Su Demao: On Running Script 苏德茂：行书概说

Today, calligrapher Su Demao shares with us nine calligraphic works he has written recently. He also gives us an overview of running (or walking) script.

辛弃疾 太常引

An Overview of Running Script

The running (or walking) script is one of the most artistic and practical Chinese writing style. As it combines both aesthetic and practical aspects of Chinese characters’ form and structure, it is most flexible and therefore widely used. When the running script is written in regular way, it is called the ‘running-regular script’, while written in cursive style is known as the ‘running-cursive script’. Sun Guoting once said, ‘When cursive script does not incorporate the regular style of writing, it is not regulated by conventions; when regular script is not mixed with cursive writing techniques, it is not a good piece of art work.’ The running script is something between the regular and cursive scripts; it therefore inherits the best practices of these two scripts, and reflects the beauty of both.

However, new learners may find it difficult to master the running script as its stroke momentum is dynamic and lively. Also, its brush techniques are rich and varied. It is better for new learners to start with model calligraphic works that are written in straightforward and even way.

In the history of calligraphy, there are a number of model calligraphic works that are highly recommended, such as ‘Preface to the Poems Composed at the Orchid Pavilion’ by Wang Xizhi, ‘Funeral Address for Nephew Jiming’ by Yan Zhenqing, ‘Preface to Buddha’s Teaching Made by Pasting Together Words from Wang Xizhi’s Calligraphy’ compiled by Huaisu, ‘Stele of Yuelu Temple’ by Li Yong, ‘Jiu Flower’ by Yang Ningshi, ‘Huangzhou Cold Food Poem’ by Su Shi, ‘Poem about the Pine Wind Pavilion’ by Huang Tingjian’, ‘Poetry Written on Sichuan Silk’ and ‘Poems to Share with Friends before Leaving for Tiao Xi’ by Mi Fu, and certain works written by Dong Qichang and Wang Duo.

Among them, ‘Preface to the Poems Composed at the Orchid Pavilion’ and ‘Jiu Flower’ contain too few characters, ‘Funeral Address for Nephew Ji-ming’ is closer to cursive script, and ‘Poem about the Pine Wind Pavilion’ reflects too much of the calligrapher’s personality. As for Dong Qichang and Wang Duo’s works, their strokes are either too weak or too liberal, which is not suitable for new learners to follow. The ‘Preface to Buddha’s Teaching Made by Pasting Together Words from Wang Xizhi’s Calligraphy’ is said to be the best model work as the words are selected and compiled from a collection of Wang Xizhi’s works available during the Tang dynasty. The ‘Poetry Written on Sichuan Silk’ is practised by many contemporary calligraphers. It is also recommended to start with Chu Suiliang’s ‘Yinfu Jing’ in large words and Ni Kuanzan’s works.

The characteristics of running script:

1. In running script, many strokes and semantic components are simplified, certain semantic components are replaced by symbols, and very often words are connected by light or hollow strokes. Such changes are required so that it can be written at a faster speed. In addition, the use of various writing techniques also evolves a set of special artistic languages for the running script.

2. Unlike regular script, brush techniques such as starting the stroke from reverse direction, ending the stroke by turning back, lifting and pressing the brush and so on are not emphasised in writing the running script. Therefore, the movement of the brush-tip is freer; the strokes can be started by using either round or angular brush technique. There is also less emphasis on the need to move the brush steadily. The techniques for writing round and angular strokes are applied spontaneously. The soft and hard strokes also co-exist harmoniously.

3. The changes in form of words are plentiful, reflecting the philosophy of placing big and small words side by side, mixing the straight and slanting lines artfully as well as natural co-existence of heavy and light strokes.

4. As a result of simplifying the way of writing, the characters are transformed with morphological changes, so that they will look lively, and such malleability also allows calligraphers to express themselves better emotionally.

5. The calligraphic composition of the running script is more flexible, as such the spatial arrangement between words and/or rows reflects various degrees of closeness and distance between them.

