Wong Joon Tai's Running Script 王运开的行书作品

This is a running script recently written by me. You are welcome to give me your comments.

这是最近书写的行书，敬录张大千先生偶得诗一首，请网友多多指教。
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The New Calligraphy Style on Su Shi's Poem 斗胆豪心新书风：习作苏轼赤壁怀古

Trying out the new calligraphy style. Readers are welcome to give comments. The content of the calligraphy is poem written by Si Shu (1037 -1101): 

For thousands of years, the wave of the eastward flowing YangTze River has been washing away all the great heroes of the past.

And to the west of the old encampment, people’s consensus was, “It is at this Red Cliff that Zhou Yu defeated Cao Cao‘s army.”

Around uneven steeps of the rocky walls that reaches the sky, the huge waves beating against the river banks burst into a fascinating display almost like thousands of layers of snow.

In such picturesque landscape, how many talented heroes had gathering there then?

Remember those days, where Zhou Yu and his wife Xiao Qiao had just been married? He was beaming with pride.

Holding his feather fan and wearing a head turban, Zhou Yu chatted and joked as he watched numerous war ships sent by Cao Cao burn between the thick flames into ashes.

Travelling these battlefields of old, I guess you can make fun of me for being overly sentimental about it, maybe that’s why I have white hair even though I’m young…

Our entire lifetime is just like one long dream. Let’s drink to the moon over the river.

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试以新书风书写苏轼（1037-1101）的词：念奴娇·赤壁怀古。请读者批评指正。


大江东去，浪淘尽，千古风流人物。
故垒西边，人道是：三国周郎赤壁。
乱石穿空，惊涛拍岸，卷起千堆雪。
江山如画，一时多少豪杰。
遥想公瑾当年，小乔初嫁了，雄姿英发。
羽扇纶巾，谈笑间，樯橹灰飞烟灭。
故国神游，多情应笑我，早生华发。
人生如梦，一尊还酹江月。
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Wong Joon Tai on Lishu 运开临隶书

It is inevitable that a new learner of Chinese calligraphy will ask these questions: Where do I start if I want to learn Chinese Calligraphy? What model calligraphic books should I use as a beginner?

Perhaps the easy way out is to find a good teacher. However, it is all too easy to talk about finding a good teacher.

Su Dongpo once said, ‘Running script is evolved from Standard script, and Cursive script from Running script. Standard script is like standing, Running script is like walking, and Cursive script is like running. It is not possible to learn walking before standing and to learn running before walking.’ In other words, you must master the basic skills by learning a Standard script before you are able to learn more complex skills.

Standard script refers to Official, Clerical and Regular scripts. As it is often said that all roads lead to Rome, so you can start the learning journey with either Official, Clerical or Regular script. But, our ancient masters also advised that, if you follow the very best, you probably can achieve fairly good result; and if you follow the fairly good, you can achieve only mediocre result. So, it is better that you choose the best method to start with. According to some calligraphy educationists in China, it is best to start with the Official script as it is the origin of the Chinese calligraphy. As Clerical script is the link between Official script and Regular script, it is the second best to start with. Regular script is the newest form of the three scripts, and when learning it, one must always refer back to the other two older scripts, and therefore it is the worst to start with.

From past experience, it is not effective to start with Regular script. This is because the structure of Regular script is too complicated and difficult to master. If the application of brush techniques is over emphasized, it will lead to a loss of interest in learning and therefore makes it difficult to achieve required result. On the other hand, Official script is an ancient script that is not recognizable by most people today, and as a result, there is a lack of interest in learning it.

It seems that taking the middle ground of starting with Clerical script is the most suitable way to go in our current social environment.

My own learning journey seems to confirm the above learning theory. I started with various Official scripts, and the feeling was that ‘not knowing what I was writing’. I then switched to practice Clerical script. At the Calligraphy Society, I was told to start with Regular script and then followed by Running script. This year, while learning the Running and Cursive scripts, I decided to practice the Clerical script again. I have discovered through this new experience that by taking the middle ground of starting with Clerical script, one can accomplish twice as much with half the effort.

‘The best method’ also refers to selecting the most suitable model calligraphic work to start with. The general rule is to select the most accepted calligraphic works and avoid those written by recent or contemporary calligraphers. Among the Han dynasty tablet inscriptions in clerical script, Cao Quan Stele and Ritual Vessels Stele are two shinning gems of the ‘delicate beauty’ category. New learners can therefore start with any one of them.

