Lu Xun 鲁迅

鲁迅（原名：周树人）(1881－1936），中国近现代伟大的文学家、思想家。他出身于封建士大夫家庭，书法是家庭男性成员的必修课，并由此培养了他对书法的兴趣。故鲜有文字记述。而鲁迅的故乡绍兴又有着“兰亭”这样的文化遗存，潜在的渊源自不在话下。他在《呐喊》的自序中写道：“许多年，我便在寓所里抄古碑。”鲁迅对于帖学亦是相当垂注的。在他的收藏里，亦有法帖，在上海定居后曾专门委托内山书店为他收集日本《书道全集》，历时两年才得以收全。因此，他的书法的汲养确是碑帖兼顾的。他所处的时代，正是碑学中兴之后，碑帖兼容已经是时势所趋了。

鲁迅崇碑而不抑帖，对各家各派的书法精粹采用拿来主义，兼容并包，超越南北派之见，把书法发展置于较为宽阔的空间中。鲁迅对帖自幼熟习，浸润已久，体会极深，也深知追求书法真谛，必须溯本求源，而北碑多含古意，更能体现篆分意度，即篆隶的精神、趣味，只有南北兼容，碑帖并包，才是书艺的理想境界。
 

鲁迅的书法分为两大类，一类是应人之嘱所写的书法作品，尺幅较大，有意识地按书法作品的形式书写，多有上款，此类作品以定居上海10年居多。另一类系文稿，包括书信、日记、著作稿和抄校稿等，此类墨迹更能映现鲁迅的率意书写和自然随性的笔墨意趣。

郭沫若在《鲁迅诗稿》序中对鲁迅书法有一个极精到的评价：“……鲁迅先生亦无心作书家，所遗手迹，自成风格，融冶篆隶于一炉，听任心腕之交应，朴质而不拘挛，洒脱而有法度，远逾唐宋，直攀魏晋。世人宝之，非因人而贵也。”

   

鲁迅文学上的巨大成就和思想界的崇高地位，掩盖了他在书法、美术等方面的艺术成就。鲁迅的字结体收得很紧，但却有放松、流畅的一面。有些书家的字放大后效果不好，鲁迅的字可以放大，因为他的字有宽博、厚实的特点，行书中带有隶书和篆书的意味，隶书意味已很好地化进去了。他的字是传统文人字，是在长期日常书写和抄书经历中不断根据自己的欣赏喜好形成的。

Soon Chin Tuan on The Joy of Calligraphy 薛振传谈笔情墨趣

The following article was written by Singaporean calligrapher in 1998 for his book "The Calligraphy of Soon Chin Tuan". It can also be found in his blog site Chin Tuan's Calligraphy, http://chintuan.blogspot.com/.

Calligraphy has been my passion for well over 40 years during which I thoroughly enjoyed the joy of the art. It has become part of my life. Bit it has never come crossed my mind that I should one day compile my works into a book for record. During my recent trips to Eastern Europe, I was immersed in and struck by the rich cultures in such cities as Vienna, Prague and Budapest. It reminded me that I, too, had been immersing in another culture with rich heritage. On my return, I decided to preserve my works for posterity. Thus, the birth of this collection.

My interest in calligraphy dated back to my childhood days in Jinmen, Fujian Province. There I used to write with a brush as often as I used chopsticks for my meals. I came to Singapore at age eight. Here I had my groundings in the art during my school days at Tuan Mong High where I modeled my regular style on master calligraphers like Yan Zhenqing and Liu Gingquan. I must be doing quite well to win several prizes in competitions held at the Chinese High School and later at the Nanyang University. Encouraged, I was determined to improve myself and scale new heights in the pursuit. Among the various styles, I have chosen xing cao - a combination of walking and running styles - as my favourite style to excel in. Xing cao is widely used and easily acceptable. Furthermore, it gives the calligrapher room to exercise his creativity. With practices and references to established calligraphers of the same style, I develop a style of my own over time.

To me, calligraphy brings me joy despite occasional agony experienced while trying to achieve the desired standard. It takes on a rhythm of its own while you execute the strokes and plant the dots on paper. It is a culturally very enriching experience when I write a brush lines from the literary giants like Tang poet Li Bo and Song ci writer Su Dongpo. My view is that their works are best expressed in xing cao style. I even get high when writing their lines. In this respect, I share similar experience as contemporary calligrapher Lin Sanzi. Indulging in the art gives me a break and brings me joy to my otherwise mundane and busy life. To me, nothing else gives me greater satisfaction than calligraphy.

I intend to share my calligraphy pieces done over the years. There were mostly done between my busy schedules, in the dead of night or at the spur of the moment at the gatherings with fellow calligraphers. I wish to thank my teachers Mr Lim Tiow Kim and my seniors Tan Ban Huat and Dr Ho Chee Lick for their guidance and encouragement. Last but not least, my special thanks to my wife Swee Kin for her advice in selecting the calligraphy pieces that went into this collection.

