Malaysian Politicians: We Love Chinese Calligraphy 马来西亚政治家：我爱书法

Malaysia is a multi-racial and cultural society. Ethnic Malays today make up 50 percent of the population. Ethnic Chinese represent an additional 24 percent and Indians 8 percent.

The Malaysian Chinese have traditionally dominated the Malaysian economy, but with the implementation of affirmative action policies by the Malaysian government to protect the rights of ethnic Malays, their share has somewhat eroded. However, they still make up the majority of the middle- and upper-income classes.

It is therefore understandable that during the general elections, politicians will campaign intensively for the Chinese vote, reminding voters of issues affecting the Chinese community.

Displaying Chinese calligraphy skills is one of the many means used by non-Chinese politicians to woo the Chinese voters.

When Anwar Ibrahim, the former Deputy Prime Minister and currently leader of the opposition, was at the height of power, he took an effort to learn mandarin and Chinese calligraphy. He popularised a saying in Mandarin when he was in the United Malays National Organisation, or Umno: wo-men doushi yijiaren ("We are one family". see diagram 1). As a slogan coined by a Malay leader, elected and re-elected by Umno to be the next prime minister, the slogan was a novel declaration of Malaysian multiculturalism, no less appealing than Mahathir Mohamad's idea of a Bangsa Malaysia sharing Vision 2020.

Even the candidates of the Islamist political party Parti Islam Se-Malaysia (PAS; Pan Malaysian Islamic party) are often seen writing Chinese calligraphy during elections. (See diagram 2)

Recently, the Prime Minister Datuk Seri Najib Tun Razak became the latest politician who showed off his Chinese calligraphy skills. On 23 December, at a function organised by the Federation Of Chinese Associations Malaysia, he wrote on the spot a Chinese word ‘he’, which means harmony or peace. (See diagram 3)

Is the next general election coming soon?

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马来西亚是个多元种族与文化的社会。马来人占了全国人口的百分之50，华人百分之24，印度人百分之8。

传统上，华人在经济上占优势；可是自从政府实行种族优惠政策来保护马来人的权益之后，华人的经济地位就被削弱了。但是，华人还是占中与中上阶级的多数。

所以不难理解在大选期间，候选人都会大力争取华人选票，提起与华人有关的课题。

展示书法技巧是非华人候选人用来争取华人选票的方法之一。

前副首相、现在反对党领袖安华，在权力高峰时期，就下苦功学华语与书法。他还在巫统时，把‘我们都是一家人’这句话普遍化了。（图1）作为一个当时被选定为下一届首相的马来领袖，他想出这个标语，是对马来西亚多元文化主义的一种可贵的表白，其吸引力不亚于马哈迪的马来西亚国家2020远景。

就算是回教主义的回教党的候选人，在大选期间已时常看到他们当众挥毫书法。（图2）

马来西亚首相纳吉成为最新展示他的书法才能的政治家。12月23日，他在马来西亚中华大会堂总会(华总) 的一个晚宴上，当众挥毫了个‘和’字。（图3）

是不是下一届的大选要来了呢？

Learn the Correct Techniques from the Beginning 从头开始学正确的技巧

If you have just started learning Chinese calligraphy, you have to focus on the followings initially in the same order listed here:
1.    The correct sitting postures
2.    The correct brush techniques
3.    The generally accepted principles of Chinese word structures

The main focus of the first four or five few lessons should be on making sure that the sitting postures are correct. This is relatively easy part of learning and most of the learners will be able to do it correctly after five lessons.

The next focus is on the correct brush techniques, which should be learned and applied from day one. Depending on the progress of learners, training on analysing the Chinese word structures can be started once the basic brush techniques are understood. It usually can be started from the eighth lesson onwards.

The benefits of correct brush techniques and principles of Chinese word structures will usually be appreciated only after about 12 months of learning, though the mastery of them requires a lifelong practice.

One of the most common problems of applying brush techniques is the glossing over of Qibi (starting the stroke) and shoubi (ending the stroke). It is therefore important that the learners must be regularly and constantly corrected on how to apply these two techniques.

Here are three other examples of commonly found mistakes.

1.    Fail to apply consciously the Zhong Feng techniques. (See diagram 1). The incorrect application of Zhong Feng (centred-tip pricinple) usually will result in having a stroke with smooth upper edge and rough lower edge.

2.    Fail to stress on the shorter horizontal strokes. When there are two or more horizontal strokes side by side in a word, the shorter horizontal stroke should usually be stressed. Beginners usually do not apply correct pressure to write these shorter strokes. (See diagram 2)

3.    Fail to emphasise the middle horizontal stroke. The middle horizontal stroke is normally the main stroke of any word; it should be emphasised and be outstanding. (See diagram 3)

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如果你刚开始学书法，你就应该根据以下次序几点注意学习：
1．    正确的书写姿势
2．    正确的笔法
3．    被普遍接受的结字原理
前四或五课要集中学好正确的写字姿势。这是学习中比较容易的部分，一般到第五课就可学好了。

另一个目标是学好正确的笔法。正确的笔法应该从第一天就开始学习与应用。看个人的情况，学习结字原理的分析可以在对笔法有基本的领悟后开始。通常从第八课开始。

对笔法及结字原理的好处，一般要在学习12个月后才开始领悟；虽然要精通他们却是需要终身学习。
应用正确的笔法的一个最大问题是，对起笔与收笔草率了事。所以时常与经常给学习者指出正确起笔与收笔技巧是很重要的。
这里还有三个常见的错误的例子：
1．    不能够正确地应用中锋。（见图1）不能正确地应用中锋会导致一个笔画的上面平滑而下面粗燥不平。
2．    短横划不重。在一个字中，如果有几条横线平行，短线应该粗重。（见图2）初学者一般无法应用适当力量来书写短划。
3．    不突出中间横划。中间横划一般是一个字的主要笔划，应该加重笔力与令其突出。（见图3）

Stone Drum Inscriptions 石鼓文

Ten ‘Stone Drums’ were discovered in the Tang Dynasty (618-907) at Tianxing (present-day Baoji in Shaanxi Province) and caused a stir among men of letters and calligraphers. It is believed that they were engraved in the state of Qin during the Warring States Period (475-221 BC) and are therefore well over 2,000 years old. They are said to be the very first pieces of inscription works found in China up to now.

At the time when they were discovered in the seventh century, each of them bore a four-character verse about the hunting of the Duke of Qin. Not many of its original 700 characters have survived - 465 of them were recorded then and 272 of them today with one block completely denuded.

Before the invention of paper and printing, the best way in China to keep outstanding writings and calligraphic works was to carve them on stone. Those cut on drum shaped blocks are called shiguwen (stone drum inscriptions); and those cut on steles and tablets are called beiwen.

The rubbing shown is the only one survived with a complete verse.

My chariots were complete;

My horses were harnessed.

My chariots were gaily decorated;

My horses were thriving.

The officials gathered in force;

The banners waved in the wind.

Deer left footprints behind,

By which we pursued.

Bows were drawn;

Arrows were at the string.

I ran into a royal stag,

Which galloping, clip-clop.

He charged at me,

Raising quite a dust.

The herd rushed off,

Running out of sight.

I chased a lone buck,

But he, too, escaped.

Finally I shot a sorrel.

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十个石鼓于唐代（618-907）初出土于天兴三畴原（今陕西省宝鸡市凤翔三畴原），震动学者与书法家。一般相信，它们是在战国时代（公元前475-221）的秦国所刻，所以有超过两千年的历史。可说是中国最早的石刻文字。

在七世纪被发现时，每石鼓皆有四字诗文，记述秦国君王游猎之事，亦称‘猎碣’。原来所发现的700个字，很多已经不存在了。当时纪录了465个字，现在只存272个字，其中一石的字完全消失。

在纸与印刷未发明之前，在中国，把优秀书写与法书保留的最好方法就是把它们可在石头上。可在园圆鼓形石头的就叫石鼓文，或碣文可在方形的碑与石头上的就叫碑文。（注：方石为碑，圆石为碣）

这里所显示的是一首完整的诗文拓片。

吾車既工。吾馬既同。吾車既好。吾馬既(馬缶) 。君子員邋。員邋員斿。

麀鹿速速。君子之求。●●卣弓。弓茲以寺。

吾敺其畤。其來趩趩。●●炱炱。即禦即時。

麀鹿趚趚。其來大●。吾敺其樸。其來(走賣)(走賣)。射其(豕肩) 蜀。

Ti An: The Techniques of Pressing and Lifting the Brush 笔法：提按

There are three structural forms essential to calligraphy. They are strokes, character structure and line composition, which join together to reflect the beauty of the calligraphic work.

