The Singapore Calligraphy Annual Exhibition 新加坡书法年展

The first Singapore Calligraphy Annual Exhibition was held from 3 to 8 September 1981 at the National Museum Art Gallery. It was then known as the First National Calligraphy Exhibition.
Since then, it has been held 29 times annually till this year. The event is organised by the Chinese Calligraphy Society of Singapore.
At the first exhibition, there were 112 pieces of calligraphic works on display by 50 calligraphers, aged between 19 and 81. One must admire the organisers’ good foresight of starting this annual event, especially at a time when the event was marked by a report filed by a newspaper with a big heading ‘Dying Art?’. The report started with three disturbing questions: ‘Is Chinese calligraphy a dying art in Singapore? Should it be taught as a subject in schools? What is its relevance to us in modern living?’ It also noted that ‘calligraphers are becoming a rare breed as fewer of the younger generation take an interest in it because even fewer are able to teach it’.
The report also quoted someone who said, ‘Who wants to see those unintelligible scribbling and blotches of black ink?’
Over the years, the organisers have obviously proven their critics wrong. Today, Chinese calligraphy is definitely not a dying art in Singapore. In fact, more people are learning the art and the number of calligraphy classes conducted by various organisations has increased considerably. At the Singapore Calligraphy Centre alone, there are more than 40 classes attended weekly by about 500 lovers of calligraphy.
The annual event has definitely played a positive role in maintaining a high level of interest of the art in Singapore. It is to be expected that many of the calligraphers who participate in the exhibitions over the years are also actively involved in calligraphy teaching.
This year, it was held from 25 to 28 April 2009 at the Lee Kong Chian Hall at the Singapore Calligraphy Centre.
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新加坡书法年展的第一次展览于1981年9月3日至8日在新加坡博物院画廊举行。当时名为第一届全国书法展。
至今，这个由新加坡书法家协会举办的年展已经举办了29次。
共有50个书法家的112件作品在第一届年展中展出。他们的年龄介于19到81岁。举办机构发起第一届书展的高瞻远瞩是值得我们敬佩的；尤其是当时一家报纸的报道以‘垂死的艺术？’为大标题，一开始就提出三个令人不安的问题：‘在新加坡，书法是垂死艺术吗？它应该成为学校的教导科目吗？它在我们现代生活有用吗？’这份报道还指出：‘书法家已是稀有品种，因为更少人有能力教导它，加上新一代越来越少对书法有兴趣。’
这个报道还引述一些人的谈话：‘谁要去看那些难解的书写与肮脏的黑墨呢？’
这些年来，主办当局明显的证明他们的批评者是错误的。在新加坡，今天书法肯定不是一门垂死的艺术。事实上，现在有更多人学习书法。各团体开办的书法班已有明显的增加。单单在新加坡书法中心，每个星期就有超过40班开课，大约500名书法爱好者在上课。
在新加坡，这个年展肯定在保持人们对书法浓厚兴趣方面扮演了正面的角色。可以想象的是，不少参展的书法家也积极的参与书法教学的工作。
今年的展览于4月25日至28日在书法中心的光前堂举行。

Tan Keng Cheow 陈景昭

Tan Keng Cheow (Chen Jingchao, 1907 – 1972) was born in Anbu，Chaoan county of Guangdong province. He was sent to study in Shanghai at young age and graduated from Jinan University with a degree in Economics. Due to his family background, he developed a deep interest in Chinese painting and calligraphy since young.
In Shanghai, he was under the guidance of a number of pre-eminent artists, including Huang Binhong and Ye Gongchuo. His calligraphy was very much influenced by Ye, so much that that many of his own students also learned Ye’s calligraphy. Tan started with learning the calligraphy of Yan Zhenqing and Zhao Mengfu, and followed by practising extensively the Wei stone inscriptions.
Tan came to Singapore in 1949. He was a Principal of Tuan Mong High School. He also taught in Chung Cheng High School (Main). 1964. He retired in 1968 and died in 1972.
We can say that Tan is the person who had laid the foundation for the development of calligraphy in Singapore. His contributions to the field of calligraphy in Singapore were many-fold.
When he was the Principal of Tuan Mong High School, he created a very conducive environment for calligraphy learning. As a result, the school had produced many students who are good in calligraphy. As such, Tuan Mong was well known for calligraphy in Singapore.
In 1964, Tan was transferred from Tuan Mong to Chung Cheng High School (Main) as a teacher. Since then, he started teaching Chinese calligraphy, and did not stop teaching it till his death in 1972. During this period, he had trained many students such as Tan Siah Kwee, Khoo Seng Kong, Choo Pee Moy, Yeo Eng Choon and Yeo Eng Jiang. Many of his students have developed a lifelong love in Chinese calligraphy. Even after his retirement, he continued to invite these students to learn and practice the art in his home. Among them, Tan Siah Kwee is the founding member of and currently is still the President of the Chinese Calligraphy Society of Singapore (CCSS), which was officially founded in December 1968. Khoo Seng Kong is the founding member of the Shicheng Calligraphy & Seal-carving Society and currently its Adviser. Both men have played a pivotal role in the development and promotion of Chinese calligraphy in Singapore.
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陈景昭（1907～1972年），潮安县庵埠人。早年负笈上海，毕业于暨南大学法学院经济系。由于家学渊源，自幼对中国书画产生浓厚之兴趣。
在上海求学时，深得黄宾虹、叶恭绰等名师指授。其书法受叶恭绰的影响较大，以至后来他的很多学生也学习叶恭绰的字。陈景昭的书法由颜真卿、赵孟頫入手，于魏碑用力至深。
1949年到新加坡，历任端蒙中学校长及中正中学总校教师。他于1968年退休，1972年去世。
陈景昭可以说是新加坡书法发展的奠基人物，对新加坡书法界的贡献可以说是多方面的。
在他当端蒙中学时，为学校制造了一个很好的学习书法的环境，以至该校的书法人才辈出，端蒙也因书法而闻名全新加坡。
1964年陈景昭从端蒙转到中正中学总校教书，这是他亲自教导书法的开始，一直到1972年去世为止，他就从来没有停止过书法教学的工作。在中正期间，他培养了一批对书法终身热爱的学生，在退休后还继续请这些书法爱好者到他的府上学画学字。陈景昭所培养的学生中，就包括了陈声桂，邱程光，朱碧妹，杨应然，杨应春等人。其中陈声桂先生是1968年12月创立的新加坡书法家协会的创办人之一与该会的历任会长；而邱程光则是1994年创立的狮城书法篆刻会的创办人之一，目前是该会的顾问。他们在新加坡当代书坛扮演了举足轻重的角色。

