New Chinese Calligraphy Style 发展新书风

Chinese calligraphy is a unique form of arts that writes Chinese characters. For Chinese calligraphy to remain a vibrant art, it must follow closely the evolution of Chinese writing system and the calligraphers’ ability to do so will ensure its practical functionality. In the last century, the Chinese writing system has gone through some major changes unseen in the last two thousand years of its history and these changes provide a rare opportunity for calligraphers to develop a new Chinese calligraphy style (NCCS). However, we have not seen any major effort in China in the development of NCCS; perhaps calligraphers there are too overwhelmed by the popular use of pens and computing systems as writing tools, which they think would drive Chinese calligraphy to become a pure art form. But, this may not be the case, as it is the writing and reading habits of people that give life to its functionality. It is exactly with this in mind that we should focus on evolving a NCCS.

So far, we have seen at least the following changes that have happened to the Chinese writing system:

1. A new Simplified writing system has been introduced and is now the official writing system in mainland China and ASEAN countries which include Singapore and Malaysia. This provides the most challenging and rare opportunity for calligraphers to create a new style of writing the Simplified characters.

2. A new writing and reading habit has been evolved today that the text is to be written and read from left to right instead of from right to left. The NCCS should reflect this new writing and reading habit.

3. The use of Gregorian calendar is the common and well understood among the ordinary people. NCCS should use it in writing the inscriptions (supplementary notes). (I wish to acknowledge that this point was brought up by my calligraphy classmate Low Chee Keong (Lu Zhiqiang)).

It is our wish that the NCCS would sustain the practical functionality of Chinese calligraphy, so that it can continue to be part of our life and living, appear in our hawker centres, offices, buildings. Our school also can use it as a teaching tool for the Chinese language subject.

NCCS can be written in the following Chinese scripts:

1. The standard scripts which include official, clerical, regular or simplified script.

2. The running scripts which include running-regular, running-cursive or running-simplified script.

3. The Cursive scripts which include zhang-cursive, cursive or wild-cursive.

Shown here are some examples that conform to the NCCS format written by famous contemporary calligraphers.
这里所展示的是符合‘新书风’的一些当代书法作品范例。
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中华书法是书写中文的一种特有形式艺术。如果中国书法要继续保存旺盛生命力，它就应该紧密的跟随中文书写系统的演变。书法家在这方面的能力可以确保书法的实用性。上个（20）世纪，中文书写系统经历了两千年历史以来未见过的几个重大改革；这些改革为书家发展‘新书风’提供了一个绝对少有的契机。但是，在中国，我们却看不到他们对发展‘新书风’的努力。这可能是他们对钢笔与电脑书写的普遍应用感到不知所措，认为这会导致书法走向纯艺术的道路。可是，事实可能并非如此，因为书法的实用性其实来自文字的书写与应用习惯。就是基于这个理由，我们应该集中精力来发展‘新书风’。

中文书写系统至今至少有着以下的变化：

1． 简体字的引进。简体字已经是中国大陆及包括新加坡与马来西亚在内的亚细安的正式书写系统。这给予书法家提供了一个最具挑战性与绝对少有的良机来创造简体字的新书写风格。

2． 一个新的书写习惯正在演变。这个新的习惯是由左到右的书写与阅读习惯，而不是由右到左。新书风应该反映这个习惯。

3． 阳历的年与月以为一般民众所普遍使用与了解。新书风中的题款应加以应用。（这一点是书法同门师兄卢志强提出的，特此致谢。）

我们希望‘新书风’可以使书法的实用性得以持续，继续成为我们生活的一部分，在我们的小贩中心、办公室、建筑物出现。我们的学校也可以用它来作为华文语文的教科工具。

‘新书风’可以用以下字体来书写：

1． 真书：包括篆、隶、楷、简。

2． 行书：包括行楷、行草、行简。

3． 草书：包括章草、今草、狂草。

I have re-formatted some famous calligraphic works into NCCS as shown below.

我也将一些著名书法作品更改为‘新书风’格式，见以下图片。

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Below are the corresponding original works.

以下是原作。

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Wong Joon Tai on Lishu 运开临隶书

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

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

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

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

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

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

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

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

Shown here is my copy work of Caoquan Stele.

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运开临曹全碑 Copy Work of Caoquan Stele

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

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

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

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

看来取法乎中，由隶书入门最适合现代社会的情况。

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

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

Calligraphers from Nan-an District of Chongqing City Visited Singapore 重庆市南岸区书法家访问新加坡

A delegation comprising 19 calligraphers from the Nan-an District of Chongqing City, China arrived in Singapore on the evening of 17 Nov 2010. The delegation is led by the Chairman of the Calligraphers Association of Nan-an District, Chongqing City. Tan Bee Kiang (Chen Meijuan), the Secretary-cum-Vice President of the Shicheng Calligraphy and Seal-Carving Society (SCSCS), represented the Singapore host to welcome them at the Changi International Airport.

During the two-day visit to Singapore, the delegation attended the opening ceremony of the 12th National Teochew Artists Calligraphy and Painting Exhibition. They also visited the National Library and the National Art Museum. The calligraphic work ‘Guangbo Nengmiao’ (meaning extensive and profound knowledge can do wonder) in Zhang style of Cursive script by the leader of the delegation Zhang Wencan, and past issues of the Weekly Calligraphy Guide and Journal of Calligraphy that contained essays written by Zhang were collected by the National Library.