Among these three, strokes are basic, because all the characters and lines are composed of strokes. The characters and lines are the tracks of movements or arrangement forms of the dots and strokes. Vigor, shifting, rhythm, change and harmony are key elements of the beauty of the dots and strokes, and are also the key elements of the beauty of the characters and lines. Certainly, these key elements demonstrate different proportions in the strokes, characters and lines.

When writing with a brush, the key element is the vigor of the strokes. There are several ways to demonstrate the vigor of the strokes, and the two most important ways are Zhong Feng and Ti An, a technique of pressing and lifting the brush.

In Chinese, Ti means lifting up and An means pressing down. Lifting up the brush a little makes the strokes delicate, powerful and smooth, and pressing down on the brush makes the strokes thick, vigorous and powerful. So Ti and An are the main ways to express vigor and rhythm in calligraphy.

While lifting or pressing the brush, the calligrapher should deal with another pair of ways to use power: moving the brush forward and holding it in position for a while, or moving the brush slowly - like a basketball player who moves forward while bouncing the ball on the ground. Such a skill is the result of hard practice.

Various scripts have different frequencies of transfer of lifting and pressing.

The wild cursive hand features swift movements of brush and fewer changes of lifting and pressing. The changes are more frequent in the lesser cursive and walking styles. The official script demonstrates more transfers between lifting and pressing, especially in writing horizontal strokes, which starts with a silkworm's head and ends in a wild goose's tail, and right-downward strokes. The standard kai-script illustrates the highest frequency of changes of lifting and pressing. But the seal script demonstrates no lifting or pressing at all.

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书法有三个主要的构成形式。它们是笔画、结字与章法，它们合成书法之美。

这三个构成形式中，笔画最为基本，因为字与行都是由笔画合成的。字与行是点画运行的轨迹和排列组合形式。点画的许多形式美要素，如力感、动感、节奏、变化与和谐等，也是字与行的形式美要素。当然，在这三这构成形式中，这些要素的比重是不同的。

笔画所着重的是笔力。用来显现笔力的方法不少，其中两个重要的是中锋与提按。

提就是用力将笔向上轻提；按就是用力向下按着。提笔可以使线条显得精细、有力与流畅；按笔则十线条粗重、沉重与有力。所以提按是造成书法力感与节奏感的重要手段。

写字时将笔向上提或向下按时，还要应付另一对不同的用力方法：行与留，就如一个篮球运动员带球前进，一面拍着球，一面带球跑动。这种技巧需要苦练。

各种书体的提按变化的频率有所不同。

狂草书追求快速行笔，提按变化较少。小草与行书提按变化较多。隶书提按变化较多，尤其是书写要表现蚕头雁尾的横画与右下捺刀划。楷书用提按最多。但是，篆书却几乎完全没有用到提按。

Wang Sui Pick 王瑞璧

Wang Sui Pick (1904 - 1998) was born in 1904 in Anxi, Fujian province of China. His father Wang Qianyou later migrated to Singapore and became a businessman.

In 1921, after completed his high school education in Xiamen, Wang came to Singapore to join his parents. In Singapore, Wang rendered 3.5 years of service in education sector. In 1925, he went back to Xiamen University to further his study. While staying in Fujian, he worked as a teacher and principal of various high schools for a total of 16 years.

In 1954, he returned to Singapore and took up a teaching post at Nanyang Girls’ High School. In 1961, he became principal of Chong Hwa High School in Kluang and in 1967 he joined Chong Hwa Independent High School in Kuala Lumpur as it principal until his retirement in 1970.

Wang was a quiet person by nature and he led a disciplined life. In his youth, he had already cultivated an interest in Chinese calligraphy. He started learning Yan and Liu styles, and later was fascinated and attracted by Huai Shu’s cursive style and spent much time practiced it.

However, he was famous for his finger calligraphy, which he discovered and practiced since his days in Xiamen in 1930s.

His first calligraphy exhibition was held in 1981 and since then, he had participated in numerous calligraphy exhibitions locally and overseas.

For his excellent artistic works in Chinese calligraphy, he was awarded the Cultural Medallion by the National Art Council, Singapore in 1992. Together with Pan Shou, who received the Cultural Medallion (Art) in 1986, the two were considered the most outstanding calligraphers and regarded as 'National Treasures' in Singapore.

Wang passed away in 1998.

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王瑞璧（1904-1998），1904年出生于中国福建的安溪。他的父亲王谦友后来移居新加坡，成为商人。

1921年，在厦门读完高中后，王瑞璧来新加坡与父母团聚。在新加坡的三年半，它服务于教育界。1925年，他回到厦门继续求学，就读厦门大学。在福建期间，王瑞璧在各中学担任教师与校长共十六年。

1954年，王瑞璧回返新加坡，在南洋女子中学教书。他于1961年担任居鸾中华中学的校长，1967年转任吉隆坡中华独立中学校长，直到1970年退休为止。

王瑞璧本性沉默，生活有规律。年轻时就对书法产生兴趣。他先学写颜柳体，后来为怀素草书所吸引，花了很多精力学它。

但是，他最有名的却是指书。指书是在1930年代他在厦门时所发现的。

1981年他的个人书展第一次举行。此后，他参加了无数的本地与国外的书法展。

为了表扬他在中华书法方面的杰出贡献，新加坡艺术理事会于1992年颁发给他文化奖。他与潘受（1986年获文化奖）被尊为新加坡书法界国宝级大师。

王瑞璧与1998年去世。

Wen Jiabao’s Handwriting: Distress Rejuvenates a Nation 温家宝的字：多难兴邦

Chinese Calligraphy is both a means of communication and a revered form of art, and the dividing line is often vague. It is also said to reveal the inner character of a person - one can detect the virtue of a writer by the beauty of his brushstrokes.

The Chinese people therefore always treasure the handwriting of calligraphy of their leaders. It is therefore not surprising that rulers, officials, politicians in the China have long used their graceful handwriting to cement their power and display their ‘inner character.’

In 2008, the Beichuan Middle School lost a thousand students in May’s devastating Sichuan earthquake. When Premier Wen Jiabao visited the school’s temporary quarters, he wrote four characters on a blackboard to inspire the students: "distress rejuvenates a nation", pointing out that despite all of the hardship that the Wenchuan earthquake had brought to the students, their families, and the people of Sichuan, it wasn't the end of the world.

After his departure, teachers and students could not bear to erase his chalk inscription, which was covered in plastic until the Sichuan Cultural Relics Bureau could devise a method for permanently preserving Wen’s handwriting.

"Those characters brought us strength. We keep them in our hearts," one freshman student told the reporter. "It'd be great if we could preserve that piece of blackboard forever." Lots of students and teachers at Beichuan Middle School supported this idea.

Wen is among many of the Chinese leaders who are good in calligraphy. Here are two pieces of his calligraphic works.

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中国书法是传意的工具，也是一种受人敬畏的艺术，工具与艺术之间的界限经常模糊。据说它可以显现一个人的内心个性，从一个人所写的美丽的线条中可以看得出一个人的品德。

中国人一向珍惜他们领导的手迹。所以，长久以来，中国的统治者、官员、政治家利用他们优雅的字来加强他们的权力与表露他们的‘内心’，那就不令人惊奇了。

2008年5月，在灾难性的四川地震中，北川中学丧失了上千名学生性命的。当温家宝总理来到他们的临时校园时，他在黑板写了四个字来激励学生：多难兴邦。他指出虽然四川地震给他们、他们的家人、四川人民带来了所有这些苦难，但是这并不是世界末日。

温总理离开之后，学生们舍不得把这些粉笔字擦掉，以塑胶布把他们盖住，直到四川文物局想到永远保存温总理的手迹的方法为止。

一个新生告诉记者说：‘这些字给予我们力量。我们会永远记在心中。能把这片黑板永远保留着，那真是太好了。’北川中学的很多老师与学生都支持这个想法。

温家宝是中国领袖中书法写的不错中的一个。这里展示的是他的两幅作品。

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。

Singapore Senior Citizen Calligraphy University Centre 新加坡老年书法大学

The Singapore Senior Citizen University Centre was registered and set up by the Singapore Calligraphy Association on 7 September 2004. It received its first batch of 13 students in 2005. These students graduated in 2007. The second batch of 14 students graduated in 2008. This year, the third batch of 17 students will have their graduation ceremony held on 14 Nov 09.
It is claimed to be the first of its kind of educational institutions in the South East Asian region. The main aim of the three-year programmes is to help mature students who are successful individuals from all walks of life, to reach a higher level of self-actualization and personal fulfilment. Students who successfully complete the course will be conferred the title of Calligrapher by the centre.

