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。

The Writing Posture 书写的姿势

We noted that before start practising calligraphy, one must learn the proper way of holding the brush. The technique of holding the brush was very much emphasised before the Song dynasty. It is used with a brush manipulation technique known as Brush Turning. The use of fingers is emphasised.
After Song dynasty, with the introduction of tables and chairs that were similar to what we use today, the emphasis was moved to the method of using the wrist and the techniques of brush lifting and pressing. Therefore, the use of both fingers and wrist are emphasised. Fingers are used to hold and turn the brush and wrist is for moving the brush.
So, when writing, two things must be done correctly: the correct body posture and method of using the wrist and arm.
Body Posture: The correct body posture is important as the wrong posture will lead to strained eyes, sore muscles, or even hunch-back. You can practice calligraphy in either sitting or standing position. Standing position is normally for writing characters that are larger than 2 inches.
When sitting, the body should be erect, the shoulders balanced and the back straight. The legs should be apart, the feet evenly and firmly on the ground. The paper is held down by the left hand. The right hand holds the brush. The head is slightly forward, but be careful not to bow too low. Fix your eyes on the spot where you intend to write. Your eyes and the tip of your writing brush should be thirty centimetres apart. Your whole body should feel natural.
In the standing position, you start with your back erect and your shoulders set naturally. When standing, your feet should be as wide as your shoulders. Your chin should be slightly out causing you to lean forward a little.
Method of Using the Wrist: As the wrist is used to manipulate the tip of the brush, it is therefore important to learn the correct way to increase its agility. The three positions of the wrist are: cushioned, lifted and suspended wrist.
The cushioned wrist method required that the hand be held perpendicular to the paper, with the wrist cocked back like a striking serpent, while the forearm rests on the desk. While writing, the wrist is used to move the brush. This method is very often used for writing ordinary small characters.
The lifted wrist method is easily accomplished by placing the writing hand on top of the table, effectively raising the writing hand to an acceptable level. While writing, the arm is used to guide the wrist. It is normally used to write medium-sized characters.
In the suspended wrist method, the forearm is always held parallel to the desk. While writing, the arm is used to move the brush. This method allows for the freest movement of the brush. It is used to write medium and bigger characters.
All new learners of calligraphy should start with the suspended-wrist method as the basic skill. After mastering this method, they will have no problem to use the other two methods.

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我们注意到，在开始书写之前，我们必须学好执笔方法。宋代以前，人们注重执笔法，用以配合转笔的运笔法。强调用指。
宋代以后，随着和我们今日相同的桌椅的应用，强调用腕法和提按。所以，指腕并用。执笔与转笔用指，运笔用腕臂。
因此，在书写时，有两件事应做好：正确的身体姿势与用腕法。
身体姿势：正确的身体姿势很重要，因为错误的姿势会导致眼睛疲劳、肌肉酸痛，甚至驼背。练习书法可以坐姿或站姿。站立姿势通常用来写两吋以上的字。
坐姿书写，身体要正，两肩要平衡，背部垂直。两脚分开，均匀而有力地放在地上。左手压纸，右手执笔。头微微向前，小心避免低头。眼睛应注意看着要书写的地方。眼睛与毛笔的距离大约30厘米左右。整个身体要感觉自然。
用站立姿态开始书写时，背部要直立，两肩要自然。站立时，两脚距离要等于两肩的距离。脸下巴微向前，驱使身体略微趋向前。
用腕法：由于用腕调整笔锋，正确的运腕以增加其灵活性是十分重要的。三种用腕位置是：枕腕,提腕，悬腕。
枕腕法要求手掌与纸垂直，手腕如蛇探头般微向后，而前臂枕于桌上。书写时，主要是以腕运笔。这个腕法通常用来写小字。
提腕法容易执行，只要把书写的手臂放在桌上，提高到一个适当的水平就可以了。书写时，主要是以臂运腕。这个腕法通常用来写中形字。
运用悬腕法，整个前臂要与桌面平行。书写时，以手臂来运笔。这个方法的毛笔运行的自由度最大。用来书写中大形以上的字。
书法初学者应该把选腕法当作其本法先学。学好悬腕法，要用其它两种腕法就没有问题了。

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。

Ong Teng Cheong 王鼎昌

There is no doubt that Ong Teng Cheong, (Wang Dingchang, 1936 - 2002), the first directly elected President of Republic of Singapore loved Chinese calligraphy. He was the Singapore's fifth President, in office from 2 September 1993 to 1 September 1999.
Mr Ong was born on 22 January 1936. He was the second eldest of five children, with one elder sister, one younger brother and two younger sisters. His English-educated father felt that Chinese is important if one wants to make a success in life, and especially business, so he sent all his children to Chinese medium schools. Mr Ong completed his primary education at Chong Zheng Primary School (1949) and graduated from The Chinese High School in 1955.
Mr. Ong’s passion for the culture is marked by his vision for Singapore as a centre for the arts, later known as Renaissance City. This led to the establishment of organisations promoting Singapore’s artistic, cultural and history heritage, like the National Heritage Board and National Arts Council. As an arts patron, Mr. Ong initiated the President’s Charity Art Exhibition and Concert, and President’s Start Charity.
Mr. Ong’s artistic and cultural contributions as an active arts practitioner, is demonstrated by his own calligraphy works, which are featured in the exhibition.
His love for Chinese calligraphy probably was developed during his years in the Chinese medium schools he had practiced the art probably till the last day of his life. In 1990, he demonstrated his calligraphic skills by writing a seven-word couplet at the First International Calligraphy Exchange Exhibition organised by the Chinese Calligraphy Society of Singapore. In 1999, during his visit to his alma mater The Chinese High School, he wrote on the spot four Chinese words ‘宾至如归’, which means to make the guests feel at home.
His demise is a great loss to the Singapore art community.
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毫无疑问的，新加坡第一个民选总统王鼎昌先生（1936 – 2002）喜爱书法。他是新加坡的第五任总统，任期由1993年九月2日至1999年九月1日。
王先生出生于1936年1月22日。他是家里五个孩子中的老二，有一个姐姐，一个弟弟和两个妹妹。他的父亲受英语教育，却觉得如果一个人要成功，尤其是要在商界有作为，华文是很重要的。所以他把他的孩子都送进了华文源流学校读书。王先生在崇正小学完成小学教育（1949），并在1955年毕业于华侨中学。
王先生对文化的热爱，可以从他要新加坡成为文化中心的远景中看得出，这个远景后来被称为文化复兴城市。这导致新加坡成立了不少组织机构来推进新加坡的艺术、文化与历史文物。这些机构包括了国家文物局与国家艺术理事会。作为一个艺术赞助人，王先生发起了总统慈善艺术展与音乐会，新加坡总统星光慈善演出。
作为一个活跃的实践艺术者，王先生对艺术文化的贡献，亦可以从他的书法作品在展览会中展出体现出来。
他对书法的爱好，可能是在华文源流学校读书时培养的。很可能在他生命的最后时刻还在练习书法。1990年，他在由新加坡书法家协会所主办的第一届国际书法交流展中展示了他的书法技艺，当众挥毫七字对联。1999年，他回母校华侨中学参观，还写了‘宾至如归’四个字。
他的逝世是新加坡艺术界的损失。