Shown here is my copy work of Caoquan Stele.

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运开临曹全碑 Copy Work of Caoquan Stele

学习书法，最常问的问题是：学习书法，应怎样入门？如何选字帖？或者，最好的办法就是找个好老师。可是，真师难寻啊！

苏东坡曾说过：‘真生行，行生草，真如立，行如行，草如走，未有未能立而能行，未能行而能走者也。’就是说，要先学真书以练好基本功，接下来才学复杂的。

真书指篆、隶与楷书。所谓条条大路通罗马，所以篆隶楷皆可以入门。但是，古人又认为，取法乎上，僅得乎中；取法乎中，僅得乎下。所以在这三种真书中，还须取法乎上。按目前中国一些书法教育者的看法，篆书是中华书法的源头，由篆书入门，就是取法乎上。隶书承上启下，是中间介入，由隶书入门，算是取法乎中。楷书由近及远，由楷书入门，可说取法乎下。

经验显示，由楷书入门，往往效果不佳。这是因为楷书结构复杂，难以掌握。过度强调技法训练，又会导致学习兴趣减退，难以达到学习效果。而篆书又远离时代，现代人已经不能变认阅读，所以学习的兴趣不大。

看来取法乎中，由隶书入门最适合现代社会的情况。

我本人学习书法的过程，完全体验了上述观点。开始学各种篆书，感觉不知在学什么。后来改写隶书；来到书协，又由楷而行。今年学行与草间，又花时间临隶书，才发现取法乎中，由隶书入门，的确能取得事半功倍之效。

取法乎上亦指最好法帖。一般原则是取公认好法帖，避免最近或当代书法家作品。在汉朝隶书碑帖中，《曹全碑》与《礼器碑》可以说是属于秀丽书法中的两颗闪亮钻石。任何一帖都不失为一个良好的入门法帖。

Xiao Yawu on Chinese Calligraphy 萧雅悟谈学书法

Xiao Yawu shares with us his reflection on learning Chinese calligraphy as follows:

萧雅悟与他的书法 Xiao Yawu and His Calligraphy

In the days when I had nothing to do, I started learning Chinese calligraphy. However, I feel I lack perseverance and do not achieve much result after these few years of learning. After reading the posting by an English educated person on his learning of Chinese calligraphy (click here to read), I am full of all sorts of feelings well up in my minds. I am Chinese educated and yet I do not devote enough attention to Chinese traditional culture.

Recently I participated in the 12th National Teochew Artists Calligraphy and Painting Exhibition held at the Ngee Ann Cultural Centre. With a lot of encouragement from my teacher and classmates, I have also participated in a number of exhibitions held locally and overseas. I always think that I would have given up learning calligraphy long ago if not because of these activities. I am grateful to the organizations that give me the opportunities to exhibit my calligraphic works.

In the process of learning and reading the model calligraphic works, we always spend much time to continuously reflect and think about the writing flow, brush techniques and the compositional structure. When we find the ‘correct answers’, or enlighten suddenly after pointing out by teachers or seniors, the joy is really beyond words. Perhaps this is how it makes learning calligraphy fun. In the process of creating a piece of calligraphic work, there is yet another bittersweet brought about by this process of artistic creation.

For a new learner of Chinese calligraphy, perhaps it is this type of joy that encourages me along this learning journey. What I have mentioned here is just an expression of my own mental state. My knowledge on calligraphy is so limited that I beg your understanding.

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萧雅悟今天与我们分享他学习书法的感想。以下是他的感想。

无所事事的日子里，开始学习书法，总自觉没有一股毅力，所以，数年下来，自己还是写不出什么成绩来。在阅读了有关受英文者学习书法的文章後（点击这里阅读），身为受传统华文教育者，对华人传统文化的热忱却没有那么强烈，真是感慨万千。

最近，参加了义安文化中心举办的第十二届全国潮人书画展，这几年里了也参加过一些国内外的书法展览，都是老师和同学的鼓励与协助下参加的，我私下经常在想，要不是这样，可能早已经放弃了，对给我鼓励与鞭策的人，给我机会参与展出的机构都心存感恩。