On the evening of 18 Nov, the delegation arrived at the 2nd storey of the Ngee Ann Cultural Centre for an exchange gathering with the Singapore counterparts. The following from Singapore attended the gathering: the SCSCS’s Advisors Ang Hoon Seng (Hong Yunsheng), Liu Pau Kiang (Liao Baoqiang) Chen Guangyi, President Chang Kwang Wee (Zeng Guangwei), Vice Presidents Goh Yao Kee (Wu Yaoji) and Tan Bee Kiang, together with council members Heng Wei Chia (Wang Huaizheng), Goh Toh Biow (Wu Duobiao), Chua Tok Nam (Cai Zhuonan), Sim Soong kee (Shen Songji) and Amy Lim Twan Yuan (Chen Duanyuan), the Siaw-Tao Chinese Seal-Carving Calligraphy & Painting Society’s President Tan Kee Sek (Ceng Jice), and the Senior Citizen Calligraphy and Painting Society’s President Tan Ching Yam (Chen Qingye).

As one of the calligraphy exchange activites, Zhang Wencan, Gan Lin, Yang Guiming, Nie Hui, Zai Sanqi, Zai Wuqiao, Tang Weiqun, Xie Lun , Xie Feidong, Xu Baohua and the Singaporean calligraphers displayed their calligraphic skills by writing calligraphy on the spot. It was a rather pleasure experience to learn from each other. The calligraphers also exchanged souvenir gifts.

Both sides also presented other cultural items. The Singapore side presented singing, dancing and painting items that reflect a unique Singapore flavour. The delegation form China presented various cultural items. Zhang Wencan, the delegation leader interpreted various poems, Jiang Yan, the deputy leader and President of the Opera Association sang Beijing Opera, the former president of the Calligraphers Association Yang Guiming sang folk songs, etc. Finally the gathering ended with all citing ‘Chinese Calligraphy’, a poem written by Zai Sanqi.

After concluded the visit to Singapore, the delegation headed north to visit Malaysia, holding exchange gatherings with calligraphers in Malacca and Johor.

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11月17日傍晚，重庆南岸区文联书法家代表团一行19人，在重庆市南岸区书法家协会主席章文灿率领下抵达新加坡，狮城书法篆刻会秘书兼副会长陈 美娟等代表地主前往樟宜机场迎接。

在新加坡的两天期间，代表团出席了‘第12届潮人书法展’的开幕仪式，还特地访问了新加坡国立图书馆和国家美术馆。团长章文灿章草作品“广博能妙”和分别刊登在《书法导报》、《书法报》上的书法论文一起被新加坡国立图书馆永久收藏。

11月18日傍晚，重庆南岸文联访新团在义安文化中心二楼，与新加坡书法同道进行笔会交流，狮城书法篆刻会顾问洪云生、廖宝强、陈光亿，狮城书法篆刻会主席曾广纬，副主席吴耀基、陈美娟、理事王怀正、吴多标、蔡卓南、沈松基、林端媛；啸涛篆刻書畫研究會会长曾纪策、新加坡乐龄书画会会长陈清业、旅新辽宁资深书法家苏德茂等数十位活跃于新加坡书家，出席了这次交流会。

在书法交流活动中，章文灿、甘霖、杨贵明、聂晖、戴三七、戴午桥、汤为群、谢伦、谢飞东、徐宝华等书法家与新加坡书法家一起现场挥毫，相互学习，并互赠纪念品，双方交流甚欢。

同时，主客双方还进行了相关文艺交流。新加坡曾广纬等体倾情演绎了新加坡的特色节目，有唱有跳，还有情景作画。代表团的艺术家们还将中国经典节目带到了新加坡，如团长章文灿激情演绎的诗词歌赋，副团长、戏曲家协会主席江燕演唱京剧，与前书协主席杨贵明的中国民歌对唱；谢飞东、聂晖现场演奏古琴并分别即兴赋诗；甘霖、陈幼文、戴幸秋即兴配舞现场草书等，都赢得了全场掌声，交流会过程气氛热烈融洽，最后，活动在全体团员共同朗诵的《中国书法》（戴三 七创作）一诗中圆满落幕。

代表团在结束新加坡访问后，继续北上马来西亚，并分别在马六甲与新山与各该地书法家进行书法及文艺交流。

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Writing Calligraphy on the Spot 当众挥毫：章文灿与曾广纬

Writing Calligraphy on the Spot 当众挥毫：載三七与沈观汉

Writing Calligraphy on the Spot 当众挥毫：甘霖与曾纪策

Singaporean Calligraphers Participated in the First Biennale International Arts and Calligraphy (Hainan) Exhibition 新加坡琼籍书画家参加首届（海南）国际书画双年展

Three Singaporean calligraphers were invited to participate in the First Biennale International Arts and Calligraphy (Hainan) Exhibition on Construction of ‘International Tourist Island of Hainan’, which is organized by the Hainan Provincial Tourism Bureau and the Provincial Federation of Literary and Art Circles, co-organized by the Provincial Calligraphers Association, the Provincial Artists Association and the Provincial Painting & Calligraphy Academy. The four-day exhibition, held at the Hainan Provincial Museum in Haikou City, was declared open on 4 Dec 2010.

The three Singaporean calligraphers who were invited are Goh Toh Piow (Wu Duobiao), Khoo Seng Kong (Qiu Chengguang) and Tan Kee Sek (Ceng Jice).

This biennial exhibition of calligraphy and painting is one of the important activities on developing Hainan as an international tourism destination. It is one of the biggest, most high profile and influential art and calligraphy events. It will be held once every two years with the aim to develop an attractive brand with distinctive cultural flavor. This will help to enhance the quality of life for the people of Hainan.