Besides attending normal lessons and practice calligraphy, students are also strongly encouraged to attend overseas cultural programmes conducted by Tongji University in Shanghai and organise overseas trips to widen their knowledge beyond calligraphy.

The study year is divided into two teaching semesters. The first and second semester start in February and July respectively. There are 13 weekly-lessons in each semester and each lesson lasts 3 hours. The course fee is S$1,200 per semester or S$2,400 per year.

The students must fulfil the following course requirements:

1. 80% class attendance,

2. Submit three calligraphic works that must be passed by the centre’s Examination Board, and

3. Submit 10 essays on topics decided by the centre.

The calligraphic works of this year’s students can be viewed at the Singapore Calligraphic Centre from 14 to 19 November everyday from 12 pm to 5 pm.

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新加坡老年书法大学由新加坡书法家协会于2004年九月七日注册成立。它于2005年录取第一批13名学员。这一批学员于2007年毕业。第二批14名学员于2008年毕业。今年，第三批17名学员的毕业典礼将在11月14日举行。

据说这是东南亚第一所老年大学。它主要目的是要协助来自各行各业的成功人士实现更高一层的自我实现。成功完成课程的学员将获得该中心授‘书学研士’衔。

除了上课与练习书法之外，书大鼓励学员参加由上海同济大学主办的海外文化课程，与组团去海外旅行以增广书法外的知识。

每学年分为两个学期。第一学期于二月，第二学期于七月开学。每个学期上课十三次，每课三小时。每学期的学费为新元$1,200 或每学年新元$2,400。

每个学员要符合以下的课程条件：

1． 上满80%的课，

2． 提交三件书法作品通过“毕业生作品审查委员会”，与

3． 呈交十篇由校方指定题目的论文。

第三届学员的书法作品可于11月14日至19日期间，每天下午12时至5时到新加坡书法中心观赏。

The Three Rare Treasures of Calligraphy 三希堂法帖

Wang Xianzhi’s Zhongqiu Tie (Mid Autumn Manuscript) is one of the Three Rare Treasures of Calligraphy. The other two rare treasures are Wang Xizhi's Kuaixue Shiqing Tie (Fast Snowing and Sunning) and Wang Xun's Boyuan Tie (Letter to Boyuan). Dating from the fourth century, they all are regarded as the greatest masterpieces of calligraphic art and have been revered by generations of calligraphy enthusiasts as the most precious treasures.

Mid-Autumn Manuscript is said to be the authentic works of Wang Xianzhi. However, it is generally believed that it is the copy work of Mi Fu who was one of four most famous calligraphists in Song Dynasty. Since ancient time, this scroll has been praised as an excellent calligraphic model in the connecting ‘blood’ and ‘vein’. Only 22 characters are visible on this scroll, but they still demonstrate the feature of coherence. On each line, the characters or their strokes are connected in such a way to give a feeling of ‘one-stroke way of writing’, ie the whole line is written continously in one stroke. It is said to be the ‘one-stroke cursive script’ at its best.

In 1747, the three rare treasures, together with 134 selected calligraphic masterpieces from Wei, Jin, Tang, Song, Yuan and Ming dynasties (dated from late fourth century to seventeenth century), were engraved into stone tablets and collectively known as The Calligraphic Masterpieces of the Hall of Three Rarities (Sanxi Tang Fatie). Emperor Qianlong commissioned the construction of the Chamber for Reading the Classics (Yuegu Lou) in the nearby Beihai garden and these carved stones were set into the interior walls of the Chamber, while the rubbings taken from them were widely disseminated as models for practicing calligraphy. The emperor kept the original three calligraphic works in the Hall of Three Rarities next to his living quarters.

Before 1924 when the last emperor was expelled from the imperial palace, Letter to Boyuan and Mid Autumn Manuscript were moved to the Palace of Longevity and Health (Shoukang Gong), the residence of the imperial honoured consort Jingyi (literally Respect and Virtue), dowager of the Tongzhi Emperor.

After 1924, the dowager Jingyi smuggled these two works out of the palace and sold them. After that, there was no news of their whereabouts until they appeared in Hong Kong in 1951. The two treasures were mortgaged to a foreign bank in Hong Kong and would have been sold abroad if not for the intervention of Premier Zhou Enlai, who authorized their purchase. In 1951, the two rarities were finally bought by the Chinese government and returned to Beijing Palace Museum. They are still kept in Beijing Palace Museum up to today.

The third calligraphic masterpiece Fast Snowing and Sunning was brought to Taiwan in 1949 and is currently kept in Taipei National Palace Museum.

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王献之的《中秋帖》是中国书法的三希之一。其他二希是王羲之的《快雪时晴帖》与王询的《伯远帖》。这些写于公元四世纪的书法艺术中的精品，被世世代代的书法爱好者视为最珍贵的宝物。

《中秋帖》据说是王献之的正品。可是，一般相信它是宋代四大书法家之一的米芾的临作。自古以来，这幅帖就被认为是血脉相连的最好书法范本。整幅帖只有22字可辨认，但还是展示了融合的特色。每一条线的每一个字及线条都联系得给人以一笔完成的感觉。可说是‘一笔字’的最佳珍品。

1417年，这三件稀有宝物和其他134件魏晋唐宋元与清朝（公元四世纪末至十七世纪）的书法名帖被刻于石头上，合称《三希堂法帖》。乾隆王下令在北海园附近建造‘阅古楼’并把刻石装上内墙。拓本则广分给臣子，作为练习书法的范本。皇帝把三件稀品放在他的卧宫旁边的‘三希堂’。

1924年前，末代皇帝还没有被逐出皇宫之前，《伯远帖》与《中秋帖》被移到‘寿康宫’，那是贵太妃敬懿的住所。

1924年后，贵太妃敬懿把这两件作品私运出宫并把它们卖了。以后，它们的所在就无所闻了，直到1951年它们重现于香港。这两件宝物当时是被抵押给香港的一间外资银行。若不是周恩来总理的干涉，它们已经被卖到国外了。1951年，中国政府终于买下这两件宝物并归还北京故宫博物院。它们至今还由北京故宫博物院收藏。

第三件书法珍品《快雪时晴帖》在1949年被运到台湾，目前由台北故宫博物院所收管。

Sun Guoting on Wang Xianzhi 孙过庭谈王献之

In Chinese calligraphy history, the Wang family of the Jin Dynasty was famous for producing a large number of outstanding calligraphers. Accordingly to historical records, of nearly 100 famous calligraphers of the Jin Dynasty, 20 were from the Wang clan.

Of all the Wang calligraphers, Wang Xizhi and his son Wang Xianzhi are most famous and are jointly known as Two Wangs. For two centuries after Wang Xizhi’s death, his son was regarded as a better calligrapher than him. But their reputations were decisively reversed by the judgment of the second emperor Taizong of the Tang Dynasty (618-907). Until today, Wang Xizhi is continuously revered for more than 1600 years, while Wang Xianzhi’s popularity shifts depending on which scholars became advocates of his style.

One of the scholars who thought that the father is a better calligrapher is Sun Guoting (646-691). Below are extracted from his Treatise on Calligraphy:

Xie An (320-385) liked letter-form of calligraphy and looked down on Xianzhi’s calligraphy. Once Xianzhi gave his masterpiece to Xie An, thinking that Xie would treasure and keep the calligraphy. However, Xie just wrote his reflections behind the calligraphy and returned it to Xianzhi. Xianzhi was very unhappy about it.

One day, Xie An asked Wang Xianzhi, “In comparison with your father’s calligraphy, what do you think of your own?”

Wang answered, “Certainly, my writing is better than my father’s.”

“But the critics do not think so,” said Xie An.

“They do not understand,” said Wang Xianzhi. While Xianzhi gave such an answer in order to rebut Xie An, it was indeed too much for a son to claim that he was better than his own father. As a son, he should have set a good role model so as to bring honours to his family. In ancient time, Zeng Zi (505-435 BC) refused to enter a village called ‘Better-Than-Mother Village’ as he thought the name was inappropriate. Xianzhi learned the techniques of calligraphy from his father. He may have mastered the principles of writing calligraphy, but he probably only touched upon superficies of his father’s profundity.