Soon Chin Tuan

18th April 1998

以下的文章是新加坡书法家1998年为《薛振传书法集》而写的。
这篇文章也可以发表于他的博客：http://chintuan.blogspot.com/。

有关薛振传的评介文章，请点击：衍水书生：新加坡著名书法家评介（十三）之薛振传

假如从最基本的大、小楷算起，那我写书法至少也有四十年，对一种寓学习于娱乐的爱好沉迷四十年，没有几分狂热是做不到的。过去，写字是我生活的一部分，从没想到要出版书法集。正巧半年前忙里偷闲游东欧，陶醉在艺术气氛浓厚的维也纳，布拉克拉和布达佩斯等著名文化古都中，猛然想起自己已其实也浸濡在“中华第一艺术”的笔情墨趣中，遂萌生出版书法集的念头，把多年对书法的爱好和努力作个记录，这本集子便是这样来的。

我深信对任何艺术会自然而然产生兴趣，多少讲点缘分。童年在金门时，拿毛笔写字就如拿筷子吃饭一样，习以为常。八岁来新，之后与书法情缘不断；先是在端蒙中学临摹工整的颜、柳楷树，一段时日以后，感觉能把字写得四平八稳（念华中和南大时还得了几个奖），对自己的要求也日渐严格，后来发现行草体最令我心仪，原因是其适用价值高，人们容易接受，又不乏发挥创意的机会，写字、临摹之际也常读名家字帖以开阔视野，久而久之也形成了自己喜爱的风格，为忙碌的生活增添了一段富有情趣的插曲。

学习书法本来是件很严肃的事，写字的人必须要有苦行僧那份吃苦的精神，以及耐心与恒心。古今书法理论对这方面有很详细的说明。写字的人如想要稍有成就，除了应具备首要条件 -- 天分之外，必须遍临各家、勤写多看、神交古人、道法自然，以及注意人格修养与提高学识。经过数十年后，若有机缘和造化，才能达到“人书皆老”的理想境界。但如此漫长的学习路程，会不会把吃惯快熟面的现代人吓跑了吗？

文化和艺术工作是长远的，非一朝一夕能达成的。在以市场经济为挂帅的今天，现代人讲求的是经济效益，急于想在极短的时间内达到目标，这和学习书法的原则互相抵触。但这门传统艺术对现代人来说，并非没有其积极的意义与存在的价值。现代人并非是一幅机器，他们也是血肉之躯，肉体和头脑在经过高度操劳之后，也应获得充分的休息。也许正因为书法这门艺术有调节生活和平衡身心的特殊作用，反而更加受到现代人的重视与发扬。这说明相对立的东西也是可以并存的。否则，书法这门传统艺术没有理由能保留到今天。

对我而言，书法这爱好是苦中作乐的玩意。书法使我专心投入，在点、线的波动中找到一种轻快愉悦的节奏。书写唐诗宋词又给我机会畅游古诗词的美妙境界。李白、苏东波等风格豪迈的作品以行草发挥最为适当。所谓“笔未狂时我已狂”（林散之之句），我书写他们的作品时倍觉舒畅。更重要的是，身为忙碌的现代人，不但要分秒必争，也须兼顾人际关系，所以不免常有身不由己的感触。写字能减轻工作压力，平衡身心，更可贵的是，写字允许我控制作品的成果。笔墨的变化，完全掌握在我的手中。宣纸里的天空，辽阔无比，任我翱翔；神游其中，陶冶性情，世界上还有比写字更开心的事吗？

除了临池，我也争取机会多看名家作品，尤其是那些较难看到的真迹。国内外画廊和艺术馆在一定程度上满足了我这方面的需求。远者不说，就当代中国书法家，被誉为当代草圣的林散之，其书法贵在灵气，他是我最为欣赏的大家；启功以美取胜；沙曼翁的风格则属于高雅一类，欣赏这几位大师的作品，也可以说是人生一大享受。

我住在狮岛东北的春业园。园内约有五百户人家，道路两旁种有棕榈科等热带树木。邻近是三大蓄水池和四大高尔夫俱乐部的绿色草茵。湖光山色，美不胜收，有如中国书法大师-- 启功为我写的七言对联：园中草木春无数，湖上山林画不如。每逢周末，我常到这些地方作晨运，希望能藉此净化心灵，从而领悟自然界中种种变化。

这本集子里的作品都是忙里偷闲写出来的。大部分是夜深人静或周末雅集乘兴之作。所以对我别有意义。这也算是给那些关心我的家人和好友的一份礼物。

薛振传

1988年4月18日

Su Dongpo: Reminiscing about Antiquity at Red Cliff, To the Tune of Niannu Jiao 苏东坡：念奴娇 赤壁怀古

Su Dongpo (1037 – 1101), was a writer, calligrapher, and artist of the Song Dynasty.  He is regarded as one of the greatest poets in Chinese literary history and his poems are widely written by calligraphers. Here is one of them.