The exhibition received more than 150 calligraphic works from countries and regions such as Brazil, Canada, USA, France, Korea, Japan, Singapore, Malaysia, Indonesia, Brunei, Vietnam, mainland China, Hong Kong, Macau and Taiwan.

(Notes: The English names of associations, organizations and events are taken from the Chinese official websites.)
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三名新加坡书法家受邀参加由海南省旅游委、省文联主办，省书法家协会、省美术家协会、省书画院协办的“建设海南国际旅游岛——首届（海南）国际书画双年展”。为期４天的展览于12月4日上午在海口市省博物馆隆重开幕。
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这三名新加坡书法家是吴多标、丘程光、曾纪策。

本次书画双年展是海南国际旅游岛文化建设的重要活动之一，是海南举办的规模最大、层次最高、影响广泛的一次书画艺术盛会。此后书画双年展将每两年举办一届，以此带动更多有吸引力和特色的文化品牌发展，促进海南全民素质建设。

这次展览共收到来自巴西、加拿大、美国、法国、韩国、日本、新加坡、马来西亚、印度尼西亚、文莱、越南、中国内地及港澳台等国家与地区的书画作品150余件。

丘程光·新加坡

吴多标·新加坡

Xiao Yawu on Chinese Calligraphy 萧雅悟谈学书法

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

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

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

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

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

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

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萧雅悟今天与我们分享他学习书法的感想。以下是他的感想。

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

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

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

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

Chu Suiliang: Preface for Sacred Instruction in Tower of Wild Goose 褚遂良：雁塔圣教序

Chu Suiliang’s calligraphic style was thin and rigid, yet with free and classic elegance. The unique characteristic was blending some traits of clerical script into regular script. He was one of the few calligraphers during his period to defy the dominant Northern School of Stele Calligraphy and to use a relaxed, detached brushwork to express the beauty and rhythm of brushstrokes and lines.

Someone commented: ‘Chu mastered the charming and attractive calligraphic style of Wang Xizhi, which is like a beautiful lady unable to bear the weight of her own garments, the attractiveness is beyond description.’

The ‘Preface for Sacred Instruction in Tower of Wild Goose’ is representative of his calligraphy. The brushwork in Preface is typical of his smooth and lively style. The regular script style is interspersed with running script, its lines graceful and full of vigour. It employs the ‘one wave three reversals’ technique to make horizontal strokes; when starting and ending a stroke, it meticulously observes the rules for lifting, pressing, pausing and reversing. The steady, forceful brushwork and contrast between lines of varying thickness result in an omate visual effect.

In character structure, Chu Suiliang made a shape departure from the elongated shape of character of early Tang and broadened the structure to make them square and squat, paving way for the future evolution of calligraphic styles. In was on this basis that Yan Zhenqing further increased the width of the strokes and abandoned the contractive for the expansive structure, thereby achieving a radical change in calligraphic style.

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Preface for Sacred Instruction in Tower of Wild Goose 雁塔圣教序

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褚遂良的书法风格细瘦而健硬，洒脱而古雅。特点是它的楷书参入了隶书笔法。初唐书法家中，他是少数不跟随当时北魏书法主流，采取从容、超尘的笔法来表现笔画与线条的美丽与节奏感。

有人评说：‘褚书学王，得其媚趣，若婵娟不胜罗衣，别有妙处。’

《雁塔圣教序》是他的代表作。《雁塔圣教序》里的就是他典型的那种流畅生动的笔画线条，以行书笔法点缀了楷书写法，线条高雅，充满活力。他采取了‘一波三折’的笔法来书写横画；起笔与收笔细致地跟随提、按、顿、回收的法则。稳健有力的笔法、线条间粗细对比，达到了奇特视觉效果。

在结字方面，褚遂良不用初唐所流行的长方形字体，而向左右延伸为方形偏扁，这就给予以后新书体的发展提供了方向。颜真卿就是据此而加长横画，放弃向内收缩而转向向外扩张的结构，因而达成了书体彻底转变。



Chu Suiliang’s Story 褚遂良逸事

Chu Suiliang (597–658) learned calligraphy from OuyangXun and Yu Shinan successively and later was influenced by Wang Xizhi and Wang Xianzhi’s calligraphy. He was therefore able to learn from different styles and took the advantage to create his own style, known as ‘Chu Style Calligraphy’.

When Chu Suiliang was young, his calligraphy was praised by Ouyang Xun. However, Yu Shinan’s calligraphy was what Chu admired most. One day, Chu asked Yu, ‘What do you think of my calligraphy as compared to that of Zhi Yong?’ Yu was one of Zhi Yong’s best students, so he replied: ‘I heard a word written by Zhi Yong is worth $50,000. Do you think your calligraphy can fetch that price?’ Chu asked again: ‘How about comparing with the calligraphy of Ouyang Xun?’ Yu replied, ‘I heard Ouyang can use any type of ink to write on any paper, and yet still can achieve result with utmost satisfaction effortlessly. Do you think you can do the same?’ Thinking that he would not be able to do better than these great calligraphers, he was discouraged and said: ‘If this is the case, what is the point of wasting my time on learning calligraphy?’ Yu then tried to inspire him: ‘If you can reach a stage where you feel your writing is smooth, your brush move naturally and ink flow smoothly, and occasionally can produce masterly pieces, then all your effort is worthwhile.’ Chu Suiliang was indeed inspired, and since then his calligraphy had improved by leaps and bounds.

