Chinese Bronze Inscriptions金文

Inscriptions on bones or tortoise shells and inscriptions on bronze are the early representatives in the art of Chinese calligraphy.

After the Oracle Inscriptions, Chinese writing evolved into the form found on bronze ware made during the Shang Dynasty, Western Zhou Dynasty (c 1066–770 BC) and the Spring and Autumn Period (770–476 BCE), a kind of writing called jinwen ‘metal script’. Bronze wares are utensils made of copper alloys, usually with tin as main additive, on which one can not only see veins and decorative design, but also many inscriptions.

The trend of engraving and casting inscriptions on bronze ware started in mid and late Shang dynasty, flourishing in the Western Zhou, and gradually declined after the Warring States period. It last totally about one thousand years.

Most of the inscriptions on the bronze ware are cast and only a few is carved by sharp tools. Early bronze inscriptions were almost always cast (that is, the writing was done with a stylus in the wet clay of the piece-mould from which the bronze was then cast), while later inscriptions were often engraved after the bronze was cast.

The concave typeface of the characters is called as characters cut in intaglio; the raised characters are called as characters cut in relief. A lot of characters on the bronze ware are the cut in intaglio. The ancient people thought that bronze was quite firm so the inscriptions could be imperishably passed down, so the affairs that should be passed down must be cast on the bronze ware.

Most bronze inscriptions recorded the name of clan ancestors or the war, politics, largess and other important historical facts at that time. Therefore, inscriptions have become the important material for the research of the ancient history.

Along with the flourishing of stele study, calligraphers once again paid attention to bronze inscription in the Shang dynasty for practising seal script and doing research on new ways of structure forming.

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甲骨文是中国书法的最早形式。

甲骨文之后，中国文字在商朝、西周（公元前1006-700年）与春秋时期演变成为一种发现于铜器的文字形式，叫做‘金文’。铜器是用铜的合金制成，合金通常是加锡来混合。铜器上除了可看到纹与装饰设计外，还有铭刻文字。

把文字铭刻与铸于铜器，始于商朝中期与后期，盛于西周，而于战国后逐渐衰退。这种风俗持续了大约一千年。

多数的金文是铸造的，只有少数是用尖器来刻的。早期的金文几乎都是铸造的，就是说，把文字写在湿粘土铸型上后才来铸造铜器。后期金文是在铜器铸造完成后才刻上去。

文字如果是凹进去的就叫阴文，凸出来的就叫阳文。金文中阴文较多。古代人认为铜合金很坚硬，可以永久的流转后代，所以那些须要传给后世的就要铸刻在铜器上。

多数金文记录的是氏族祖先的名字、战争、政治、贡品及当时重要的历史事件。所以，金文成为研究古代历史的重要资料。

随着碑学的兴起，书法家再次注重学习商朝金文的篆书的学习并研找新的章法。

Writing Techniques 运笔法

There are three basic elements of brush techniques: brush holding technique, writing postures and writing techniques. The beginner will not be able to master all the techniques in a short time, but they must pay due attention to the principles of applying these techniques. It will be a shame for someone who has practised Chinese calligraphy for some time without knowing brush techniques.

We have discussed about the brush holding techniques and writing postures. We shall now look at the writing techniques.

In writing Chinese calligraphy, each stroke involves three phases of executing the brush: To begin the stroke (qibi), to move the brush (xingbi) and to end the stroke (shoubi). If strokes of a Chinese character are regarded as the basis of word construction, then qibi, xingbi and shoubi are essential techniques that determine the form of each of them.

Writing techniques are the most difficult part of brush techniques and beginners tend to neglect them. Therefore it is necessary to always remind yourself to pay special attention on this as you begin to write characters so as to cultivate good habits in writing strokes as you go along.

The basic approach to qibi is: You start with moving the brush to the opposite of the intended direction of writing the stroke for a short distance and then turn the brush-tip towards to the intended direction and proceed to the second phase of moving the brush. For example, when writing a horizontal stroke, which must be written from left to right, you have to move the brush to the left shortly and then turn the brush-tip back and move rightward. Similar steps should also be applied to start writing a perpendicular stroke. The Chinese saying is that move the brush leftward first if you intend to move it horizontally rightward, and move upward first if you intend to write vertically downward. The process is repeated each time you start writing a stroke.

The basic approach to shoubi is: Before ending a stroke, turn the brush-tip to the opposite direction and move shortly to complete writing the stroke. This process is repeated each time you end a stroke. However, there are cases where there is no need to execute shoubi and you need to find out and memorise these exceptions.

