xizhi.

Her calligraphic works include the Famous Concubine Inscription (Ming Ji Tie) and the Inscription of Wei-shi Henan (Wei-shi Henan Tie)(see diagram).

.

卫铄（273-349），一般称为卫夫人，是晋（266-420）代著名书法家。她是不寻常与特出的，因为在她那个时代，女人的活动只能限于家庭与孩子间，听命于丈夫与父母。

卫铄出生于晋何东安邑（今山西夏县），是为卫展女儿，也是晋代大书法家卫瓘侄女。

她从小由于允许观看叔叔练字而接触书法。她仔细观察叔叔的书写方式与技巧：如何执笔、运笔、安排字行。叔叔练字完毕后，她立刻回到自己的房间，练习刚刚所学到的。

后来她跟随大书法家钟繇学习书法。苦练之下，使她闻名于隶书与楷书。

她的书法被形容为优美、醉人与协调，像仙娥弄影、美女优雅地登台表演。

卫铄也是个有名的书法理论家，她的理论集中于书写安排之章法。

还有一个理由使她闻名于世。她是书圣王羲之的老师。

她的书法作品有：名姬帖与卫氏和南帖（见图）。

Wang Xianzhi 王献之

Wang Xianzhi (344-388 or 386), born in Kuaiji of Shanyin, was a famed calligrapher. He was the seventh son of the famous calligrapher Wang Xizhi, son-in-law of the Emperor Wendi of the Eastern Jin Dynasty. He served, as did his father, at the Eastern Jin court, attaining the rank of Chief Councillor (zhongshuling or daling), by which title he was later frequently known.

He was a child prodigy in calligraphy and enjoyed a reputation as a young calligraphy master. He was only eight years old when he participated in his father's literary gathering at the Orchid Pavilion. His father once stealthily came up from behind and tried to yank the brush from the seven-year-old Wang Xianzhi. Xianzhi was holding the brush pen so tightly that the father was unable to take it away from his hand. The father sighed that the son would become famous in the future. Wang Xianzhi himself claimed that at the age of 24, while roaming the mountains, he received instructions in the form of a piece of writing of 579 characters, which profoundly affected his writing style.

He is traditionally held to have first studied his father's style and then that of Zhang Zhi , who was renowned for his one-stroke, 'flying-white' calligraphy linking a column of characters in one charge of the brush.

Wang inherited his father's talent for the art, although his siblings were all notable calligraphers. His father and he are known in the calligraphy history as Two Wangs.

A versatile calligrapher, Wang Xianzhi was good at the cursive script and characters. His use of the brush was innovative and turned the unsophisticated ancient style into a new style known for its boldness. Amongst his innovations is the one-stroke cursive script, which blends all characters in the writing in a single stroke.

His influence on the calligraphers of the later generations was huge. Until the Tang Dynasty his influence and reputation rivalled and even surpassed that of his father.

Few of his original works have survived, and they are Yatouwan Tie, Luo Shen Fu Shisan Hang, Shieryue Tie and Zhongqiu Tie.

.

王献之 (344-388或386)，生于山阴会稽，是个有名的书法家。他是著名书法家王羲之的第七子，东晋简文帝的驸马。和他的父亲一样，他官至中书令，或称大令，后人并以此称呼他。

他自小就是个书法神童，享有少年书法家的名誉。八岁就参加了父亲的兰亭会。七岁时，一次，父亲悄悄地在他的背后，突然要拔起他的毛笔。由于献之执笔太紧以致父亲没法把它抽起。父亲惊叹此儿日后必大有前途。献之自己亦言他在24岁时，在深山漫游时得到了579字的写法，由此书法大进。

一般的说法是，他先学习他父亲的书法，然后学张芝。张芝以一笔字，飞白而著名。

献之得到了他父亲艺术天分的遗传，他的哥哥们也都是名书法家。与其父并称‘二王’。

一个多才多艺的书法家，王献之以草书著称。他的用笔有新意，把简朴的古法转为果敢的新法。他的创新包括了一笔字。
他对后代的影响很大。在唐代之前，他的影响与名声无人可比，甚至还超过其父。
他所留下来的真品不多，其中包括《鴨頭丸帖》，《洛神賦十三行》，《十二月帖》与《中秋帖》。

Wang Xizhi: The Sage of Chinese calligraphy 书圣王羲之

Wang Xizhi (321 - 379) is reputed as the most outstanding calligrapher in Chinese history, unsurpassed over l,600 years. He has traditionally been called the ‘sage of calligraphy’.

He is remembered not only for revolutionising the art of Chinese writing, but also for his complete devotion to this traditional Chinese art form. He was also remembered as the founder of the Southern School, or Rubbing School of calligraphy.

Wang was born in a family of calligraphy, whose uncles and cousins were all famous calligraphers of their time. At the age of seven, Wang began a systematic study of calligraphy under a lady calligrapher - Wei Shuo, or Wei Furen (Madam Wei). He practised the Wei-style calligraphy for five years and later learned much from the work of other previous calligraphers, including Zhong Yao's Kaishu, Zhang Zhi's Caoshu and the calligraphy of Li Si and Cai Yong.

