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。

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