写字的过程中，读帖的时候，往往为了笔顺、笔法、结构而反复思量推敲，在找出“答案”时；或经老师或前辈指点後，恍然大悟时，那种喜悦的心情，真是难以言喻，我想学书法的乐趣也就在此吧。到创作作品时，那又是艺术创作过程的另一种苦乐了。

一个书法的初学者，或许就是这种乐趣，支持着我继续学习书法，在此只是一己心境的抒发，对书法的领略就是这般浅薄，希望方家大雅包涵。

Johnson Tan Chin Kwang on Learning Calligraphy by English Educated 陈振光谈受英文教育者学书法



陈振光与他的书法 Johnson and his calligraphy

Today, Johnson Tan, an English educated, shares with us his determination and experiences in learning Chinese calligraphy.

As the Chinese saying goes ‘live and learn’, continuous learning is so important in today’s fast changing world that one must learn fast to catch up with the pace. In my days of primary and secondary education, the schools in Singapore are divided into English stream or Chinese stream. All pupils needed to study a second language in order to complete their studies. For me, I studied in an English school and Chinese was my second language subject. Chinese studies during my time were very basic and it is more a language consisted of oral practice and composition writing. It was always a struggle for me when it came to class test, examination on dictation or write from memory. For all we need to do actually was just to memorize all the wordings and writings by hard. How strokes were written was not considered to be important as long as the words look recognisable on paper and the phrasing is proper. I learned very little about Chinese classical literature or history, although I would like to learn some idioms that can be used in composition for getting extra marks. No Chinese brush was used then and Calligraphy to me was just something for a small elite group of Chinese educated scholars. I survived through this education system. And it is history now.

For me, conversational Chinese and reading the classic/complicated font are quite manageable and life goes on. Writing in Chinese is generally not common in my working environment and as years passed by I have returned what I have learned to my Chinese teachers.

And then there is a need to do business with China, as most businesses today cannot miss the opportunity created by this big and fast growing economy. However, this is becoming a challenge for me. If I can speak fluently in Mandarin and am able to read Chinese, I can position myself well within the China business circle. But, the fact is that what I learned in school is not good enough. The rich and long history of China are much more than what I had learned before and the Chinese literature, classics, poems, writing and many more are just alien to me.

With no regrets for the past, I try to find opportunities to read and write in Chinese. Now my weekends mean having to read the Singapore main Chinese newspaper Zaobao together with my daily Straits Times. In order to brush up my Chinese, I also watch Chinese classic serial movies like the ‘The Romance of the Three Kingdoms’, ‘Water Margin’, ‘Kangxi Dynasty’, ‘The Grand Mansion’. These are just some very good serial movies that conveniently provide me with some facts on Chinese history and other Chinese knowledge.

A Chinese folktale talks about ‘The old man moves a mountain’, which is actually about how ‘Faith can move mountain and without Faith, non-existing mountain will just be created’. There is also a saying that ‘A journey of a thousand miles begins with the first step’. All these encouraging and positive idioms are very useful and applicable in our lifestyle that I would like to share with you. I take the courage and determination to enrol in a 3-year learning course on Chinese Calligraphy and literature at the CCSS. During the 3 year period, I had the privilege to learn from my teachers, my seniors and peers. There are many pains and gains through this learning process which I can share with you in future.

To end this note, I must say that ‘If I can make it, you can make it too’, as there should be no hurdles or obstacles for an English educated person to learn Chinese writing or Calligraphy if he or she got the will power.

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今天，陈振光，一个受英文教育者，与我们分享他学习书法的历程与决心。

华人说，‘活到老，学到老’。在今天的社会，为了能跟得上社会的不断改变，不断与快速地学习是很重要的。我在读中小学时，新加坡的学校分为华校与英校。我们必须选读一科第二语文才能毕业。我当时读的是英校，而华文就是我的第二语文。在我们那个时候，华文科所学的东西相当基本，不外是口试与作文。每一次的班上考试，听写或默写，对我来说都是一种挣扎。这些学习其实都只是死记措词及苦练写法。字的笔画并不重要，只要字形在纸上看起来有点象，句子通顺就可以了。我对中国古典文学与历史所知不多，虽然我愿多学些成语，写作文时就可以多得些分数了。那时完全没用过毛笔。而书法对我来说是属于一部分华人高级知识分子的东西。我经历过了这样的教育系统。现在，这些都成为历史了。