6. The ink colour is rich in its form. It can be dark, light, moist, dried, withered, wet and so on. The techniques to achieve these ink colours can be applied as appropriate.

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今天，苏德茂老师与我们分享他最近书写的九幅书法作品，也为我们简介行书及其特点。

行书概说

行书是最兼具艺术性和实用性的书体，在形式、结构上融审美与实用性于一体，最具适应性，实用广泛。兼真谓之“真行”（行楷）、带草谓之“行草”。孙过庭认为“草不兼真，殆於专谨；真不通草，殊非翰扎。”行书居其中，正可以渔猎期间，兼得双美。

惟行书笔势活泼，笔法多变，不易於初学者掌握。初学最好选择较平正的范本学习。在书法史上，王羲之《兰亭序》、颜真卿《祭侄稿》、唐释怀素《集王圣教序》、李邕《岳鹿寺碑》、杨凝式《韭花帖》、苏轼《黄州寒食帖》、黄庭坚《松风阁诗帖》、米芾《蜀素帖》、《苕溪诗帖》及董其昌、王铎的一些作品等均受推崇。

而其中兰亭序、韭花帖字少，祭侄稿又偏于草书、松风阁又个性太强、董、小王又或势弱或用笔过放而不利初学。而其中圣教序，因从王羲之在唐时存世的行、草帖中，精选字编集而成，历代被推为初学首选范本。蜀素帖，当代中国诸多名手在写，此外褚遂良大字阴符经、倪宽赞作为学行书入门也不错。

行书特点：

1.书写中，由于省去字的个别部分与笔画、或简化部分部件或用特有符号替代部分笔画与部件、及字的部件间或字之间通过引钩和牵丝而相连，使书写便捷，书写速度加快，而形成独立的“行书”语言。

2. 笔法上不像楷书那样强调逆入、回收及过分夸张的提按；笔锋自由使用，入纸可方可圆、中实也不如楷书那样强调，方圆兼备，刚柔相济。

3. 字形变化丰富，大小相间、正斜相杂、轻重相参。

4. 由省简连而产生斜倚、变形，增进动感，使书写更具风神、更具抒情性。

5. 布局更加自由、字与字、行与行之间疏密相间、错落有致。

6. 用墨变化丰富，浓淡、燥润、枯湿等多种方式，在书写中交差使用。

苏德茂 2010.4

陈亮　一丛花 溪堂玩月作

朱敦儒 念奴娇

辛弃疾 木兰花慢

苏东坡 水调歌头



黄庭坚 水调歌头



辛弃疾 水龙吟·楚天千里清秋



张孝祥 念奴娇·过洞庭

辛弃疾 青玉案.元夕

Common Mistakes on Word Structures 结字通病四例

Main Stroke 主笔要突出

In learning Chinese calligraphy, we not only have to master the techniques of brushstrokes so that strokes can be artfully written and their sequence correctly followed, we also need to pay attention to the structure of the Chinese characters. In other words, we need to ensure that the spatial arrangements of the strokes that form the words must be even, balanced and stable.

Here we show four types of common mistakes new learners make as illustrations:



Centre of Gravity 重心要稳



1. The main stroke doesn’t stand out. There is always a main stroke in a word. When writing the word, one should ensure the main stroke must stand out as this will stabilize the whole word structure. When the main stroke is not correctly written, the structure of the word will negatively be affected. 

Slanting Pair 斜度要对称

2. The misplaced centre of gravity. One must be able to identify the centre of gravity of the word exactly so as the word can be stabilized.

3. The angles of slanting strokes not consistent. In a word, when a pair of strokes move in opposite directions, the angles of the strokes must almost be equal and balanced, so that the word will not appear to be heavy on or tilted to one side.

4. The middle is too empty. When a word is formed by various parts, the parts must be close to each other and not too far apart so that the middle of the word will not appear to be too spacious.

