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.

.

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.

.

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)
.

.

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.

.

.

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.
.

.

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。