After Yu Shinan’s death, Emperor Taizong had, on one occasion, commented to the chancellor Wei Zheng that there was no one that he could discuss calligraphy with. Wei recommended Chu's calligraphy, and Emperor Taizong immediately summoned Chu into his presence and was very surprised at his calligraphic skills.

When, on another occasion, Emperor Taizong put out notices of rewards, requesting that people submit works of the great calligrapher Wang Xizhi to him, many people submitted works purported to be by Wang, and it became difficult to tell which were genuine and which were forged. Chu was put in charge of discerning these purported Wang works, and he was able to clearly distinguish them without mistakes, and it quickly became a favorite topic of conversation among the people.

Chu was a morally upright man who always offered honest advice to Emperor Taizong's reign. Once, When Emperor Taizong wanted to review the imperial historical records that Chu was responsible for keeping, Chu rebuffed Emperor Taizong, stating that it would be irregular for an emperor to look at how an imperial historian was writing about him. Emperor Taizong then made the comment, ‘Do you record the bad things I do as well?’ Chu responded, ‘It is my responsibility, and I would not dare not to record them.’ The chancellor Liu Ji then stated, ‘Even if Chu Suiliang does not record them, everyone will.’ Emperor Taizong agreed with both of them.

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褚遂良（597-658）连续跟欧阳询与虞世南学书法，后来受到二王书法的影响。因此他能够学到不同的书体而博取众长，创造自己的风格，世称‘褚体’。

年轻时，褚遂良的楷书得到欧阳询的欣赏，而他最佩服的是虞世南。有一次，他问虞世南，‘我的书法比起智永禅师怎么样？’虞世南是智永的高足，回答说：‘我听说智永写一个字能值五万，你能够像他这样吗？’褚遂良又问：‘那比起欧阳询来又怎么样？’虞世南说：‘听说欧阳询不择纸墨，都能写得称心如意，你难道能做到这样？’褚遂良听了十分灰心，看来自己的书法难以超越前人，他说：‘既然这样，我为什么要再把功夫花在书法上呢？’褚遂良便启发地说：‘如果手顺而笔墨调畅，碰上写得精彩的，也是非常值得的。’褚遂良受到启发，从此书法大进。

虞世南逝世后，唐太宗有一次对谏议大夫魏征提到从此没有人可以与他讨论书法了。魏征推荐褚遂良的书法。太宗立刻召见，并惊异于他的书法功力。

又有一次，唐太宗出通告奖赏那些呈献大书法家王羲之书法的人。很多人多呈献所谓王羲之的作品，一时真假难辨。褚遂良被任命鉴定真伪。他毫无差错地详细鉴定，一时传为佳话。

褚遂良是个正直有道德的人，时常给予太宗忠告。一次，太宗要评审褚遂良所管理的宫廷历史纪录。褚遂良拒绝太宗，说一个皇帝要观阅宫廷史官书写有关他的纪录，那时不正常的。太宗因此问道：‘那你有纪录那些有关我的不好的事件吗？’褚遂良回答：‘那是臣的责任，臣不敢不纪录。’宰相刘洎接着说：‘就算褚遂良不纪录，别人也会。’太宗对两人的说法，皆点头赞成。

Su Demao: How to Select Suitable Model Calligraphic Works on Running-Cursive Script? 苏德茂：学行草书临哪些帖？

Su Demao 苏德茂

Today, Su Demao shares with us how to select suitable model calligraphic works in running-cursive script.

As a matter of principle, one must select the best model calligraphic works, both in terms of printing quality and calligraphic techniques and skills. Do not practice on calligraphic works by contemporary calligraphers.

For new learners of running-cursive script and those who has foundation in regular script, if time allows, it is better for him to spend 1 to 2 years to practice the ‘Preface to Buddha’s Teaching Made by Pasting Together Words from Wang Xizhi’s Calligraphy’. This will further strengthen his foundation on using the brush. After this, one can start with Wang Xizhi’s ‘Book of Seventeen Models of Handwriting’ for 1 to 2 years and then followed by Sun Guoting’s ‘Treatise on Calligraphy’ for another 1 to 2 years. This 3 to 5 years of learning will lay a strong foundation so that you can now consider writing your own calligraphic work in running-cursive script.

At the intermediate stage, learn Huai Su’s ‘Autobiographical Notes’ for a year.

At the last stage, as you have already had a good practice on writing running-cursive script, you can now choose various suitable model calligraphic works and practice for another 3 to 5 years. This will help you to develop your own style of writing.

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今天，苏德茂老师为我们谈谈学行草书临哪些帖的问题。以下是文章的内容。

学行草书临哪些帖?