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要写好书法，我们除了要有效地掌握运笔技巧来书写笔画笔顺之外，还要注意字的结构；就是说笔画的空间安排要均匀平衡与稳当。

现在举出初学者经常犯的四个结字毛病来说明。

Middle Space 中宫要紧密

1. 主笔不突出。每个字都有一条主笔，书写时主笔要突出，这样才能达到以主笔稳定整个字的作用。主笔写得不好，整个字的结构就会出问题。

2. 重心不稳。字的重心要抓紧，这样字的左右才能平衡。



3. 斜度不等。笔画左右分开时，两边的斜度要平衡，才不会出现左重右轻或左轻右重的情况。

4. 中宫虚空。一个字的上下左右结构关系应该是紧密而不是太过疏松的，这样就不会显得中宫太过空虚。

 

Joon Tai on Standard Script 运开写楷书

It seems to be a generally agreement that the adult learners of Chinese calligraphy should start with practicing the standard (regular) script first. This is because most of the basic techniques of writing Chinese calligraphy can be learned by practicing the standard script.

The number of basic strokes in the standard scripts is said to be more than those of other scripts or styles. Besides the eight basic strokes in the character ‘yong’ (forever), it is estimated that the number of different strokes in standard script is more than twenty. More importantly, each stroke is clear and separate. This is different from the connecting and smooth strokes in cursive script.

The speed of writing each stroke of standard script is average, not as fast as in cursive script, nor as slow as in official script.

The structure of each standard character looks square while in official seal script (especially the small seal script) the structure is taller and rectangular, and in clerical script which is flatter and rectangular. The structures of characters of walking and cursive scripts are quite irregular.

New learners normally choose to practice on the model works of one of the four famous calligraphers, namely Ouyang Xun, Yan Zhenqing, Liu Gongquan or Zhao Mengfu.

Zhao’s style of writing the standard script is always eye-pleasing. However, Zhao’s works are generally considered not suitable for beginners as Zhao had simplified considerably the brush strokes. Ouyang’s model works are considered to be a good choice as the structures of his words are standard and his brush strokes are closer to that of clerical script. However, the writing of Ouyang is considered to be too structured so much so that the new learners may find it difficult to follow, since a slight error or deviation will result in wide divergences in strokes and structures of words.

I have started with learning the Yan style and then followed by the Liu style. For Yan style, one must practise at least the ‘Stele on Pagoda of Many Treasures’, ‘Yan Qingli Stele’ and ‘Record of the Altar of the Immortal of Mount Magu’. For Liu style, I have practised ‘Stele of the Xuanmi Pagoda’ and ‘Stele of the Imperial Guard’. I have spent much time on practicing the ‘Stele of the Xuanmi Pagoda’. I am still practicing it.

Shown here are copy works of Liu Gong Quan.

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Practice on Liu Style 临摹柳公权《玄秘塔碑》

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看来一般的共识是成年书法初学者应该从楷书学起。这是因为书法的基本技法都可以从楷书中学到。

楷书的笔画比其他字体来的多。除了‘永’字的基本把笔画之外，估计楷书笔画有二十多种之多。更重要的是，每一笔画都很清晰与独立。这与草体的连贯与平滑笔画不同。

楷书的书写速度也比较一般，不比草书快，不比隶书慢。

楷书的结构看来像正方形，而篆书（尤其是小篆）的结构是向上下的长方形，隶书则是向左右伸延的长方形。行草书的形状较不规矩。

初学者一般选择临摹楷书四大家欧阳询、颜真卿、柳公权或赵孟頫中的一家的法帖。

赵体的楷书令人舒服愉快。但是，赵体一般不适合初学者，因为笔画在很大程度上被简化了。欧阳询的法书被认为是好的选择，因为字的结构标准，笔画也较接近隶书。但是因为字的结构太过严谨，初学者可能难以临摹，因为稍有差错或偏差，就会造成笔画、结字与整体上的大偏离。

我先学颜体，后临柳体。学习颜体最少应临完《多宝塔碑》、《颜勤礼碑》与《麻姑仙坛记》。至于柳体，我临摹了《玄秘塔碑》与《神策軍碑》。临《玄秘塔碑》一直不断，至今还在临摹。

这里所显示的是临摹柳体法帖。

Zhang Shoushi 张瘦石

Zhang Shoushi (Chan San Sheh) was highly skilled in the art of Chinese calligraphy. However, he is not well known as a calligrapher. This is probably because he lived in 1950s and 1960s, a period during which Chinese calligraphy was not popular in Singapore.