Xianzhi had claimed that he obtained the brush techniques from the Devine. This attitude of refusing to associate his calligraphy with the family tradition is really no different from that of someone who faces the beautiful words on the wall but does not wish to see them.

Once Xizhi wrote some words on a wall before he left for Capitol. Wang Xianzhi secretly touched up his father’s calligraphy, thinking the touch up was really not bad. His father returned home and saw the touch up, believed it to be his own work, and sighed, ‘I must have been drunk when I wrote it.’

Now Xianzhi was shameful for what he had done.

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在中国的书法史里，晋朝王家以有最多著名书法家而闻名。据历史记载，在大约100名晋朝出名书法家中，王家就占了20名。

在王家的书法家中，以王羲之与王献之父子最出名，合称‘二王’。王羲之去世的两百年间，他的儿子王献之被认为是较好的书法家。可是唐朝 (618-907) 的第二个皇帝太宗的评论却完全颠倒了他们的名声地位。此后的千六百年，王羲之一直为世人所尊敬，而王献之的声望却视学者对他的书体的喜好而定。

孙过庭就是其中一个认为父亲的书法较好的学者。以下录自他的《书谱》：

谢安（320年－385年），素善尺牍，而轻子敬之书。子敬尝作佳书与之，谓必存录，安辄题后答之，甚以为恨。

安尝问敬：“卿书何如右军？”

答云：“故当胜。”

安云：“物论殊不尔。”

于敬又答：“时人那得知！”

敬虽权以此辞折安所鉴，自称胜父，不亦过乎！且立身扬名，事资尊显，胜母之里，曾参不入。以于敬之豪翰，绍右军之笔札，虽复粗传楷则，实恐未克箕裘。

况乃假託神仙，耻崇家范，以斯成学，孰愈面墙！

后羲之往都，临行题壁。子敬密拭除之，辄书易其处，私为不恶。羲之还，见乃叹曰：“吾去时真大醉也！”敬乃内惭。

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.

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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》。

The First Forty Words 开始写的四十个字

After knowing the brush techniques, it is time to start writing. Chinese believe that constant practice according to masterful models was the only means to leading to mastery and perfection. So the three key words are, practice, practice, and practice.

We have noted that new learner should start with writing kaishu (the standard style). It is better to write few words and correctly apply all writing techniques than to write many words without paying attention to the proven techniques.

The famous Eight Principles of Yong says that one should start with practising the eight strokes common in Chinese characters. It is also believed that the frequent practice of these principles as a beginning calligrapher could ensure beauty in one's writing.

While it is possible to start with writing the character ‘yong’ (meaning forever, lasting) which is said to have contained all the eight basic strokes, one may find such an approach rather monotonous and boring. The recommended approach is to practice four words at each practice session starting with words with simple strokes and moving to words with other strokes progressively. As we write these words, we should apply the brush techniques faithfully and learn the principles of the structure of these characters.

Here are the first forty words recommended:

01．横划：一、二、三、土 (Horizontal stroke）

02．竖划：十、士、上、正 (Vertical stroke)

03．撇划：千、川、在、生 (Slanting toward lower left)

04。横折：中、日、且、者 (Horizontal and vertically turn downward)

05。捺划：人、大、合、尺 (Slanting toward lower right)

06。钩划：水、子、而、可 (Hook to the northwest direction)

07。单点：文、不、方、太 (Single dot)

08。多点：心、六、必、为 (Multiple dots)

09。竖横钩：也、先、光、元 (Vertical and horizontally turn rightward and hook upward)

10．提划：以、孰、即、指 (Lifting off northeast direction)
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知道什么是笔法之后，是开始写字的时候了。华人相信持久地跟着范本来练习是达成熟练与完善的唯一途径。所以三个要诀就是：练习、练习、练习。

我们知道初学者应该从楷书开始。宁愿写少字来掌握正确的笔法，而不要不顾已被证明的笔法去多写字。

著名的‘永字八法’认为应该先写好八种在中文最常见的基本的笔划。一般相信初学者时常练习这原理会确保字写得好。

虽然可以从练习包含了这八种基本笔划的‘永’字开始，但是这种练法单调而令人厌烦。提议每次练习四字，有简单笔划的字开始慢慢地伸延到包含其它笔划的字。在书写时，应该忠实地应用所有笔法与了解这些字的结构原理。

以下是提议的四十个初写字：

01．横划：一、二、三、土

02．竖划：十、士、上、正

03．撇划：千、川、在、生

04。横折：中、日、且、者

05。捺划：人、大、合、尺

06。钩划：水、子、而、可

07。单点：文、不、方、太

08。多点：心、六、必、为

09。竖横钩：也、先、光、元

10．提划：以、孰、即、指

Bronze Inscription Calligraphy 金文书法

If one associates the oracle-bone inscriptions with the Shang dynasty, then the Bronze inscriptions are certainly the characters and calligraphy of the Zhou dynasty, especially the Western Zhou dynasty.

Bronze inscriptions differ from oracle-bone inscription in many ways.

Firstly, oracle-bone inscriptions are more graphic whose complicated strokes make them more like pictures, whereas bronze inscriptions are simpler and more regular.

Secondly, the way that the characters are written are not standardised for the oracle-bone inscriptions, that means the same word can be written in a number of ways.

Thirdly, the oracle-bone inscriptions were carved on bones with knife, so the strokes are normally very thin. Bronze inscriptions, on the other hand, were produced with mould, so the strokes are wide in germination and without sharp points.

In terms of type set, the characters of bronze inscriptions are always arranged from top to bottom and lines from right to left, which reveals the aesthetic culture in pursuit of order and regularity in Zhou dynasty. This is quite different from oracle-bone inscriptions which are less orderly arranged.

In terms of calligraphy, the one-thousand year history of bronze inscriptions can be divided into two periods: the ‘wave-style’ inscriptions were favoured before the mid-Western Zhou whereas the ‘jade-chopstick style’ inscriptions after the mid-Western Zhou.

The ‘wave-style’ was vigorous and rough, with the first and last stroke in shape of wave. The characters are almost in lines, but not in rows.

The ‘jade-chopstick style’ was round and flexible and the left and right parts of a character normally are of same height.

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如果我们把甲骨文与商朝联系，那么金文肯定就是周朝，尤其是西周的文字与书法。

金文与甲骨文有不少不相同之处。

首先，甲骨文更加形象，复杂的线条使它们更像图画，而金文就较简化育规则化。

其次，甲骨文的书写还没有完全标准化，就是说一个字可能有几种写法。

再次，甲骨文是以刀来刻的，所以线条比较细。另一方面，金文多数是铸造的，所以笔划间较阔，较少尖点。

以字的排列来说，金文一般字由上到下，线由右到左，表现了周朝追求次序与纪律的美的文化。这与甲骨文稍为不同，文字的安排比较没有那么有秩序。

从书法来看，千年历史的金文可以分为两个时期：西周中期前的‘波磔体’与西周中期后的‘玉箸体’。

‘波磔体’刚劲，起笔与收笔出锋显出波磔。书写大多成行，不顾横排。

‘玉箸体’圆柔，文字两端齐平。

Writing Techniques: Use both Arm and Fingers 运笔：指腕并用

We noted that when applying the writing techniques, one must observe the principles of Centred Tip (Zhong Feng).

In writing Chinese calligraphy, a number of steps must be followed so that a stroke can be written properly. For example, in writing a vertical stroke with needle ending, one begins the stroke by moving the brush to the left. Turn the brush to the right. Pause a little. Pull the zhong feng, or central part of the brush, down and move the brush vertically downward. Before ending the stroke, lift the brush slowly so as to leave a sharp point on the paper.

Two concepts are involved in the process described above, moving the brush and turning the brush. The ability to move and turn the brush correctly is critically important.

One key principle of Zhong Feng is to maintain the brush in the perpendicular position all the time when moving the brush from point A to point B. It is generally agreed that the way to do this is to use one’s arm or wrist to move the brush. All other ways of moving the brush are not acceptable.

However, there is no generally accepted agreement on how the brush should be turned.

Suo Jing (239-303), the famous calligraphy in his essay ‘The Style of Caoshu’ said that in writing Caoshu (cursive scripts) ‘Dudu turns his fingers and Boying his wrists.’ One can interpret this to mean that both fingers and wrist can be used to turn the brush.