在《谈临帖》，我曾说过临帖须选佳本。何谓佳本？

同是《书谱》，除墨迹本外，尚有西安碑林拓本和日本双钩本，则墨迹本为佳；还有将墨迹本放大者，则此种放大本为最佳。《书谱》还有日本二玄社据台湾故宫藏真迹影印本，彩色照原帖版式精印，印刷精良，可谓下真迹一等，为无上佳本。《十七帖》三井本，日本人很崇拜，国人也有赞赏者，称其遒劲且有笔断意连之趣，后者确利于初学；还有上海图书馆藏本，此本线条流畅，但有几处残缺；与上图本同一系列的还有文征明朱释本十七帖，清晰、古雅可玩，因在原帖字的右侧有明代书法家文征明用朱砂墨精心用楷书书写的释文，故为学十七帖者所看好。十七帖上图本，在前几年曾由上海书画出版社出版，与原帖同大精印精装本，人民币壹佰几十元一部，有文献价值；近年湖南美术出版社又将三井本收入其“中国历代法书名碑原版放大折页”丛书，临帖最为实用。

原则上，同是一种碑（帖）拓本以时间较早，且清楚为佳。现今印刷技术进步，总体上，近期印刷本，精确、清晰，远胜早期的印刷本。

就大陆印刷本来看，文物出版社，上海书画出版社印制字帖，较中国书店、武汉古籍出版社、天津古籍出版社、长春古籍出版社出版的要好；距今约20-30年间，此时期香港书谱出版社出版的法帖尤佳，特别是其中仿古线装本。

在新加坡通行的字帖中，早期为台湾出版非学术专用者，都很低劣，且常常见到当代人的书帖，不宜作为习书者用之法帖。

下面，具体谈一下，临习行草书之碑帖书目。为个人观点，供读者参考。

古人讲，从事艺术学习要‘取法乎上’。

有初步楷书基础者，可从两种途径入手。

其一，又愿意补学楷书之不足，还有较充足的时间，欲求大成者，可临习集王字圣教序（或爨龙颜，或魏灵藏，或张猛龙）一、二年，然后习草书诸帖；

其二，从《十七帖》入手，临习时间用一、二年（这里时间的计算，是每周二次，每次一小时左右）。

再临习《书谱》一、二年。

时至此，已逾三、五年，如是算打下行草书的基础。

至此，可进行初步的创作，在创作中，也须有教师指导。关于书法作品的创作，以后还有专题讲述。

中级阶段，临习怀素《藏真自序》一年。

最后阶段自由选择，因为有了3、4、5年的书写实践，再进一步通过学习与博览，选择适合自己未来发展的帖，以逐步形成属于自己的个人风格。

如欲继续写王字，可选择书写淳化阁帖卷5、6、7、8，特别其中澄清堂帖；尤要精心临习存世王字墨迹本诸帖；

或写孙过庭景福殿赋及日本小野道风诸帖；

或写体势开放挥洒自如的，如黄庭坚忆旧游、廉颇蔺相如列传与张旭古诗四首、冠军帖；

或写含蓄沉静的怀素小草千字文；

或写汉简中适合自己口味的有章草味或草隶格调的诸简；

或写大气一路的王铎系列；

或写狂草书，如怀素大草千字文，西安碑林本之残本千字文。

最后阶段的选帖，以两种计费时约2、3年，总计约6 – 8年。

《书谱》云：书法“可达其情性，形其哀乐。验燥湿之殊节，千古依然；体老壮之异时，百龄俄顷。嗟乎，不入其门，讵窥其奥者也！”呜乎！书家就这样在书法中寄托自己的哀思、抒发个人的情志，而年年老去，但艺术之青春常在。

8年，初看是很长的，此乃日积月累者，但和我们追求艺术生命的价值而言，并不长。我个人作为中国爱好书法的一个普通人，名不见经传，默默无闻者，无间寒暑风风雨雨，年复一年，就是在临帖与创作中度过的，何止二、三个8年。

仔细算起，各位少有年届60岁者，如能沉迷于此，到65岁，即可小成，68岁即可大成！如果您年龄现仅55岁，60岁即可小成，63岁即可大成。此年龄段，正是乐龄期的开始，以书艺来养颐我们，净化提升我们的身心，远远超过爱钱的疲惫，而享受学习与创作的快乐。您的艺术生命，将在65 – 70岁前后即可显露出光华。中国沈鹏、林散之不就如此吗？

勉之哉！书法同道。

苏德茂

2010.10

Su Demao: The Origin of Cursive Method Explained by Sim Kwang Hun 苏德茂：评介沈观汉著《草法释原》

Calligrapher Su Demao gives his commentary on ‘The Origin of Cursive Method Explained’, a book written by Singaporean calligrapher Sim Kwang Hun (Shen Guanhan). Below is the text of Su Demao’s article.

The way of writing Cursive script is so profound and subtle that only few people can grasp it; we need people like Sim Kwang Hun to explain to us its fine details.

Comments on ‘The Origin of Cursive Method Explained’ written by Sim Kwang Hun.

Due to fact that ‘the cursive script has been around for quite a long time; there are numerous error and misunderstanding in its writing. The people of later generations do not practice writing the official and clerical scripts, which leads to losing of the origin of cursive method. These people only show off their cursive script writing either based on their own way of interpretation or treat it as a kind of novelty; the way of interpreting cursive method becomes rather confusing.’ Mr Sim Guanhan therefore wrote the book ‘The Origin of Cursive Method Explained’, which is ‘based mainly on Zhang Cao (Zhang style of cursive writing), supplemented by Han style of clerical script, to explain the way of cursive script writing.’ (The book was published by the Cape of Good Hope Art Gallery, and the quotes cited here are from its preface.) This is ‘in order to allow those who are determined to learn the script to have some basis to rely on.’

In its preface, Mr Sim gives his personal views on the way that the cursive script is being symbolised, and certain shortcomings of a number of model calligraphic works of cursive script. Such views are indeed one of the achievements of his research on cursive method. The second achievement was the listing of 18 categories of cursive writing techniques, which include lingering lines, avoiding confusion by changed-form etc. The techniques are analysed from various angles such as brush techniques, structure and compositions of writing cursive script. Finally he listed out four major mistakes that are found commonly on the calligraphy of cursive script, namely hastily glossing over the strokes, believing in one-stroke writing, making no distinction between solid and hollow strokes, and having too many circles.