Zhang Shoushi (1898-1969) was born in Jiading of Shanghai, China. Since young, he loved Chinese calligraphy, probably due to his family’s scholarly tradition and the influence of his grand uncle Nianyi. Later he had learned various model calligraphic works from many accomplished calligraphers including Wu Changshuo.

He came to Singapore in 1948 and worked as a teacher in a number of schools, including Chung Cheng High School and the Chinese High School in Singapore, and Chung Hwa High School in Kuala Lumpur. In 1955, he taught Chinese part-time at the then Nanyang University’s Extramural Classes. He joined the Chinese Department of the then Nanyang University as a Professor and was promoted to head the department in 1964. He retired in 1966.

He passed away in September 1969 at the age of 66.

He practiced hard on Chinese calligraphy during his lifetime. He especially liked to practice the model calligraphic works in official and clerical scripts. He loved the ancient sentiment that is fully reflected by these scripts. He started with the steles of the North-South Dynasties, then moved to Qin dynasty’s clerical scripts, stone-drum inscriptions, bronze inscriptions, and then followed by the Han dynasty’s clerical scripts, walking and cursive scripts. Therefore, he is good at writing official and clerical scripts, walking and the cursive scripts. His calligraphic works are full of power and grandeur; the strokes are as thick as the bronze wares, revealed a strong aesthetic taste of inscriptions on bronzes and stone tablets.

There is very little information about his calligraphy activities, and he probably did not conduct any calligraphy class. He held a calligraphy exhibition in Singapore in 1949, lectured in a radio program to talk about Chinese Calligraphy in 1959, and the Chinese Calligraphy Society of Singapore held an exhibition for him in 1979.

Zhang had published a number of academic books, among them one was on Chinese calligraphy. The book entitled ‘Shoushi on Calligraphy’ has ten chapters, namely,

1. Brief Autobiography;

2. Value of Calligraphy;

3. Spirit of Calligraphy;

4. Brush Holding Techniques;

5. Writing Techniques;

6. Writing Tools;

7. Calligraphic Composition;

8. Learning Calligraphy;

9. Official and Clerical Scripts;

10. Stele and Rubbings.

It is indeed a rare book on calligraphy written by a local calligrapher.

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张瘦石(1898-1969)的书法造诣相当高，但是名气不大，很有可能是因为他生活的二十世纪五六十年代，书法在新加坡艺术并并不十分流行。

张瘦石生于中国上海嘉定，自幼喜爱书法，应该是得力于家学渊源，叔祖父念遗公的熏陶。后来在吴昌硕与其它名家的指点下，学遍各种碑帖。

1948年来到新加坡，历任新加坡中正及华侨中学、马来西亚吉隆坡中化中学等教职。1955 年兼职南大进修班华文教学，1960 年春应聘为南洋大学中文系教授, 1964 年升任系主任。1966 年退休。

卒于1969 年9 月，享年66 岁。

张瘦石一生勤练书法，最爱临摹篆隶名帖，爱其古义盎然。自南北朝碑始，上溯秦篆、石鼓、金文，后作汉隸行草。所以张瘦石精篆隶，行草，作品气势磅礴，线条厚重如锺鼎，金石味极浓。

可惜有关他书法活动的资料不多，亦可能没有开课授徒。于1949年南来后即在新加坡开了个人书法展，1959年在新加坡广播电台广播“中国之书艺”学术广播节目。1979年由新加坡书法协会举办了‘张瘦石书法展览会’。

张瘦石在学术方面的著作不少，其中只有一本是有关书法的，书名《瘦石论书》。书的内容共有十章，一、 自叙，二、价值，三、 形质，四、执笔, 五、运笔, 六、分布, 七、用具, 八、学叙, 九、篆隶, 十、碑帖。这本书堪称本地少有之书法著作。