Holding the Chinese Calligraphy Brush 毛笔执笔法

To practice Chinese calligraphy, you must learn the proper way to hold the brush as this will produce the desired effects in calligraphy. As a beginner, always try to hold the brush firmly and keep it straight and vertical to the desk. Unlike Western calligraphy or pen writing, do not hold the brush in a slanted angle.
The brush needs to be held with all five fingers because each finger plays a different vital role in writing each character's strokes. If a certain finger is not used, the effect in each stroke will look different. Remember to keep the wrist and palm in a smooth angle to avoid muscle strain.
The functions of the five fingers are called ye, ya, gou, ge and di.

Ye (to press down the thumb): The thumb should press the brush on a slant from left to right.
Ya (to use the index finger hold the brush handle): Press the finger slantwise and bend it slightly from right to left. The index finger and the thumb cooperate so that while one presses the other holds the brush handle. Gou (to use the middle finger hook the brush): Move this finger forcefully from left to right to hook the brush. The middle finger must cooperate with the third finger to write the characters.

Ge (to use the third finger press the brush): The third finger is placed on the left side of the brush handle pressing the handle outwards. It cooperates with the middle finger so the two fingers exert an even and balanced force. Di (to use the little finger to support the third finger): It is placed under the third finger to support it to push the brush outwards.
The palm must be hollow such that one should be able to hold an egg within that space.
This method of holding brush allows greater freedom of movement, control and execution of strokes.

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学习书法，一定要学正确的执笔方法，这样才能产生预期的书法效果。作为初学者，应尽量握紧毛笔，使它正直，与书桌垂直。不像书学西方书法或钢笔字，毛笔不应倾斜。
所有的五根手指都应用来执笔，因为在书写每一笔划时，每一根手指的功用是不同的。如果一根手指没用到，每一笔划的效果看起来就会不同。记住，手腕与手掌的角度要顺势，这样才会避免肌肉僵硬。
五根手指的功能是：擫、押、钩、格、抵。
擫（用拇指按）：拇指应倾斜由笔管左侧向右侧按住笔管。
押（用食指压笔管）：食指倾斜，稍微弯曲，由笔管右侧向左侧压下。食指与拇指合作，一按一压夹住笔管。钩（用中指钩笔管）：以中指有力地由右侧向左侧钩住笔管。中指要与无名指合作书写。
格（用无名指抵压）：无名指放在笔管左边向前推挡笔管。无名指要与中指配合，两根手指使出的力要均匀平衡。抵（用小指来支撑无名指）：小指紧靠无名指辅助它向前推挡笔管。
掌要虚，空虚之处应可放一粒鸡蛋。
这种执笔法可达至更大的运笔、控制与书写的伸缩性。

Teochew Poit Ip Huay Kuan: Monthly Calligraphy & Painting Exchange Gathering 新加坡潮州八邑会馆的每月书画交流雅集