In ancient time, with the exceptions of Sun Guoting’s ‘Treatise on Calligraphy’ and Jiang Kui’s sequel to the ‘Treatise on Calligraphy’, there were few articles that systematically touched on calligraphic theories. Most articles are miscellaneous notes or on random thoughts, and they are therefore known as miscellaneous knowledge. During the late Qing dynasty, scholars such as Ruan Yuan, Bao Shichen, Liu Xizai, Kang Youwei started again writing professional monographs and treatise on calligraphy. Concerning the writing techniques of cursive script, other than the popular book ‘Rhythmic Poem Cursive Writing’, it can only be found in the appendix of Yu Youren’s book on ‘Standard Cursive Script’. Even today, there are very few people touch on the topic of cursive writing. Now Mr Sim had selected about 6 to 7 hundred commonly used characters, explained their origins systematically and brilliantly. Although the ‘Standard Cursive Script’ has systematically listed all radicals with some creative and new ideas in its appendix, it does not trace back to the original source of the cursive characters, and quite a number of the radicals are actually made up by the author.

沈观汉书法: 奉爵称寿 雅歌吹笙

Mr Sim is well versed in the Chinese palaeography and is good in writing various Chinese scripts, especially the cursive script. He has read widely calligraphy treatise and articles, written both by ancient and modern writers. He is especially familiar with Gao Ershi’s ‘The Newly Collated Jijiu Zhang and its Verification’. Therefore, explaining the origin of cursive script for him is as easy as getting things from his own back pocket, and having bread buttered on both sides. The book traces the origin and evolution of the cursive script, points out the correct ways for learners to follow. This book is not only useful for those who learn the cursive script, but also meaningful for those who learn other scripts. Our readers should treasure it, spend time to study it.

Note: Jijiu Zhang (Hurriedly Written Essay) is a famous calligraphy of early cursive script.

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苏德茂老师为我们评介新加坡书法家沈观汉先生所著的《草法释原》。以下是苏老师的评介：

草法奥赜人不察，穷微测妙赖君转

--- 评介《草法释原》（沈观汉著）

今鉴于“草法流转既久，纰缪讹误，所在多有。---- 后人不作篆隶，失其源头，不明草书作法，各呈己能，或故为新奇，草法於焉纷糺”的事实，沈观汉先生著《草法释原》，以“章草为主，汉隶为辅，阐明草书作法。”（此书已由好望角画廊出版，引文见《释原》前言。）“庶使有志于斯道者，有所依循焉。”

草法释原 Page 2o

在序言中，沈先生对近代草书“符号化”的作法，古代一些草书范本的不足等等提出个人观点，实为其研究草书的心得。心得之二，即是其罗列出自牵丝到换形防混等等十八项要点，从草书的笔法、结体、辨似等诸多方面作了原则上的论证，最后列出草书常常表现出的匆促荒率、一笔书、线条的虚实不分，圈眼太多等四种不足，告诫草书的研习者。

古代除了孙过庭《书谱》、姜夔《续书谱》外，少有系统的书法理论文章，多有零星的杂记，故归之为杂学；到清代中末叶，始有阮元、包士臣、刘熙载、康有为的专题论著。关于草书写法方面，除常见的《草书百韵歌》外，唯于右任《标准草书》附录中有相当的论述。即便当今书坛，亦少有论及者。今沈先生，选常见六、七百字，予以系统、精辟的解说。诚然，《标准草书.附录》中所罗列偏旁、部首的草法多有发明与创造，但其作草书时，不从溯草书之源头着眼，多有杜撰。

沈观汉先生精通古文字学，又善各书体，于草书特精。读遍古今书法理论典籍，于高二适《新定急就章及考证》钻研弥精，尤有心得，故其对草书释原，可谓如囊中取物，左右逢源。《释原》即为草者溯草法变化之源，又指导学草者可遵循之作草途径。此书不只为习草者专用，对学习其他各种书体法也有普遍的意义。故读者当宝爱之、研习之。

苏德茂

2009.8.24定稿

2010.10.23重录付运开

Wang Xizhi on Calligraphic Copying Skills 王羲之谈临帖

We noted that one of the most important ways of learning Chinese calligraphy is copying the model calligraphic works. The sage of calligraphy Wang Xizhi (321 - 379) was obviously an advocate of this way of acquiring calligraphic skills. The following essay was written by him advising his son Wang Xianzhi on copying techniques. His son Xianzhi is also a great calligrapher in the history of calligraphy.

Paper is the battlefield; brush is the sword; ink is the helmet and armour; ink stone is the castle; skill is the commander; conception is his assistant; structure is the strategy. To move a brush is to take a risk; to start a stroke is to issue an order; to draw a turning stroke is to kill. Writing the dots is like letting quarry stones fall freely, writing the slanting stroke is like slaying the enemies. To write freely so that the strokes are fast and sharp, to manipulate the brush so as to achieve harmony, to pause and turn is to achieve the pressing effect of the slanting slope.

Do not expect to write as well as the model calligraphic work in terms of the structure and composition on first try. The first round of copying is to get the sitting posture right and learn how to write correctly. The second round of copying will enable you understand the structure of the characters. The third round of copying should result in the shape of your writing looks like the model work. The fourth round of practice will add strength and quality to your strokes. The fifth round of copying will train you in applying all the brush techniques, such as how to start and end, and proper way of pressing down and lifting up the brush, etc. If you feel lacking fluency in the writing process, please do not stop writing and give up. It is better to write two or three rows rather than write nothing. The first goal of practicing calligraphy by copying is to write smoothly and decisively, never mind how many times you need to practice.