From then on, he digested characteristics of calligraphers from different dynasties, and innovated in the plain style of Wei and Jin to form a new style of flowing grace, emphasizing individual personality, style and mood.

Emperor Wu in Liang Dynasty praised his calligraphy as ‘the dragon jumping over Sky Gate, and the tiger lying on Phoenix Pavilion’.

In the early Tang Dynasty, Emperor Taizong loved Wang's calligraphy very much and because of his favour, most calligraphers at that time studied Wang's styles. When the official history of the Jin dynasty (265-420) was compiled, the emperor himself wrote an Imperial Postscript to the biography of Wang, in which he declared Wang the greatest calligrapher of all time, ‘I examined all calligraphy works with tiny details of ink from ancient times until now. I only find Wang as the most perfect calligrapher.’

Imperial sponsorship was largely responsible for the dominant position this stylistic lineage has long enjoyed. Emperor Tang Taizong fixed the style of Wang as the imperial signature with such finality that it was maintained as such through the Tang dynasty and beyond.

.

王羲之被认为是中国书法史上最杰出的书法家，千六年来无人能出其右。传统上，他被称为书圣。

他为后世所知的不但是他改革了中国书法，还有对书法的完全投入。他也因是南派帖学书法的创始者而留名于世。

王羲之生长于书法世家，他的叔伯侄表皆为当代著名书法家。七岁时，他开始在卫夫人的指导下有系统地学习书法。他跟卫夫人学习了五年后，再学前朝其他书家的法书，包括钟繇的楷书，张芝的草书，与李斯及蔡邕的书法。

从此，他吸取了各朝书法家的特点，由魏晋之朴实而自创飘逸的新体，强调个性、风格、心境。

梁武帝赞之为‘龙跃天门，虎卧凤阙’。

初唐，唐太宗最喜爱王羲之的书法；因为他的喜好，当时书法家大都学习王体。《晋书》书学之时，太宗还亲自写了《王羲之传》，宣称王位古今最伟大的书法家：‘所以察详古今，研精篆素，尽善尽美，其惟王逸少乎！’

王体持久垄断书坛，自然与皇帝赞赏有关。唐太宗裁定王体为正统，以致王体得以由唐代起持续不衰。

Suo Jing 索靖

In the history of Chinese calligraphy, the works of calligraphy are generally classified into the Southern or North schools. The calligraphers of both schools practiced the calligraphy of Zhong Yao and Wei Guan. Suo Jing was the founder of the Northern school, and Wang Xizhi and his son Xianzhi founded the Southern school.
As a person who was named the founder of Northern school or the School of Stele Calligraphy, Suo Jing naturally occupied an important place in the Chinese calligraphy history.
Suo Jing (239-303) was a calligrapher lived in the Western Jin period. He was the grandson of the sister of the famous calligrapher Zhang Zhi of Eastern Han dynasty. Therefore, his calligraphy was greatly influenced by Zhang Zhi. He was famous for his Caoshu, or the running/cursive script, especially Zhangcao (a kind of Caoshu which was evolved from Lishu, or the Clerical script).
During the time of Emperor Wu of Jin, both Suo and Wei worked in the same State office. Wei was the Chief State Secretary and Suo the State Undersecretary. As both were good in calligraphy and each had his own style, they were known as ‘Two Wonders in One Office’. This is to say that both had inherited the calligraphy tradition of Zhang Zhi. Someone commented later, ‘Wei has mastered Zhang’s quality of muscle and Suo has mastered Zhang’s quality of flesh.’ (The Chinese traditional aesthetic theory has valuated individual brush strokes according to four qualities, namely, bone, flesh, muscle and blood.)
Suo’s calligraphy available today include ‘Chushi Song’ (Eulogy of Launching the Campaign), ‘Yueyi Tie’, and ‘Jijiu Zhang’ (Hurriedly Written Essay).  Suo’s works were included in the famous Chunhuage Tie (a collection of model calligraphic works) produced in Song dynasty. Suo’s calligraphy influenced greatly the later calligraphers. The famous calligraphy Ouyang Xun of Tang dynasty was well known for his paying attention to calligraphic techniques and he seldom praised ancient calligraphers. Once, he saw the calligraphy of Suo carved on a slab stone, he was so attracted to it that he couldn’t bear to leave the place. So he stayed there for a few days so that he can appreciate and study the calligraphy in details.
‘Chushi Song’ was collected by Wang Shimao of Song dynasty. During Qing dynasty, it was first collected by An Yizhou and later became part of the collection of the Qing Court. On 9 November 1922, Fu Yi brought it out of Qing Court, on the pretext that it was to be given to Fu Jie. Since 1945, it disappeared among the people and in 2003, it miraculously re-appeared.
In Jul 2003, the China Guardian Auctions Co., Ltd announced its plan to auction it, claiming that it was the only authentic work of Suo Jing and classified it as ‘the oldest Chinese calligraphic work available’, ‘amazing re-appearance of calligraphic masterpiece of Western Jin’ and ‘currently the only discovered authentic work of Suo Jing’. On 10 July 2003, the Palace Museum in Beijing shocked the world by buying the ancient calligraphy work for 22 million Chinese yuan.
.
在中国书法史上，向有南北书派之说。一般上认为，南北两派书法皆出于钟繇、卫瓘，而索靖为北派之祖，王羲之、王献之父子则为南派之祖。
因为被视为北派，或碑学之祖，索靖在书法史上就自然而然的占了一个重要的地位。
索靖（239一303年），西晋书法家。他是东汉著名书法家张芝姊之孙，书法上受张芝影响很深。以善写草书知名于世，尤精章草（章草是隶书草化后的书体）。晋武帝时，他和另一大书法家卫瓘同在尚书台供职。卫瓘为尚书令，索靖为尚书郎。由于二人在书法艺术上独具风格，当时被人们誉为“一台二妙”。他们二人的书法与张芝有很深的师承关系。后人评价道：“瓘得伯英（张芝字）筋，靖得伯英肉”。（中国传统美学欣赏书法线条的四种品质：骨、肉、筋、血。）