However, about a thousand years later, Jiang Kui of Southern Song Dynasty (1127–1279) made it very clear that ‘generally speaking, the brush must be held firmly and moved with high degree of flexibility. Do not use fingers to operate the brush, use wrist instead. The function of fingers is to hold the brush, not to operate it, and the function of wrist is to operate the brush, not to hold it.’ This is the first time in calligraphy history that the function of fingers and wrist was defined in clear terms.

Jiang Kui’s theory on writing techniques was accepted without question for almost a thousand years.

However, in the 80s of last century, a number of calligraphers started to challenge this theory. Sun Xiaoyun, a famous female calligrapher in China, is one of those who argue strongly that the only correct way of turning the brush is by using the fingers.

It would appear that one need take the extreme position of advocating either ‘use-wrist’ or ‘use-fingers’ method. Perhaps the best method is the traditional method of applying both fingers and wrist, based on the needs and writing conditions.
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我们注意到运笔法时，我们应该应用中锋原理。

书写书法时，我们应该遵照几个步骤来完成笔画。比如写垂针竖划时，起笔把笔向左上移行，把笔向右下转，稍顿，把中锋调整，笔向下垂直而行，笔划完成前，慢慢提笔，止于尖点。

上面所描写的过程，包含了两个概念：行笔与转笔。能够正确地行笔与转笔，至为重要。

中锋的一个主要原理是，笔从A 点移到B 点，笔杆一定要维持垂直。要做到这一点，一般的共识是以腕或手臂来行笔。其他方法都不可接受。

但是，转笔却无定论。

索靖(239-303)在他的‘草书状’提到‘命杜度运其指，使伯英回其腕。’我们可以解释为转笔时，指腕皆可用。

可是，千年后，南宋 (1127–1279) 姜夔却明确指出：‘大抵要执之欲紧，运之欲活，不可以指运笔，当以腕运笔。执之在手，手不主运；运之在腕，腕不主执。’在书法史上，这是第一次对手指与腕肘的功能有明确的说明。

姜夔的这个学说千年来一直毫不置疑地被接受。

在上个世纪的八十年代，不少书法家开始对这学说有所置疑。中国著名书法家孙晓云就是其中一个强而有力的认为转笔的唯一正确方法只能用指。

看来，我们不必要走‘腕运’或‘指运’的极端。或者，可以回到古人之‘指腕兼用’，视需要与书写情况而定。

The Senior Calligraphy Exhibition 黄金岁月展

The 21st Senior Calligraphy Exhibition, organised by the Chinese Calligraphy Society of Singapore (CCSS), will be held at Singapore Calligraphy Centre’s Lee Kong Chian Hall from 26 Sep to 29 Sep for 4 days. Calligraphic works of 61 learners of calligraphy will be on display at the exhibition.
It has been 23 years since CCSS held the first exhibition known as the ‘Calligraphy Exhibition for the Youth’ in 1986. This series of exhibitions, held for the learners of Chinese calligraphy, is among the calligraphy exhibitions with the longest history in Singapore. It was a platform created by CCSS to provide opportunity for students of its calligraphy classes to learn from each other and to share experiences. CCSS started the first calligraphy classes in 1974 at the Macpherson Education Centre.

The first ‘Calligraphy Exhibition for the Youth’ was held from 13 March to 16 March 1986 at the Singapore Chinese Chamber of Commerce & Industry. It was declared open by Ong Pang Boon (Wang Bangwen), the Society’s advisor and the then MP for Telok Ayer. 13 students from the Society’s calligraphy classes with 64 pieces of their works were put on display at the exhibition.

In 1992, due to the increase in the enrolment for its calligraphy classes, CCSS decided that the exhibition should be held annually and be renamed to ‘Calligraphy Exhibition for All’. The renamed exhibition was first held at the Singapore Conference Hall on 14 and 15 Nov 1992. It was declared open by the then Chairman of Teo Ann Association and 82 pieces of calligraphic works were put on display. The exhibition was to be held biennially.

The opening of the Singapore Calligraphy Centre in 1995 means the exhibition now has a permanent home. For the first time in 1995, a week-long exhibition was held in the Lee Kong Chian Hall of the Calligraphy Centre. It was declared open by the Centre Chairman on 11 Nov. The exhibition displayed 97 pieces of works by learners of calligraphy of all ages.

In 2005, in order to allow more calligraphy lovers to participate and to display their works, the exhibition was split into two different exhibitions. The ‘Junior Calligraphy Exhibition’ is a platform for school-going calligraphy learners to show off their talent in calligraphy, while the ‘Senior Calligraphy Exhibition’ is to provide opportunity for working adults and retirees to display their works and exchange learning experiences. The Senior Calligraphy Exhibition was declared open on19 Nov 2005 with 93 pieces of calligraphic works selected for display.

During the last 23 years, there were more and better calligraphic works being selected for participating in the exhibitions. This really reflects an increasingly active Chinese calligraphy community in Singapore, a fact that all of us should feel good and proud about.

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由新加坡书法家协会所主办的第二十一届‘黄金岁月展’将在9月26日在新加坡书法中心光前堂举行，为期4天，到9月29日结束。这次共有61名书法爱好者的作品被选展出。

这个展览自1986年举办至今，已经有二十三年的历史了，可以说是为书法爱好者所举办的一个历史悠久的新加坡书法活动。这个书展的前身是‘朝花书法展’，是新加坡书法家协会为属下书法班学员提供的一个互相切磋与交流的平台。书协（当时的中文名为新加坡中华书画研究会）自1974年开始于麦波申教育中心开设书法班。

第一届朝花书法展于1986年3月13日至16日于中华总商会举行，，由新加坡书法家协会（当时中文名称为新加坡书学协会）顾问及直落亚逸区国会议员王邦文先生揭幕。该届书展共展出了该协会13个研究班学员的64幅作品。该书展每两年举办一次。

从1992年起，随着书协书法班的学员的增加，书协决定把书展改为常年展，并改名为‘春华秋实书法展’。该届春华秋实书法展于1992年11月14日至15日在新加坡大会堂举行，共展出82位老中青书法工作者的作品，由潮安联谊社主席郑展松先生主持仪式。

1995年，新加坡书法中心落成，‘春华秋实书法展’就有了一个永久的家。该届书法展第一次在书法中心的光前堂举行。为期一周的书展于11月11日起举行由书法中心董事主席郑文麟揭幕，并展出老中青书法爱好者的作品97件。

2005年开始，为了让更多书法爱好者的作品能够有机会参加展出，这个书展改为两个书展会。‘新秀风采展’为正在念书的在籍学生的书法爱好者提供展出平台来展示他们的书法才华，‘黄金岁月展’则让来自各行各业的工作人士与已经退休的书法爱好者展出与交流学习经验。2005年11月19日举行的‘黄金岁月展’共有93人的作品被选展出。

可以说，这二十三年来，参与这个书法的人数与作品的阵容，无论在质与量方面，独有显著的增加与改善。正当然亦可以说显示了新加坡书坛的日益蓬勃发展，实在是可喜可贺。

Zhao Ji: The Emperor Calligrapher 赵佶：皇帝书法家

In the Chinese history, many emperors loved calligraphy and some of them became highly accomplished in the field. Speaking of emperor calligraphers, Zhao Ji (1082-1135) or Emperor Huizong of the Northern Song Dynasty (960-1279) immediately comes to mind. He reigned from 1100 to 1126.

He was a skilled poet, painter, calligrapher and musician. He sponsored numerous artists at his court, and the catalogue of his imperial painting collection lists over 6,000 known paintings.

Because of his involvement with these pursuits, Huizong neglected the army, and Song China became increasingly weak and at the mercy of foreign enemies. In Jan 1127, the Jin on the northern border entered Bianliang (Kaifeng), the capital of the Northern Song Empire, and captured Huizong, his son Emperor Qinzong, as well as the entire imperial court and harem. In May 1127, Huizong was deported to northern Manchuria, where he spent the last eight years of his life as a captive in the small city of Wuguo (in present-day Yilan County, Heilongjiang Province). He died on 4 June 1135, at the age of fifty-two.

During his 25 years of governing, Zhao Ji was so addicted to calligraphy and art that he devoted little time to knotty political issues. He first made cuju (a prototype of football) star Gao Qiu his chief military commander, and then handed almost all governance to a few treacherous court officials, while he devoted himself to art and culture.