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我们注意到临帖是学习书法的最重要方法之一。书圣王羲之（321-379）显然也注重以临帖来掌握书法技巧。以下的短文是他写给他的儿子王献之有关临写的技巧。献之也是书法史上的一个大书法家。

夫纸者阵也，笔者刀稍也，墨者兵甲也，水研者城池也，本领者将军也，心意者副将也，结构者谋策也，扬笔者吉凶也，出入者号令也，屈折者杀戮也，点画者磊落也，戈旆者斩斫也，放纵者快利也，著笔者调和也，顿角者蹙捺也。

始书之时，不可尽其形势，一遍正脚手，二遍少得形势，三遍微微似本，四遍加其遒润，五遍兼加抽拔。如其生涩，不可便休，两行三行，创临惟须滑健，不得计其遍数也。

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



陈振光与他的书法 Johnson and his calligraphy

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

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

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

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

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

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

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

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今天，陈振光，一个受英文教育者，与我们分享他学习书法的历程与决心。

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

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

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

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

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

Su Demao on Pre-requisites for Learning Running-Cursive Script 苏德茂：具备怎么的条件可以学行草

李白诗：月下独酌

Generally speaking, a basic pre-requisite is that one must have learned the regular script (kaishu). The regular script here refers to more than the model calligraphic works by Ouyang Xun, Yan Zhenqing and Liu Gongquan. It is used in a broader sense to refer to the rubbings made from the Northern Stone Inscriptions, such as Zhang Menglong Tablet, Zheng Wengong Tablet, Wei Lingcang Tablet and that from the Southern Stone Inscriptions such as Cuan Longyan Tablet, as well as rubbings of clerical script (lishu) of Han dynasty, such as Ritual Vessels, Mount Fenglong Tablet, Cao Quan Tablet and Stone Gate, etc. It will be better if one has learned the basics of writing the running-regular script and has practiced on Chu Suiliang’s Classic of Secret Revelation (Yinfu Jing) in large words and Ni Kuan Zan, or Preface to Buddha’s Teaching Made by Pasting Together Words from Wang Xizhi’s calligraphy.

When we talk about pre-requisite or basics, we do not refer to the highest level of skills in the writing of regular script. (There are many people in Singapore practice Cao Quan for more than 20 years with no desire to go into running-cursive script; I have also come across people who spend their life time in writing stately the styles of Ouyang Xun and Yan Zhengqing.) What is required is that one must have mastered the basic brush techniques. It should be sufficient to select two or three of the above mentioned model works and practice on them for about two years. (It is better to practice under guidance of a teacher. However, there are many calligraphy teachers in Singapore prefer to let their students copy their own calligraphic work rather than guide the learners to practice on suitable model calligraphic works.)

I have also seen many people go straight into learning the running-cursive script without first acquiring the basic calligraphic techniques. These people just follow their teachers: they just write the way their teachers write, just copy their teachers’ work. Without first going through systematic training on basic brush techniques, and master the basic skills in writing the running-cursive script, one not only takes longer time to learn, but one also will not be able to achieve the result effectively.

As a general principle, one can start learning to write running-cursive script after two to three years of copying skills training. (Those who have been trained in writing clerical script, i.e. lishu, will have clear advantage in learning running-cursive script, regardless which model works they choose to practice.) However, those who have learned the correct copying techniques will have great advantage over those who just practice writing aimlessly.

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通常情况下，要具备已学过楷书的条件。这里是广义的楷书，非专指如欧、颜、柳的唐楷作品，诸如北碑张猛龙、郑文公、魏灵藏及南碑爨龙颜，还包括汉隶如礼器、封龙山、曹全、石门等碑刻。若有行楷的基础，如已临过褚遂良大字阴符经、倪宽赞或集王字圣教序，则更好。

所说具有一定条件或基础，并非对楷书的书写的书写已运用精熟。（如新加坡多有临曹全愈二十年者，但没有想写行草的渴求；我也见过写端庄之欧、颜者，终身不弃。）只要求掌握其基本笔法即可。正常上述碑帖选上二、三种，总计写约二年，则足矣。（有教师指导为好。新加坡多有书法教师，为数可观者多让学员临习教师写的字，而非指导写适合学员学习的法帖。）

没有书写基础，直接步入写行草书者，在新加坡我见过。他们常常跟着教师跑，教师些什么他们写什么，教师怎么写他们也怎么写。没有对基本笔法的系统训练，让他们掌握行草书的书写技巧，不但学习的时间要拉长，也难以收到相当的效果。

原则上，已有二、三年书写实践者（不管写过那种碑帖，无疑写过隶书的人，学习行草，底气会更足），都可以写行草书。只不过有临帖实践者，学习的优势要大大超过没有临帖，只是随便涂鸦者。

苏德茂

2010年10月15日



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苏德茂写草书歌行

Chu Suiliang 褚遂良

Chu Suiliang (597–658) was one of the greatest calligraphers in early Tang Dynasty. Chu Suiliang was born in 597, during the reign of Emperor Wen of Sui. His father Chu Liang had been a mid-level official during both Chen Dynasty and Sui Dynasty, and was known for his literary abilities. Chu Liang was in charge of court protocol matters in the Sui Dynasty together with Ouyang Xun, a famous calligrapher. He provided a good condition for his son to learn calligraphy.