索靖流传后世的书法作品有《出师表》、《月仪帖》、《急就章》等。宋代著名的《淳化阁帖》也收集了索靖的墨迹。他的书法对后世影响很大。唐代书法家欧阳询平生最重法度，不肯轻易推许古人。一次，他路见索靖书写的碑石后，竟卧于碑下，朝夕摩掌，不忍离去。

《出师表》墨迹本，在明代归王世懋，清归安仪周，后入清宫石渠宝笈收藏。民国十一年（1922）十一月初九日溥仪以赏赐溥杰名义携出宫外。一九四五年散落民间，于2003年奇迹般地出现。

2003年7月，嘉德拍卖行宣布将拍卖索靖惟一真迹《出师颂》，并将此作品定性为“中国现存最早的书法作品”、“西晋书法珍宝惊现”、“迄今为止发现的索靖惟一墨迹”等等。2003年7月10日北京故宫博物院以人民币两千二百万天价购买该作，轰动一时。

Zhong Yao 钟繇

Zhong Yao and Zhang Zhi were two greatest calligraphers of the Eastern Han Dynasty.
Zhang Zhi is traditionally honoured as the Sage of Cursive Script and Zhong Yao is said to have achieved high standard in Kaishu (standard script). In fact, he was also attributed to the development of Kaishu.
For his achievements in kaishu, he is peered with Wang Xizhi, the calligraphy sage, referred to as ‘Zhong Wang.’
Zhong Yao (151－230), also named Zhong Yuanchang, was a native of Changge County of Henan Province during the Three Kingdoms Period. He was a successful politician, who served in the official courts of Cao Cao, Cao Pi and Cao Rui of Wei kingdom. He had been treated well by Cao Cao. Following Cao Pi's death and Cao Rui taking the throne, Zhong Yao was appointed as a Grand Tutor of Wei in 226, and as such he was also known as Grand Tutor Zhong.
As a small boy, Zhong studied under such famous calligraphers as Cao Xi, Cai Yong and Liu Desheng, the cream of the crop. He developed adept skills at all kinds of scripts, and was especially good at kaishu. His calligraphy, simple but well-organized in structure and natural in handwriting, represented a transition from lishu (official script) to kaishu.
It is said that the famous saying on calligraphy was from him: ‘While the brush traces the line boundaries, it is man who creates the beauty of the rhythmic flows.’
Once when lecturing on calligraphy to his son - Zhong Hui - he said, ‘I have been studying calligraphy for more than 30 years. Whenever I meet a friend, we will discuss calligraphy by writing on the ground. My bedclothes were lacerated due my practice on them with my hand. I also imitated the living things in nature from the calligraphic point of view.’
His calligraphic works were given great importance in the dynasties to follow, but authentic works of his no longer exist, leaving only duplicates made during the Song Dynasty. His masterpieces were Xuanshi Biao and Jianjizhi Biao.
.
钟繇与张芝是东汉两个最伟大的书法家。
传统上，张芝被称为草圣，而钟繇则被认为在楷书的成就很大。事实上，他被认为对楷书发展有重要贡献。
他在楷书的成就，与书圣王羲之并列，称‘钟王’。
钟繇(151－230)，字元常，三国时河南长葛人。他在政治上相当成功，在曹操，曹丕与曹睿的朝廷中服务。曹操待他不错。曹丕死后，曹睿接位，封他为魏朝太傅，故世称钟太傅。
钟繇从小向当时书法名家如曹喜，蔡邕与刘德升学习书法。他精通各体书法，尤其精于楷书。他的书法，简练而结构协和，笔画自然，代表由隶入楷的过渡。
据说书论名言‘笔迹者，界也，流美者，人也。’是他说的。
有一次，他把儿子钟会叫来讲述书法时说：‘我学习书法三十余年。每遇到朋友，就在周围地上练习谈书法。把床被当作纸张，长时间长以手书写而划了个大窟窿。见到花草树木，虫鱼鸟兽等自然景物，就会与笔法联系起来。’
他的书法被后代所重视，可是没有传世作品，只有宋代的摹本。他的名作有‘宣示表’与‘薦季直表’。