对我而言，以华语交谈与阅读繁体字一般没有问题，而日子就这样一天天过去。在我的工作环境里，华文并不常用。一年过一年，过去所学的，都已经还给华文老师了。随着日子的过去， 需要与中国做生意，因为无人能忽视这个大而快速增长的经济体。这就给我麻烦了。如果我能说流利的华语，再加上能够阅读华文，在华人生意环境里，就能处于有利的位置。可是以前所学根本就不足够。中国丰富而长远的历史，远远多过我以前所学；而中国文学、古典经文、诗词、文字以及其他的东西，对我而言，形同外星人。

不去埋怨过去，我尝试寻找机会来读与写华文。每个周末，我会将本地主要的中文报 -- 联合早报和每天都读的英文海峡时报一齐读。为了加强华文学习，也观看华语古典电影，如‘三国演义’、‘水浒传’、‘康熙王朝’、‘大宅门’。我也很轻松地从这些连续剧得到中国一些历史与其他方面的知识。

智者言‘移公移山’是指‘信念可以移动山丘，没有信念，不存的山丘就也存在’。亦言：‘千里之行，始于足下。’这些含有积极与鼓舞意义的成语都是我想与大家分享的 ，有利于我们应用于日常生活之中。我鼓起勇气参加了书协的三年书法与文学课程。在这三年间，我庆幸能从我的师长、学长 、同学中学习。以后，我将继续与各位分享我的学习过程中的甘与苦。

最后，我要说的是‘我能，你当然也能！’每一位受英文教育者，只要他有意志力，学习华文与书法是没有障碍的。

Joon Tai on Standard Script 运开写楷书

It seems to be a generally agreement that the adult learners of Chinese calligraphy should start with practicing the standard (regular) script first. This is because most of the basic techniques of writing Chinese calligraphy can be learned by practicing the standard script.

The number of basic strokes in the standard scripts is said to be more than those of other scripts or styles. Besides the eight basic strokes in the character ‘yong’ (forever), it is estimated that the number of different strokes in standard script is more than twenty. More importantly, each stroke is clear and separate. This is different from the connecting and smooth strokes in cursive script.

The speed of writing each stroke of standard script is average, not as fast as in cursive script, nor as slow as in official script.

The structure of each standard character looks square while in official seal script (especially the small seal script) the structure is taller and rectangular, and in clerical script which is flatter and rectangular. The structures of characters of walking and cursive scripts are quite irregular.

New learners normally choose to practice on the model works of one of the four famous calligraphers, namely Ouyang Xun, Yan Zhenqing, Liu Gongquan or Zhao Mengfu.

Zhao’s style of writing the standard script is always eye-pleasing. However, Zhao’s works are generally considered not suitable for beginners as Zhao had simplified considerably the brush strokes. Ouyang’s model works are considered to be a good choice as the structures of his words are standard and his brush strokes are closer to that of clerical script. However, the writing of Ouyang is considered to be too structured so much so that the new learners may find it difficult to follow, since a slight error or deviation will result in wide divergences in strokes and structures of words.

I have started with learning the Yan style and then followed by the Liu style. For Yan style, one must practise at least the ‘Stele on Pagoda of Many Treasures’, ‘Yan Qingli Stele’ and ‘Record of the Altar of the Immortal of Mount Magu’. For Liu style, I have practised ‘Stele of the Xuanmi Pagoda’ and ‘Stele of the Imperial Guard’. I have spent much time on practicing the ‘Stele of the Xuanmi Pagoda’. I am still practicing it.

Shown here are copy works of Liu Gong Quan.

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Practice on Liu Style 临摹柳公权《玄秘塔碑》

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看来一般的共识是成年书法初学者应该从楷书学起。这是因为书法的基本技法都可以从楷书中学到。

楷书的笔画比其他字体来的多。除了‘永’字的基本把笔画之外，估计楷书笔画有二十多种之多。更重要的是，每一笔画都很清晰与独立。这与草体的连贯与平滑笔画不同。

楷书的书写速度也比较一般，不比草书快，不比隶书慢。

楷书的结构看来像正方形，而篆书（尤其是小篆）的结构是向上下的长方形，隶书则是向左右伸延的长方形。行草书的形状较不规矩。

初学者一般选择临摹楷书四大家欧阳询、颜真卿、柳公权或赵孟頫中的一家的法帖。

赵体的楷书令人舒服愉快。但是，赵体一般不适合初学者，因为笔画在很大程度上被简化了。欧阳询的法书被认为是好的选择，因为字的结构标准，笔画也较接近隶书。但是因为字的结构太过严谨，初学者可能难以临摹，因为稍有差错或偏差，就会造成笔画、结字与整体上的大偏离。