As a ruler he was incompetent, and allowed his officials to make decisions which hastened the demise of his empire, but his artistic talents and achievements were unparalleled. He invented the "Slender Gold" style of calligraphy. The name "Slender Gold" came from the fact that Huizong's writing style, comprising thin and straight strokes, resembled gold filament, twisted and turned.

His horizontal strokes ended with hooks, the vertical strokes with points. His slanting strokes were sharp as knives, and the vertical hooks as slim and tall as a fine young man. His style reflected a pursuit of perfection while obeying regulations. His calligraphy is unconventional and original, the strokes are stretched to their extreme limits and the result is a fascinating dynamism that until today stands out as an independent and striking interpretation of Chinese characters.

This style of calligraphy is a sharp diversion from anything seen before and in a way shows that although Huizong was not very courageous in the battle field, he certainly had the courage to innovate in the field of aesthetics. It can be said that his writing style reflected his rule as his endless pursuit of beauty in form made him overlook the overall setting, indicating that he was deficient in resolution and persistence.

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在中国的历史里，很多皇帝爱好书法，其中不少在这门艺术里的成就还是很高的。说到皇帝书法家，使人立刻想到北宋（960-1279）的徽宗赵佶（1082-1135）。他在位于1100 - 1126。

他精于诗、画、书法与音乐。在宫里，他养不少艺术家，收藏了不少过6000幅知名绘画。

由于他对这类事物的追求，以致忽略了军事，宋朝日益衰弱，为外敌所摆布。1127年1月，在北边疆的金攻入汴梁（开封），逮捕了徽宗、他的儿子钦宗、整个朝廷文武官员与后宫女眷。1127年5月，徽宗被流放到北方的满洲，这那里的小城市五国城 (今黑龙江省依兰县)度过了人生最后的八年的俘虏生活。他死于1135年6月4日，享年52岁。

在他统治的25年里，赵佶过于沉迷于书法与艺术而没有花时间在棘手的政治课题。首先他提拔善于蹴鞠（足球的雏形）的高球为殿前都太尉（掌管军事的高官），然后又把所有治理的权力置于几个奸臣手中，这样他就可以把时间花在艺术与文化。

作为一个统治者，他是无能的，他允许他的官员作决策，加速了王朝的灭亡，可是他艺术才能与成就却是无与伦比的。他创造了‘瘦金体’（ 瘦筋体）书体。之所以称为瘦金体是因为徽宗的书写风格包含了瘦与直的线条，犹如金丝、扭曲与削转。

他的横划收笔带钩，竖划收笔带点。他的撇划如匕首、竖钩细长如少男。他的风格反映出他追求完美同时遵循规律。他的书法独创、不跟随传统，线条伸延至极限，形成迷人的活力，直到今天它因独立与出众地阐述中国文字而显得突出。

他的书法前无古人，显示他虽然在战场上没有多大的勇气，在美的领域，他的创造勇气却是过人的。可以说，他的书写风格反映出他的统治，对于形式美的无限追求使他忽视了总体，显示了他的犹豫不决与缺乏坚持。

Chen Jen Hao 陈人浩

Chen Renhao (Chen Jen Hao 1908 - 1976) was an educator and Chinese calligrapher. He was also proficient in painting.

Chen was born into a wealthy family in Fuzhou, China. After completed his secondary school education in 1924, he went to Shanghai to receive art education. In 1928, he travelled to Paris for further study. After graduation in 1932, he returned to China and taught at the Shanghai Academy of Fine Arts from 1933 for 5 years. While in Shanghai, Chen met and became close friends with fellow artist Liu Kang (1911-2004), who married Chen's sister Jen-ping (Ren Bin) in 1937. In the same year of his sister’s marriage he was forced to flee to Muar, Malaya due to the Japanese invasion of China. At first, he taught at Chung Hwa Secondary and after the Second World War he became the principal of Chung Hwa High School in Muar, Johor.

He moved to Singapore in 1956 and became the principal of Kallang West Government Chinese Middle School, which is the predecessor of Dunman Government Chinese Middle School (now called Dunman High School). He was the principal of the school till 1969 when he retired.

Chen’s father was a scholar who practiced Chinese calligraphy regularly. Since young, Chen observed closely how his father practiced calligraphy. He was very much influenced and became interested in the art as well. His family had a good collection of calligraphic works of various periods by various calligraphers. Chen practiced all of them and later developed his own style of writing. He started with Yan and Ou style and followed by practising the works of Su Shi, Huang Ting Jian, Mi Fu and others.

As a principal, Chen liked to write school notices using the Chinese brush. The beautifully written notices had attracted many students to come to the notice board just to look at the writings. Some students from neighbouring schools were attracted by the writings too. One of them was calligrapher and painter Koh Mun Hong (Xu Mengfeng) who mentioned in one of his books how he was fascinated by Chen’s writings and decided to learn calligraphy after seeing them. There is no doubt that many more students were similarly influenced and had developed a keen interest in calligraphy.

Liu Kang, a famous painter, once commented Chen’s calligraphy, saying the structure of his calligraphy was decorous and solid, and his strokes were strong, smooth and simple. The calligraphy therefore revealed its gentle beauty and yet retained the dignity, its liveliness and yet maintained the manly mettle. His couplets, displaying the charm of vigour and strength, would pleasantly delight the viewers. His vertical banners, mostly written in walking cursive (xingcao) style, were spontaneous and free, like floating clouds and flowing water, and naturally they would charm the viewers.

It is a pity that Chen did not conduct calligraphy classes and therefore did not have students learning calligraphy from him during his life time. Probably this is a greatest loss to the Singapore calligraphy community.

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陈人浩是一名教育家与书法家。他也是一名画家。

陈人浩出生于福州的一个富有人家。1924年中学毕业后到上海去接受艺术教育。1932年毕业后，到法国深造。1932年毕业后回到上海，于1933年在上海美专教课，为期五年。在上海的时候，他遇到了画家刘抗并成为了好朋友。1937年，刘抗与陈人浩的妹妹陈人滨结婚。就在他妹妹结婚的这一年，由于日本侵略中国，陈人浩被逼逃亡到马来亚的麻坡。他首先在麻坡的中华中学当教员。第二次世界大战后，他成为柔佛州麻坡中化中学的校长。

1956年，他移居新加坡，担任加冷西政府华文中学的校长。这间学校是德明政府华文中学（现改名为德明中学）的前身。他一直担任这间学校的校长，直到1969年退休为止。

陈的父亲是一名书生，经常练习书法。从小陈就仔细观察父亲书写书法，因此受到了影响，以至对这门艺术产生了兴趣。由于他的家所藏的书法字帖丰富，陈临摹了这些字帖，并在后形成自己的风格。他从颜、欧体开始，后来学苏、黄、米及其他书家的字帖。

在他担任校长期间，他喜欢以毛笔来书写布告。字体美丽的布告吸引了不少学生前来布告栏看字，就连附近学校的学生也被这些字所吸引了。其中的一个就是著名画家与书法家许梦丰。他在一部书中谈到他如何被陈的字所吸引与看到陈的字后决定学书法。相信当时不少学生就是受到他的影响而对书法发生兴趣。

著名画家刘抗(1911-2004)曾评说，他的字宫架稳实厚重，笔法苍润扑拙，庄严中含有几分秀丽，活泼中不失丈夫气概；他的对联，最能表现出雄浑的魄力，令观者胸怀为之一畅；他的条幅，多以行草书写，洒脱超逸，有如行云流水，叫鉴赏者心醉。

很可惜，陈人浩在世时并没有开书法班和收书法学生。这可能是新加坡书法界的最大损失。

Chinese Bronze Inscriptions金文

Inscriptions on bones or tortoise shells and inscriptions on bronze are the early representatives in the art of Chinese calligraphy.

After the Oracle Inscriptions, Chinese writing evolved into the form found on bronze ware made during the Shang Dynasty, Western Zhou Dynasty (c 1066–770 BC) and the Spring and Autumn Period (770–476 BCE), a kind of writing called jinwen ‘metal script’. Bronze wares are utensils made of copper alloys, usually with tin as main additive, on which one can not only see veins and decorative design, but also many inscriptions.

The trend of engraving and casting inscriptions on bronze ware started in mid and late Shang dynasty, flourishing in the Western Zhou, and gradually declined after the Warring States period. It last totally about one thousand years.

Most of the inscriptions on the bronze ware are cast and only a few is carved by sharp tools. Early bronze inscriptions were almost always cast (that is, the writing was done with a stylus in the wet clay of the piece-mould from which the bronze was then cast), while later inscriptions were often engraved after the bronze was cast.