The Singapore Teochew Poit Ip Huay Kuan was formally established on 20 March 1929 by a group of prominent Teochews (chaozhou) immigrants from the 8 Chaozhou districts in the province of Guangdong, China.
The Teochew Poit Ip Huay Kuan which presently engages actively in a wide range of cultural activities such as workshop on Chinese dance, Chinese martial arts, Chinese painting, Chinese calligraphy competitions and Chinese essay-writing competition. In 1983, it formed a cultural and education section and setup an education and cultural centre in the Teochew Building. In 1985 the cultural and education section was enlarged to become the Cultural and Educational Committee to be responsible for promoting educational, cultural and recreational activities.
One of the activities organised by the Committee is the Monthly Calligraphy & Painting Exchange Gathering. The first such gathering was organised in Oct 2003 and since then, it is held at 3.00 pm on the last Sunday of every month in the association’s Teochew Building at Tank Road, Singapore.
Every month, a famous calligrapher or painter will be invited to give talk on specific topic followed by exchange of ideas between the speaker and participants. After the talk, the speakers and participants are invited to write calligraphy or paint on the spot so that all those who are present can learn from each other.
To date, 63 gatherings and talks have been organised. The fairly good response and attendance so far show that the effort put in by the Committee is well appreciated. It is hope that the activity will continue to be held for a long time to come.
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新加坡潮州八邑会馆由一批来自中国广东八个潮州区的移民领袖于1929年3月20日发起正式成立。
新加坡潮州八邑会馆目前积极地推动多项文化活动，如中国舞蹈、武术、绘画、中国书法比赛、华文作文比赛，等等。1983 年，它在潮州大厦成立了文教组和文教中心。1985年文教组扩展为文教委员会，负责教育、文化与娱乐活动。
文教委员会所举办的一个活动就是每月书画交流雅集。第一次雅集于2003年10月举行；此后，每月最后的一个星期天的下午3时都会在会馆的潮州大厦举行雅集。
每个月，著名书法家或画家都会被邀针对一个主题发表演讲，随后演讲者与参与者进行意见交流。演说完毕，演说者和参与者都被邀当众挥毫或画画，互相学习。
到目前为止，雅集已经举行了63次。从相当好的反应与出席率看来，文教委员会所作的努力是受到肯定的。希望这个活动可以长久继续搞下去。

Ji Zhi Wen Gao: The Second Best Walking Script in the World 季侄文稿：天下第二行书

Ji Zhi Wen Gao (Funeral Address for Nephew Ji-ming) is written by Yan Zhenqing (709-785), a leading calligrapher of the Tang dynasty. It is said to be ‘the Second Best Walking Script in the World’.
Yan Zhenqing is popularly held as the only calligrapher who paralleled Wang Xizhi, the ‘Calligraphy Sage.’ He specialized in Kai Script and Cao Script, though he also mastered other writings well. His Yan-style of Kai Script, which brought Chinese calligraphy to a new realm, emphasized on stable strength, boldness and grandness. Because of his achievement in the Kai style, his Kai style calligraphy is known as the Yan-style.
Like most of the master calligraphers, Yan Zhenqing learned his skill from various calligraphers. Yan started by learning Chu Suiliang's calligraphy and later, he learned from Zhang Xu who is well known for his Cao style.
In 755, An Lushan, a military leader launched a revolt against the Tang dynasty. Yan’s brother Gaoqing and nephew Jiming were captured and killed by An Lushan cruelly. When Yan Zhenqing heard the news, he was filled with grief and indignation and he wrote a funeral oration for his brother and nephew. The draft of this oration is the famous Ji Zhi Wen Gao.
One can read and feel from the calligraphy that an intense emotion of sadness seems to break forth from the tip of his brush and this has led to the emotion expressed uncontrollably that grief and indignation appear naturally between the lines.
It is said that this master piece is the second best walking style calligraphy after Wang Xizhi’s Lan Ting Xu. However, it is obvious that the style of Lan Ting Xu is totally different from that of Ji Zhi Wen Gao. It's hard to say which one is the best, which one is the second best. Maybe we should say both are equally good.
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‘季侄文稿’是唐代大书法家颜真卿 (709-785) 所写的。被誉为‘天下第二行书’。
颜真卿的书法一般与书圣王羲之同列。他最精于楷书与草书，虽然他的其他书体也写得很好。他的楷书，把中国书法带入了一个心的境界，强调稳重有力、果断与宏大气势。由于他对楷书的贡献，在书法上，他的楷体被称为颜体。
和大多数的书法名家一样，颜真卿跟不少名书法家学他们的笔法。他开始学褚遂良，后来跟草圣张旭学。
公元755年，安禄山起兵反唐。颜真卿的个个杲卿与侄儿季明被安禄山所捕并惨遭杀害。当颜真卿听到消息，他的内心充满了悲伤与激愤，并为哥哥与侄儿写了祭文。这就是著名的‘季侄文稿’。
从这幅书法，我们可以读出与感觉到一种深沉的悲哀情感由笔尖自然流露，导致无法控制的感情表现出的哀情与激愤自然地显现于线条之间。有人说这是王羲之‘兰亭序’后第二好的行书。可是，很明显的，‘季侄文稿’的书写风格完全不同于‘兰亭序’，所以很难说那一幅最好，那一幅第二。或者可以说两幅都好。