我先学颜体，后临柳体。学习颜体最少应临完《多宝塔碑》、《颜勤礼碑》与《麻姑仙坛记》。至于柳体，我临摹了《玄秘塔碑》与《神策軍碑》。临《玄秘塔碑》一直不断，至今还在临摹。

这里所显示的是临摹柳体法帖。

Practice Shiqi Tie 运开：临摹《十七帖》

Having been practising Wang Xizhi’s ‘Shiqi Tie’ for about four months, I now have a better understanding on the meaning on ‘sheng-shu-sheng’ stages of learning Chinese calligraphy.

The Chinese word ‘sheng’ has many meanings. In the first stage of learning Chinese calligraphy, it refers to the stage of unfamiliarity. While there are a number of things one should pay attention to at this stage, I think two things are most important on getting one familiar with writing the words: the number of strokes that form the words and the sequence of writing the strokes. After one has a better idea of these two aspects of writing, one can proceed to work other things: how and when to start a stroke, when to use finger or wrist to turn the brush, when to use various techniques of brush-turning, the correct space between the strokes, the position of the start and end of strokes, etc.

The second stage refers to the skilled or proficient (shu) stage, this is when you can start to work on the relationship between the words and the composition of the calligraphy. At this stage, one should almost be able to memorise the shape and methods of writing the strokes of the words so that one can focus on the placing the words at the right positions. The aim of this stage is to be able to write the whole piece in a way that the words and composition are flow smoothly.

The first two stages are what we called the methods (fa) of Chinese art. The last stage of ‘sheng’ reflects the very important concepts of ‘vivid’ and ‘lively’ in Chinese aesthetics. How to be vivid and lively? The only way to achieve that is that art work must be natural. The unity of methods and naturalness reflects the traditional aesthetic ideal of a great work of art as a living and organic pattern. Most of us may not be able to achieve such high level of art in our life time.

Shown here is a piece of my practice work.

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临摹了《十七帖》大约四个月，对学习书法的《生熟生》概念有了深一层的认识。

中文‘生’有不少意义。在学习书法的第一阶段指‘生疏’的意思。在这阶段，有不少的东西要我们去注意，但我想其中两个最重要：注意每个字有几个笔划与书写笔顺。对这两方面有了较好的认识之后，就可以开始注意书写的其它的事项了：如何及何时起笔、何时用指何时用腕运笔、何时用何种转笔法、笔划间的布白及起笔及收笔的位置，等等。

第二阶段是熟练阶段，这时开始注意书写字与字间的关系与章法。在这个阶段，我们应该几乎可以熟记字形及笔划的书写，这样就可以集中把字写在正确的位子。这个阶段的目的是要使结字与章法流而畅。

前两个阶段是中国艺术中所谓的‘法’。最后一个阶段反映的是中国美学里‘生动活力’的概念。达到生动活力的唯一法门就是要自然。方法与自然的统一反映传统美学中认为伟大艺术作品应有活力，同时是有机形式。对我们中很多人来说，一生中可能都没有法子达到这个阶段。

这里展示的是一幅临摹之作。

Wong Joon Tai on Chinese Calligraphy 王运开的书法之路

Wong Joon Tai (Wang Yunkai), who calls himself a simple-living person, claims to have understood the meaning of life at the age of forty and started fulfilling that meaning by learning Chinese calligraphy at fifty. Confucius once said, ‘At forty, I had no doubts and at fifty, I knew the mandate of Heaven.’ That is to say meaningful life only starts at fifty when one knows the mandate of heaven and acts on it.