The concave typeface of the characters is called as characters cut in intaglio; the raised characters are called as characters cut in relief. A lot of characters on the bronze ware are the cut in intaglio. The ancient people thought that bronze was quite firm so the inscriptions could be imperishably passed down, so the affairs that should be passed down must be cast on the bronze ware.

Most bronze inscriptions recorded the name of clan ancestors or the war, politics, largess and other important historical facts at that time. Therefore, inscriptions have become the important material for the research of the ancient history.

Along with the flourishing of stele study, calligraphers once again paid attention to bronze inscription in the Shang dynasty for practising seal script and doing research on new ways of structure forming.

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甲骨文是中国书法的最早形式。

甲骨文之后，中国文字在商朝、西周（公元前1006-700年）与春秋时期演变成为一种发现于铜器的文字形式，叫做‘金文’。铜器是用铜的合金制成，合金通常是加锡来混合。铜器上除了可看到纹与装饰设计外，还有铭刻文字。

把文字铭刻与铸于铜器，始于商朝中期与后期，盛于西周，而于战国后逐渐衰退。这种风俗持续了大约一千年。

多数的金文是铸造的，只有少数是用尖器来刻的。早期的金文几乎都是铸造的，就是说，把文字写在湿粘土铸型上后才来铸造铜器。后期金文是在铜器铸造完成后才刻上去。

文字如果是凹进去的就叫阴文，凸出来的就叫阳文。金文中阴文较多。古代人认为铜合金很坚硬，可以永久的流转后代，所以那些须要传给后世的就要铸刻在铜器上。

多数金文记录的是氏族祖先的名字、战争、政治、贡品及当时重要的历史事件。所以，金文成为研究古代历史的重要资料。

随着碑学的兴起，书法家再次注重学习商朝金文的篆书的学习并研找新的章法。

Writing Techniques 运笔法

There are three basic elements of brush techniques: brush holding technique, writing postures and writing techniques. The beginner will not be able to master all the techniques in a short time, but they must pay due attention to the principles of applying these techniques. It will be a shame for someone who has practised Chinese calligraphy for some time without knowing brush techniques.

We have discussed about the brush holding techniques and writing postures. We shall now look at the writing techniques.

In writing Chinese calligraphy, each stroke involves three phases of executing the brush: To begin the stroke (qibi), to move the brush (xingbi) and to end the stroke (shoubi). If strokes of a Chinese character are regarded as the basis of word construction, then qibi, xingbi and shoubi are essential techniques that determine the form of each of them.

Writing techniques are the most difficult part of brush techniques and beginners tend to neglect them. Therefore it is necessary to always remind yourself to pay special attention on this as you begin to write characters so as to cultivate good habits in writing strokes as you go along.

The basic approach to qibi is: You start with moving the brush to the opposite of the intended direction of writing the stroke for a short distance and then turn the brush-tip towards to the intended direction and proceed to the second phase of moving the brush. For example, when writing a horizontal stroke, which must be written from left to right, you have to move the brush to the left shortly and then turn the brush-tip back and move rightward. Similar steps should also be applied to start writing a perpendicular stroke. The Chinese saying is that move the brush leftward first if you intend to move it horizontally rightward, and move upward first if you intend to write vertically downward. The process is repeated each time you start writing a stroke.

The basic approach to shoubi is: Before ending a stroke, turn the brush-tip to the opposite direction and move shortly to complete writing the stroke. This process is repeated each time you end a stroke. However, there are cases where there is no need to execute shoubi and you need to find out and memorise these exceptions.

In writing a calligraphy stroke, one actually needs mainly to remember to apply the following three major principles of ‘centered tip’ (Zhong Feng):

1. Always hold the brush in an upright position, that is, it must be perpendicular to the writing surface.

2. Always keep the tip of the brush in the middle of the stroke.

3. Always ensure that the brush tip points at the opposite direction of the brush’s movement.

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笔法有三个要素：执笔法、书写姿势与运笔法。初学者不可能在短时间内完全掌握这三个要素，可是还是应该注意这些技巧的法则。如果一个人学了一段时间的书法还不能了解笔法，那是令人感到羞惭的。
我们已经讨论过执笔法与书写姿势。我们现在看一看运笔法。

中国书法的书写，每一笔画都有三个步骤：起笔、行笔与收笔。如果笔画是构成中国文字的结构的基础，那么起笔、行笔与收笔就是决定每个笔画形式的重要技巧。

运笔是笔法中最难掌握的部分，初学者往往会忽略它。所以，开始书写时我们应该时常提醒我们要注意运笔；这样在锻炼过程才能培养起良好的书写习惯。

起笔的基本方法是：开始时向所要行笔方向的相反方向行笔一小距离，转锋回到所要行笔的方向继续行笔。比如，横画应该由左向右行笔，就应该先向左行笔一小距离，然后把笔锋转回向右行笔。相同方法应用于书写竖划。所谓：欲左先右，欲下先上。

收笔的基本方法是：在笔画结束前，把笔锋转向相反的方向，向前行笔一小距离并完成笔画。每次收笔都要重复这个步骤。但是也有不需收笔的例外的情况，我们必须找出并记住这些例外。

在书写书法笔画时，我们其实主要要记住中锋用笔的三个原则:

1．执笔要正直，就是要与书写平面垂直。

2．常令笔锋在笔画中间运行。

3. 要令笔锋指向行笔相反的方向。

The Letter of Loss and Confusion 王羲之《丧乱帖》

Lanting Xu, the famous work by Wang Xizhi (303-361), is reputed to be the best Xingshu (walking script) in the Chinese calligraphy history. As a whole, the brushwork of it is exquisite with thick strokes being robust but not awkward, while narrow strokes are delicate but not weak. The calligraphy was completed in a rhyme with the proper use of force of the brush, light or heavy, fast or slow. Its strong and clear-cut lines and round and mellow forms present us with a fresh, clear, exquisite and closely linked work of art.

However, some calligraphy critics feel that Lanting Xu is not Wang’s best work and instead, prefer the Sangluan Tie (The Letter of Loss and Confusion).

Original works of Wang Xizhi's calligrahy are rarely seen today and most, if not all of the works we see now are rubbed copies of his works by others. It is believed that both Lanting Xu and Sangluan Tie we see today are copy works of later calligraphers. It is not deniable that later calligraphers had done a great job in making the copy works look like the original works. However, in terms of reflecting the original and spiritual mood of the calligrapher, it is pointed out that the copy work of Sang Luan Tie had captured the spirit of Wang’s writing better than that of Lanting Xu.

The text of the calligraphy says, ‘Xizhi kowtows; I am lost and confusing to extremity. The ancestry tombs came apart again! The torment poisoned and pressed me quite brutally. I cried and wailed in despair. The pain has gone through to my heart and my liver. What can I do? Although the tombs are being repaired right now, I cannot go see to the work done. Oh the sorrow, like poison, is running deep each and every moment. What can I do? How can I be? Having come to the paper, I am at a loss of what more to put down. Xizhi kowtows ... kowtows.’

Wang lived in the Wei-Jin period which was a time of turbulence and changes. The Wang family had to flee from the north to the south. It is quite obvious that this letter was written at a time when he felt he was so confused and helpless on knowing that the ancestral tombs in the north were damaged and destroyed. The anger and frustration was displayed thoroughly by words full of hopelessness and grief, and the non-conventional, bold and wild strokes.

The emotion was strong and calligraphic strokes were non-conventional in displaying that emotion – these are the conditions and elements that make Sangluan Tie a great masterpiece.