Eastwards the Great River flows,
Waves wash away all the gallant heroes
Through thousands of bygone years!
West of the ancient rampart they call it Red Cliff
Of the Three Kingdoms the battle field,
Remembered by the name of General Zhou.
Jagged rocks pierce the clouds,
Tempestuous waves lash the shore,
Whipping up thousands of layers of snow.
What hosts of heroes once there were
In such a splendid painting of mountain and river!
Imagine young General Zhou in those days,
Having Xiao Qiao, the bride so fair,
Majestic and spirited himself,
With a silk kerchief binding hair,
And a plume fan in hand,
Laughing and jesting,
While Cao Cao’s fleet was destroyed as planned.
Were I to visit the ancient Kingdom,
Sentimental, I would be laughed at,
And my hair turned grey earlier.
Life is but a dream,
Let me pour a libation
To the river with moonlight gleam!

苏东坡：念奴娇 赤壁怀古

苏东坡（1037-1101）是宋代学者、书法家、艺术家，也是历史上有名的诗人。他的诗词广为书法家书写。这里是其中的一首。

大江东去，浪淘尽，千古风流人物。

故垒西边人道是，三国周郎赤壁。
乱石穿空，惊涛拍岸，卷起千堆雪。

江山如画，一时多少豪杰。
遥想公谨当年，小乔初嫁了，雄姿英发 。 

羽扇纶巾谈笑间，强虏灰飞烟灭。
故国神游，多情应笑我，早生华发。

人生如梦，一樽还酹江月。

Treatise on Calligraphy 书谱

The Treatise on Calligraphy by Sun Guoting (or Sun Qianli, 646–691), a Chinese calligrapher, theorist and scholar-official of the early Tang Dynasty, was the first important systematic theoretical work on Chinese calligraphy, and has remained important ever since, though only its preface survived. It is also the only surviving calligraphic work of Sun. Therefore it is responsible for both Sun's reputation as an artist and as a theorist.

The only reliable source about Sun’s life is a memorial text by his friend, the poet Chen Zi'ang (656 – 695 or 661-702), which reports that Sun lived in poor circumstances and died young. It is known that he served in minor positions at the court of the Tang empress Wu Zetian (624-705).

The preface of the Treatise on Calligraphy survives as a copy, probably executed hastily by Sun from his original, consisting of 351 lines of cursive script in handscroll format. The preface establishes grades of artistic rank to which calligraphers are appointed and places Wang Xizhi at the peak of a tradition originating in the 4th century. Sun treats the relationship between artistic form and expressive content, emphasizing the personality of the artist and establishing calligraphy as a creative activity. He discusses the advantages of different calligraphic styles and makes critical remarks about famous works.

In calligraphing the Treatise on Calligraphy, Sun Guoting draws on Wang Xizhi’s style of merging square and round strokes in his cursive script works. Incongruence between character shapes does not stand in the way of maintaining contextual coherence. The brushwork is smooth and brisk without flouting rules. The use of ink is smooth and moist, making trhe strokes distinctly recognisable through the undulations. A sense of candid expressiveness prevails throughout the piece. The only flaw, if flaw it is, in this gem of a work is the uniform, repetitious appearance of some characters, in contrast to Wang Xizhi’s Preface to the Poems Composed at the Orchid Pavilion, in which a total of 18 ‘之’ are rendered in a colourful array of variations – a rare feast.

唐初书法家、书法理论家与学者官员孙过庭（又名孙虔礼，646 - 691）的《书谱》是最早最重要的一篇有系统地谈论书法的理论著作。虽然现在只存有序文，它还是至今重要的书法文章。它也是孙过庭仅存的书法作品。可以说，它的存在，是孙过庭作为一个书法家与理论家的明证。

世人对孙过庭的生平所知不多，唯一可靠的资料是他的好友诗人陈子昂（656 – 695， 一作661-702）所写的一篇悼念文。该文报道孙过庭的处境贫困，很年轻就去世了。据说他在武则天（624- 705）的朝廷中作过低级官员。

现存《书谱》序文不是正本，可能是孙过庭从正本急忙重抄，用的是草书手卷形式，共351行字。序文为书法家评定级别，把生活于4世纪的王羲之的书法艺术评为最高级。孙过庭把艺术的形与质关系，强调艺术家品格与书法书写是创意活动。他也讨论各书体之优劣，并对著名作品给予评论。

在把《书谱》当作书法来书写时，孙过庭把王羲之的方笔与圆笔融合。不一致的字形状并不妨碍上下文的连贯性。笔画线条流畅与活泼的同时还遵守书法书写规律。其用墨亦流畅与润湿，使线条在波动中清晰可认。书写自然的表现通篇可见。如果要说有什么缺点，而那也可以说是缺点的话，就是这篇杰作出现的一些重复字没有变化，这比起王羲之《兰亭序》中18次出现‘之’字写法不同，就显得不足。