In 2003, Wong learned Chinese calligraphy under Lee Kim Guan (Li Jinyuan), practised lishu ‘Caoquan Bei’ (Epitaph on the tombstone of Cao Quan, Han Dynasty) for three years, also practiced briefly the ‘Maogong Ding’ (Incense Burner), scripts on bamboo of Han, and ‘Shimen Song’ (an Ode Inscribed on the Stone Gate). Happened to pass by the Singapore Calligraphy Centre one day in 2004 and enrolled into calligraphy class conducted by Professor Tan Siah Kwee (Chen Shenggui). He then practised the walking style (xingshu) ‘Shenjiao Xu’ (The Preface to the Sacred Teaching) for five years and Zhao’s walking style xingshi for one year.

In 2007, he was influenced by Han Yutao’s theory that Chinese calligraphy is philosophical in nature and is about expression of feelings. This had led him to study on his own the Western and Chinese philosophies, aesthetics. He then created three blogs to keep notes of his study: Follow the Desires of My Mind, Chinese Calligraphy and The Chinese Lifeworld.

The experts seem to advocate that the only way to realise Chinese calligraphy as an art of expression is to work on cursive style of writing (caoshu). Therefore, he probably will spend the next three years on Caoshu. By that time he will be sixty years old, and if anyone criticises that he is crazy, he should be able to accept that criticism with a calm mind.

The copying work shown here is his practice on Wang Xizhi’s ‘Shiqi Tie’ (The collections of some of Wang Xizhi's letters).

Confucius once remarked, after he had begun the study of the Yijing (Book of Changes) at fifty, ‘If I could hope to live some years more, long enough to complete my study of the Yijing, I should then hope to be without any great shortcomings in my life.’

In his case, since he started learning Chinese calligraphy at fifty, he would say, ‘If I could hope to live some years more, long enough to complete my study of Chinese calligraphy, I should then hope to be without any great shortcomings in my life.’

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王运开，自号‘简易居士’。自认于不惑之年肯定了人生意义，知命之年开始行动而学书法。子曰：‘四十而不惑，五十而知天命。’就是说有意义的人生是在五十岁知道天命之后，并有了行动才开始的。

2003年跟李金源老师学书法，临了三年《曹全碑》，亦临过《毛公鼎》，汉简，《石门颂》。2004年无意中来到了新加坡书法中心，报名进入陈声桂教授的书法班，从此临了五年的《圣教序》与一年赵体行书。

2007年受到了韩玉涛书论的影响，说书法是哲学的，又是写意的。于是自修中西哲学，美学，并创立三个博客来作读书笔记：随意运开，中国书法、华人的生活世界。

看来书法专家多认为书法写意唯有草书。所以他大概会在以后三年苦练草书。那时已是耳顺之年，如果别人说他狂，应能以平静之心来看待了。

这里所展示的是他临王羲之《十七帖》的习作。

子曰：‘加我数年，五十以学易，可以无大过矣。’

吾曰：‘加我数年，五十以学书，可以无大过矣。’

Chew Nyee King 周仪卿

Chew Nyee King (Zhou Yiqing) has just completed a calligraphy course conducted by the Singapore Senior Citizen Calligraphy University Centre (SSCCUC) and was conferred the title of ‘Calligrapher of SSCCUC’ on 14 Nov.

Chew recalls her stay in Beijing eleven years ago and during the morning exercises in gardens, she used to see people practice Chinese calligraphy on the cement ground, using water-filled sponge attached to a wooden stick. The words written by them were beautiful. She told herself that one day she must also start learning Chinese calligraphy.

In 2007, while enjoying her happy old age by playing with grandchildren, she decided that she would turn her admiration for beautiful calligraphic works into zeal of learning the art. She therefore enrolled into a calligraphy course conducted by the Senior Citizen Calligraphy University Centre and started learning calligraphy from Professor Tan Siak Kwee.

In the process of learning, she realises that Chinese calligraphy is a difficult subject and there are no short cuts to success. At times, she felt like quitting the course. However, with the encouragement of her classmates, she learned a lot by discussing with them and this has confirmed her love for the art. She now also has a good understanding of the art. After three years of study, she finally completed the calligraphy course.

In order to improve her calligraphy, Chew hopes to continue practice calligraphy, attend calligraphy exhibitions, attend writing-on-the-spot sessions by famous calligraphers, and spend more times reading books on calligraphy.

The calligraphic work shown here as is one of her works that is accepted for display at the Graduates’ Calligraphy Exhibition held from 14 to 19 Nov at the Singapore Calligraphy Centre. The text of the calligraphy says:

‘The common interest of enjoying the sounds of the mountains has brought us closer together.’