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王羲之（303-361）的著名的《兰亭序》在中国书法史上被认为是最好的行书作品。整体来说，它的笔法绝妙，笔画键实而不笨拙，细致而不软弱。整幅作品节奏完美，表现于用力得体，有轻有重，有快有慢的线条。它的强健而清晰的笔画及圆而熟的形式所带来的是一幅清鲜、晴朗与绝妙的紧凑的作品。

但是，有些书法评论者却觉得《兰亭序》并不是王羲之最好的作品，而偏爱《丧乱帖》。

现在很难看到王羲之的正品。如果不是全部，可说大多数是后来书法家的临摹作品。据说《兰亭序》与《丧乱帖》都是膺品。无可否认，后代书法家在临摹时，下了苦功，形态极像原作。可是，就表现书法家原本与精神而言，有人认为在反映王羲之书写精神方面，《丧乱帖》比《兰亭序》好。

王羲之《丧乱帖》全文如下：“羲之顿首：丧乱之极，先墓再离荼毒，追惟酷甚，号慕摧绝，痛贯心肝，痛当奈何奈何！虽即修复，未获奔驰，哀毒益深，奈何奈何！临纸感哽，不知何言！羲之顿首顿首。”

王羲之生活的魏晋时期，局势动荡不安与变动连连。王羲之的家族要从北逃离到南方。明显的，这封信是他在知道祖坟在北方遭受到破坏与损坏之后，感到混乱与无助而写的。无助与悲痛的语言，非传统、强烈与无束的笔画，通篇表达愤怒与挫折之情。

强烈的感情，以非传统的书法笔画来表达情感 – 这些都是使《丧乱帖》成为名帖的条件与因素。

Brushwork: Zhong Feng 中鋒用笔

Cai Yong once said, ‘Let the tip of the brush always moves within the middle of the stroke.’

As Chinese calligraphy is a uniquely Chinese art, it is understandable that there is a lack of a suitable vocabulary in English for describing the subtle qualities of line that have concerned Chinese calligraphy.

Calligraphy is mainly about writing Chinese characters with lines and it uses materials such as brush, ink, and paper or silk. One of the basic criteria for good brushwork is known as zhongfeng, which literally means ‘centered tip’. The term has no equivalent in English because it is essentially meaningless for both Western oil painting, which is painted largely with a flat brush, and Western calligraphy, which is written with a stiff pen.

While it is a term that can be interpreted in different ways, the concept of the “centered tip” is absolutely crucial to an understanding of Chinese brushwork.

Zhongfeng, like many Chinese art terms, is profound in its ambiguity. It may refer to the way the brush is held, the position of the tip within the stroke, or to the brushstroke itself. The most common definition refers to the manner in which a brush is held and, in this basic usage, describes a method of holding the brush in an upright position, that is, it must be perpendicular to the writing surface - bearing in mind that almost all Chinese calligraphy is executed with the paper or silk laid out flat on a table. When the brush is held this way the tip of the brush naturally occupies the middle of the line as the calligrapher begins to create a line or stroke. No matter in which direction the brush is then moved - up, down, left, right, diagonally, or in an arc - the tip of the brush will always be within the middle of the stroke, provided that the brush continues to be held perpendicular to the writing surface. This will enable the hair of the brush-tip to spread out evenly in all directions.

It is generally agreed among experts that, when a calligraphy piece done in zhongfeng, is held up against the light, a thin line of thick ink should be seen running in the middle of the stroke, even when the stroke turns at sharp angles or in curves. Mi Fu told us that one of the best examples of zhongfeng, is Su Shi’s transcription of the Chibifu. Unfortunately the effect cannot be discerned in photographic reproductions. It is said that the entire piece is done in zhongfeng, and it remains to this day a standard phrase of critical acclaim.

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蔡邕说过：令笔心常在点画中行。

书法是中国特有的艺术，在英语词汇里缺少用来形容中国书法美妙的线条的字词，那是可以理解的。

书法主要是书写中文，应用的材料包括：笔、墨、纸或帛。用来评判笔法之好坏的其中一个准则就是‘中锋’，或‘笔锋在中间’。英语没有这个词的相对词，因为西洋油画用的是平锋笔，而西洋书法用的是硬笔，所以中锋对他们来说，没有意义。

这个词虽然有不同的理解，可是中锋对了解中国笔法是绝对关键的。

就如其他的中文艺术词语一样，中锋的含义模糊不清。它可以指执笔之法，笔锋在线条内的位置，或者笔法本身。最普通的解释指执笔的方法；而这种用法是说所执的笔要正直，就是说必要与书写表面垂直 - 记住书法是在与平铺在桌面的纸张或帛布上进行书写的。当用这种方法来执笔来开始书写时，笔锋自然就占据笔画的中间部分。无论毛笔向哪一个方向移动——上下、左右、对角、圆弧——如果毛笔能够与书写面垂直，那么笔心都回在笔画的中间。这也能够使得笔锋可以均匀地分散的每一个方向。

专家一般同意，一幅以中锋运笔而完成的书法作品，如果放在灯光下，不论它的线条是突转或圆转，我们可以在笔画的中间看到一条深线。米芾曾说，苏轼的‘赤壁赋’是中锋用笔的最好范本。可惜它的效果不能显现于影印本。据说整幅作品都是用中锋书写的，到目前为止，它还是为人赞颂的标准言语。

Wang Xizhi’s Story 王羲之的故事

Wang Xizhi (321-379) was born into an aristocratic family, but he was not enthusiastic about fame and wealth. When he first arrived in Zhejiang, he wanted to end his service for the government and retire to a life of comfort. The court loved his talents and wanted to appoint him as princely attendant and imperial secretary of the Ministry of Rites. But Wang declined these appointments. He finally retired from the government service on the ground of his poor health.

When he was young, he was slow and dull. No genius could be seen. In fact, he wrote more poorly than the other children. But his diligence in later years left others far behind. Whenever he took up his brush, he would concentrate so hard that he would forget about eating and his sorrows. Even when he was eating, reading or walking, he would think about the size and structure of the words and how to wield the brush. He would write with his finger. So eventually all of his clothes and books were worn out by his constant strokes. Once he forgot to have his meal while he was practising. So his dish was put on his desk. Not knowing what he was doing, he dipped his bun into the ink and ate with great relish, his mouth blackened.

When he was 20 years old, the Emperor’s advisor Xi Jian (269-339) sent one of his associated to Wang’s father to state his wish to have one of his sons as a son-in-law. Wang’s father told the messenger to take a look at the young men in the house. The messenger later reported to Xi that the young Wangs are all suitable men. However, when he arrived there to see them, all became tense and uneasy. There was one exception. He just lay on his back with his belly uncovered, nonchalant as if he knew nothing of the purpose of his visit. On hearing this, Xi said, ‘That one will do fine.’ And that young man’s name was Wang Xizhi.

Wang Xizhi is particularly remembered for his love for geese. Legend has it that one day, he visited the beautiful landscape of Shao Xing with his son by boat. He found a flock of gooses on the bank, he liked them very much and prepared to buy all of them. These gooses were raised by a Daoist who knew Wang Xizhi was a well-known calligrapher. He said to Wang, ‘If you could write Huangtingjing for me, I will give all of these gooses to you.’ Wang Xizhi was eager to get these gooses, so he agreeably complied with his demand and conditions.

It is said that Wang learnt the key of turning his wrist in calligraphy writing by observing how the geese move their necks.

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王羲之 （321-379）生于豪门大族，但他并不热心于名誉与富贵。初到浙江，他就想要辞官退休。后朝廷欲官授待中，礼部尚书、王羲之皆不接受。最后以健康理由辞官归隐。

王羲之小时候其实相当迟钝，看不出有什么天分。事实上，他写的字比很多孩子都差。可是后来的勤奋，他就把其他人都抛在后头了。每当他提起笔时，他总是集精会神的把餐食与烦难给忘了。就算是在吃东西，阅读，行走时，他都在思考字的形状与大小，及如何挥动毛笔。他会以手当笔。因此，他的衣服与书本都在长期的指划下而损坏了。一次，他忘了用餐，食物就放在书桌上。他自然地把馒头浸入墨汁中，弄到满嘴黑墨，还吃得津津有味。

他二十岁时，太会太尉郄鉴（269-339)派人去找王羲之的父亲，要求他其中的一个儿子当女婿。王羲之父亲告诉使者到屋内去观察一下他的儿子。使者回去报告郄鉴，说所有的儿子多不错。但是，当他观看他们时，他们都显得十分紧张与不安。只有一个例外。他躺在那儿，露腹而漠不关心，完全不把使者到访的目的当着一回事。郄鉴听后，说：‘这个不错。’这个年轻人就是王羲之。

王羲之最为后人所知的就是他爱鹅。传说有一次，他与儿子乘船旅游美丽的绍兴，看到一群鹅在河岸。他喜极而要把它们全部买下。这些鹅是一个道人所饲养的，而这个道人知道王羲之是个著名的书法家。他对王羲之说：‘如果你能够把《黄庭经》写给我，我就给你所有的鹅。’王羲之满心要得到这些鹅，自然愿意承诺他的要求与条件。

据说王羲之书法上的运腕就是由观察鹅转动它们的颈项而领悟出来的。