Chu Suiliang 褚遂良

By 636, when Li Shimin had been emperor for 10 years as Emperor Taizong, Chu Suiliang was serving as a low-level official in the imperial archival bureau, when he was put in charge of recording Emperor Taizong's acts for historical records. In 644, when Emperor Taizong, at an imperial gathering, stated to his key officials their strengths and weaknesses, he spoke, with regard to Chu:

‘Chu Suiliang is knowledgeable and firm. He often submitted faithful advice and is close to my heart, just as a delicate bird that deserves tender treatment.’

Chu Suilang became one of Taizong’s trusted officers and was promoted to be Head of the Legislative Bureau. After Taizong’s death, Zhangsun Wuji and Chu Suiliang worked well together and were effective in assisting Emperor Gaozong in governance, and that therefore, early in Emperor Gaozong's reign, the government was as effective as during the reign of Emperor Taizong. Later due to his strong objection to Gaozong’s decision to make Wu Zetian his new empress, Chu was not entrusted with heavy responsibility. He passed away shortly in 658.

In calligraphy, Chu Suiliang was able to learn from difficult styles and took the advantage to create his own style. According to the history, he had learned from Ouyang Xun, Yu Shinan successively and later was influenced by Wang Xizhi and Wang Xianzhi’s calligraphy. His calligraphy is known as ‘Chu Style Calligraphy’.

Some of the famous calligraphic works by Chu Suiliang are Notes for Yinque Buddhist Niche, Stele Inscriptions for Master Meng and Preface for Sacred Instruction in Tower of Wild Goose.

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褚遂良（597-658）为初唐大书法家之一。褚遂良出生于597年，隋文帝当政时期。他的父亲褚亮在陈、隋朝当个中级官员，以文才出名。褚亮在隋朝宫中与欧阳询公掌管礼仪制度。他为褚遂良学习书法提供了良好条件。

公元636年，李世民已经做了十年的唐太宗，褚遂良还是个起居郎的小官，负责记录皇帝日常行动与国家大事。公元644年，太宗在宫廷集会，评论各官员的优缺点时，这么说褚遂良：

‘褚遂良学问稍长，性亦坚正，既写忠诚，甚亲附于朕，譬如飞鸟依人，自加怜爱。’

褚遂良成为太宗所信任的臣子之一，官至中书郎。太宗死后，长孙无忌与褚遂良共同有效地辅助高宗皇帝治理国家，以致政府与太宗时期一样有效率。后来因为反对高宗立武则天为后而不被重用，不久,褚遂良逝世于658年。

在书法上，褚遂良能学习难度高的书体，并以此来创造自己的风格。据史书所载，他先后向欧阳询与虞世南学习书法，后来受王羲之与王献之书法的影响。他的书法被称为褚体。

褚遂良的名法帖包括：《伊阙佛龛碑》、《孟法师碑》、《雁塔圣教序》。

The Small Seal Script 小篆

Before the Qin conquest of the last remaining six of the Seven Warring States of China, local styles of characters evolved independently of one another for centuries producing what are called the scripts of the Six States. At that time, different states had simplified and decorated characters in different ways for practical use, so there were several different forms for the same character.

To strengthen his reign, the first emperor Qin Shihuang took a series of measures to intensify the centralised feudal society and standardising the writing script was one of the measures. Prime Minister Li Si created small seal script on the basis of big seal script and made it the official script for the whole country.

There are two uses of the term seal script, the Large or Great Seal script and the Lesser or Small Seal Script; the latter is also simply called seal script, or Qin seal script. The Large Seal script was originally referred to writing of the Qin system similar to but earlier than the Small Seal. Later it was used to refer to Western Zhou and Shang writing, such bronze and oracle bones inscriptions. Since the term is used loosely without clearly referring to any specific historical script and is not used with any consensus in meaning, modern scholars tend to avoid it, and when referring to seal script, generally mean the (small) seal script of the Qin system.

Prime Minister Li Si systematized the seal script through elimination of most variant structures, is said to have compiled ‘Cangjie Pian’, a non-extant work of character recognition listing some 3,300 Chinese characters in small seal script.

After the collapse of Qin dynasty, the standardized seal script was still widely used for decorative engraving and seals (name chops, or signets) in the Han dynasty. Ever since, its predominant use has been in seals, hence the English name.

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秦灭战国七雄中的其他六雄前，几个世纪以来，各地字体各自独立发展，形成所谓的六国文字。当时，各国在应用上以不同的方式来简化与修饰文字，造成一个字有几种不同写法。

为了强化政权，秦始皇采取了一系列的措施来深化中央控制的封建社会；书同文就是其中的一项措施。宰相李斯以大篆为基础创制了小篆，使它成为全国的官方文字。

篆书有两种，一种叫大篆，另一种叫小篆。小篆也称篆书，或秦篆。大篆原指小篆以前的相似的秦国文字。后来用来指西周与商朝文字，例如金文与甲骨文。由于它的含义不清，不用来指定一种特定文字，用法也不统一，现代学者倾向于避免用它；说到篆书，一般指秦朝小篆。

秦宰相李斯去掉大部分的相异结构，把小篆系统化；据说还编了一本现已不存在的‘仓颉篇’，辨认了3，300个小篆文字。

秦朝灭亡之后，标准的篆书继续在汉朝广用来当作装饰雕刻与用于印章。此后，它主要用在印章，连英文也把篆书译为‘印章’。