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周仪卿今年刚修完由新加坡老年书法大学所开办的三年书法课程，并于十一月十四日获得该中心授予‘书学研士’衔。

周仪卿回溯十一年前，寓居北京时，清晨到公园晨运时，常见许多人用棍子扎了海绵沾上水，就在地练习字法，而且写得很好。就对自己说：有朝一日，我也会好好地去学习书法。

2007年，仪卿在含饴弄孙之余，把她对别人的一手好字的羡慕，化作自己学习书法的热忱，毅然报名老年书法大学，师从陈声桂教授。

在学习过程里，仪卿认知书法是一门没有捷径可走的深奥的学问，也曾经有打退堂鼓的念头，但是在同窗好友互相切磋，相互鼓舞下，终于建立起对书法的热爱，领悟了书法的奥妙，经过三年的努力，现在已经从老年书法大学学成毕业了。

仪卿期盼继续学习书法，有更多机会可以参观书法展览，名家挥毫，并博览书法群帖，以使自己的书法能不断进步。

这里所显示的是仪卿的毕业展作品之一，内容的是：写其山水之清音，与余同好相善也。

Seow Yawu’s Calligraphy 萧雅悟的书法

Seow Yawu’s (Xiao Yawu) interest in Chinese calligraphy is a result of the strict demand of the Chinese calligraphy home work by his first teachers. After leaving school, Yawu had to work overseas to earn his living and during this period, he lost touch with the Chinese culture.
Yawu is now retired and learning calligraphy by attending the Senior Citizen Calligraphy University class conducted by Professor Tan Siak Kwee. Although he had very little knowledge of Chinese calligraphy, his interest in calligraphy was further developed and confidence gained after almost three years of training and study of its theory and techniques. His calligraphy works were also selected for display at the Senior Calligraphy Exhibition in 2008 and the Singapore Calligraphy Annual Exhibitions in 2008 and 2009.
The text of his calligraphy shown here is a poem ‘The Temple of Qu Yuan’ written by Dai Shulun (732-789) of Tang dynasty.

Endlessly the Yuan and Xiang rivers flow,
So do the deep lament of Qu Yuan.
As evening falls, the autumn wind blows,
With maple leaves rustling.
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萧雅悟，对书法的兴趣是由于启蒙老师对书法功课的严格要求而萌发。离开学校之后，远走他乡谋生，就此与中华文化疏离数十载。
雅悟现已退休，在新加坡老年书法大学学习书法，师从陈声桂教授。原本对书法没有认知，经过接近三年的书法的理论与技法的灌输与训练下，终于建立了对书法的兴趣与信心，作品也获选参加新加坡书法中心的黄金岁月书法展（2008年）和新加坡书法年展（2008年及2009年）的展出。
唐代戴叔伦(732—789)的《三闾庙》
沅湘流不尽，
屈子怨何深。
日暮秋风起，
萧萧枫树林。

Tan Sok Oon’s Calligraphy 陈淑温的书法

Tan Sok Oon (Chen Shu Wen) is a professional accountant. She has a busy working schedule which requires her to visit China frequently. The frequent visits have provided her a good opportunity to keep in touch with the Chinese culture which has a history of five-thousand-years. She gradually she develops a keen interest in Chinese calligraphy.
Five years ago, she decided to enrol herself in the calligraphy class conducted at the Singapore Calligraphy Centre and learned the art under Professor Tan Siak Kwee (Chen Shenggui). She started with the Liu and Yan styles and later the Zhao style.
Since 2005, she actively participated in the annual calligraphy exhibitions held at the Singapore Calligraphy Centre.
The calligraphy shown here was selected to participate in the 2009 Singapore Calligraphy Annual Exhibition held from 25 to 28 April at the Singapore Calligraphy Centre.

The poem Travelling in the Autumn Hills was written by Tang poet Dumu.
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Travelling cold hills afar along a narrow road,

White clouds were rising from a farmer's home.

I stopped my cart to enjoy the wood of maple

Being redder than flowers in the vernal.
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陈淑温是一名专业会计师。工作忙碌，还必须经常到中国出差公干。由此接触到五千年历史的中国文化，还对书法渐渐的产生了兴趣。
五年前毅然报名新加坡书法中心书法课程，师从陈声桂教授。先学柳体、颜体，后练赵体。
2005年起，每年都积极地参加新加坡书法中心的年展。
这幅书法作品是2009年4月25日至28日在新加坡书法中心举行的‘新加坡书法年展’的参展作品。

这是一首唐代诗人杜牧写的‘山行’诗。
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远上寒山石径斜,
白云生处有人家。

停车坐爱枫林晚，

霜叶红于二月花。

Loh Chee Keong’s Calligraphy 卢志强的书法

Loh Chee Kiong (Lu Zhiqiang) is a retiree who calls himself a Leisure Pace Seeker.
He developed a keen interest in Chinese calligraphy during secondary school days, as he was attracted by the calligraphy of his school Principal Chen Jen Hao (Chen Renhao).
Chee Kiong started learning calligraphy in 1998 at the Singapore Calligraphy Centre, under the guidance of Professor Tan Siah Kwee (Chen Shenggui). He started with the Yan style, and then turned to practice Zhao MengFu’s style, and the works of other famous calligraphers such as Wang Tingjian, Mifu, Dong Qichang and Wang Duo.
Chee Kiong participated in a number of calligraphy exhibitions. He participated in the Singapore Senior Citizen Calligraphy Exhibitions since 2000, and received the Meritorious Award in 2003. He also participated in the Singapore Calligraphy Annual Exhibition since 2007. In 2005, he participated in the Singapore Chinese Calligraphy Exhibition held in Paris.
The calligraphic work showed here was on display at Singapore Calligraphy Annual Exhibition 2009 held at the Singapore Calligraphy Centre from 25 to 28 April. It is believed that the writer of the poem is Wu Chu in Sung Dynasty.
The bridge side willows touching the stream,
At the west end of the North Bridge is your home.
This place is unlike the human world;
Sun is warm, flowers fragrant, and mountain birds singing.
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卢志强是一名退休人士，自号求闲居士。
志强中学时期被陈人浩校长的书法所吸引而產生兴趣。
1998年报读扵新加坡书法中心，师从陈声桂教授。初学颜体，后学赵体，兼临黄庭坚、米芾、董其昌、王鐸等名家。
2000年起，参加过多届春华秋实、黄金岁月书法展，并於2003年获颁优秀奖。作品也参加过2005年新加坡书协赴巴黎书法展及2007-2009年新加坡书法年展。
这幅书法作品是2009年由4月25日至28日在新加坡书法中心举行的新加坡书法年展的参展作品。诗的作者据说是宋代的吳琚。
桥畔垂杨下碧溪，
君家元在北桥西。
来时不似人间世，
日暖花香山鸟啼。

Tan Sok Khoon’s Calligraphy 陈淑群书法

The calligraphy shown here is written by Tan Sok Khoon, a practicing accountant. She has learned the art for about 5 years and is currently a third year student of the Senior Citizen Calligraphy University Centre, Singapore.
Sok Khoon’s calligraphic works have been selected for display at a number of calligraphy exhibitions in Singapore. These exhibitions include the 16th and 18th Senior Citizens Calligraphy Exhibitions and the 28th Singapore Calligraphy Annual Exhibition - Contemporary Singapore Calligraphy Exhibition in 2008.
The content of her calligraphic piece is a poem written by Du Fu, a famous poet during the Tang (618 - 907) period in China.

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Du Fu: Delighting in Rain on a Spring Night
A good rain knows its proper time,

It waits until the Spring to fall.

It drifts in on the wind, steals in by night;

Its fine drops drench, yet make no sound at all.

The paths between the fields are cloaked with clouds;

A river-skiff’s lone light still burns.

Come dawn, we’ll see splashes of wet red –

The flowers piled up the whole Jinguan city
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这里所展示的是陈淑群的书法作品。淑群是一位在职会计师，学书法大约有五年的时间了。目前她是新加坡老年书法大学三年级毕业班同学。
淑群的书法作品入选不少在新加坡举行的书法展。这些书展包括第十六、十八届黄金岁月展与2008年举行的第二十八届新加坡书法年展-当代新加坡书法展。
这幅书法写的是唐代 (618 - 907) 著名大诗人杜甫的诗<春夜喜雨>：

好雨知时节， 当春乃发生。

随风潜入夜， 润物细无声。

野径云俱黑， 江船火独明。

晓看红湿处， 花重锦官城。