In writing a calligraphy stroke, one actually needs mainly to remember to apply the following three major principles of ‘centered tip’ (Zhong Feng):

1. Always hold the brush in an upright position, that is, it must be perpendicular to the writing surface.

2. Always keep the tip of the brush in the middle of the stroke.

3. Always ensure that the brush tip points at the opposite direction of the brush’s movement.

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笔法有三个要素：执笔法、书写姿势与运笔法。初学者不可能在短时间内完全掌握这三个要素，可是还是应该注意这些技巧的法则。如果一个人学了一段时间的书法还不能了解笔法，那是令人感到羞惭的。
我们已经讨论过执笔法与书写姿势。我们现在看一看运笔法。

中国书法的书写，每一笔画都有三个步骤：起笔、行笔与收笔。如果笔画是构成中国文字的结构的基础，那么起笔、行笔与收笔就是决定每个笔画形式的重要技巧。

运笔是笔法中最难掌握的部分，初学者往往会忽略它。所以，开始书写时我们应该时常提醒我们要注意运笔；这样在锻炼过程才能培养起良好的书写习惯。

起笔的基本方法是：开始时向所要行笔方向的相反方向行笔一小距离，转锋回到所要行笔的方向继续行笔。比如，横画应该由左向右行笔，就应该先向左行笔一小距离，然后把笔锋转回向右行笔。相同方法应用于书写竖划。所谓：欲左先右，欲下先上。

收笔的基本方法是：在笔画结束前，把笔锋转向相反的方向，向前行笔一小距离并完成笔画。每次收笔都要重复这个步骤。但是也有不需收笔的例外的情况，我们必须找出并记住这些例外。

在书写书法笔画时，我们其实主要要记住中锋用笔的三个原则:

1．执笔要正直，就是要与书写平面垂直。

2．常令笔锋在笔画中间运行。

3. 要令笔锋指向行笔相反的方向。

The Letter of Loss and Confusion 王羲之《丧乱帖》

Lanting Xu, the famous work by Wang Xizhi (303-361), is reputed to be the best Xingshu (walking script) in the Chinese calligraphy history. As a whole, the brushwork of it is exquisite with thick strokes being robust but not awkward, while narrow strokes are delicate but not weak. The calligraphy was completed in a rhyme with the proper use of force of the brush, light or heavy, fast or slow. Its strong and clear-cut lines and round and mellow forms present us with a fresh, clear, exquisite and closely linked work of art.

However, some calligraphy critics feel that Lanting Xu is not Wang’s best work and instead, prefer the Sangluan Tie (The Letter of Loss and Confusion).

Original works of Wang Xizhi's calligrahy are rarely seen today and most, if not all of the works we see now are rubbed copies of his works by others. It is believed that both Lanting Xu and Sangluan Tie we see today are copy works of later calligraphers. It is not deniable that later calligraphers had done a great job in making the copy works look like the original works. However, in terms of reflecting the original and spiritual mood of the calligrapher, it is pointed out that the copy work of Sang Luan Tie had captured the spirit of Wang’s writing better than that of Lanting Xu.

The text of the calligraphy says, ‘Xizhi kowtows; I am lost and confusing to extremity. The ancestry tombs came apart again! The torment poisoned and pressed me quite brutally. I cried and wailed in despair. The pain has gone through to my heart and my liver. What can I do? Although the tombs are being repaired right now, I cannot go see to the work done. Oh the sorrow, like poison, is running deep each and every moment. What can I do? How can I be? Having come to the paper, I am at a loss of what more to put down. Xizhi kowtows ... kowtows.’

Wang lived in the Wei-Jin period which was a time of turbulence and changes. The Wang family had to flee from the north to the south. It is quite obvious that this letter was written at a time when he felt he was so confused and helpless on knowing that the ancestral tombs in the north were damaged and destroyed. The anger and frustration was displayed thoroughly by words full of hopelessness and grief, and the non-conventional, bold and wild strokes.

The emotion was strong and calligraphic strokes were non-conventional in displaying that emotion – these are the conditions and elements that make Sangluan Tie a great masterpiece.

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王羲之（303-361）的著名的《兰亭序》在中国书法史上被认为是最好的行书作品。整体来说，它的笔法绝妙，笔画键实而不笨拙，细致而不软弱。整幅作品节奏完美，表现于用力得体，有轻有重，有快有慢的线条。它的强健而清晰的笔画及圆而熟的形式所带来的是一幅清鲜、晴朗与绝妙的紧凑的作品。

但是，有些书法评论者却觉得《兰亭序》并不是王羲之最好的作品，而偏爱《丧乱帖》。

现在很难看到王羲之的正品。如果不是全部，可说大多数是后来书法家的临摹作品。据说《兰亭序》与《丧乱帖》都是膺品。无可否认，后代书法家在临摹时，下了苦功，形态极像原作。可是，就表现书法家原本与精神而言，有人认为在反映王羲之书写精神方面，《丧乱帖》比《兰亭序》好。

王羲之《丧乱帖》全文如下：“羲之顿首：丧乱之极，先墓再离荼毒，追惟酷甚，号慕摧绝，痛贯心肝，痛当奈何奈何！虽即修复，未获奔驰，哀毒益深，奈何奈何！临纸感哽，不知何言！羲之顿首顿首。”

王羲之生活的魏晋时期，局势动荡不安与变动连连。王羲之的家族要从北逃离到南方。明显的，这封信是他在知道祖坟在北方遭受到破坏与损坏之后，感到混乱与无助而写的。无助与悲痛的语言，非传统、强烈与无束的笔画，通篇表达愤怒与挫折之情。

强烈的感情，以非传统的书法笔画来表达情感 – 这些都是使《丧乱帖》成为名帖的条件与因素。

Brushwork: Zhong Feng 中鋒用笔

Cai Yong once said, ‘Let the tip of the brush always moves within the middle of the stroke.’

As Chinese calligraphy is a uniquely Chinese art, it is understandable that there is a lack of a suitable vocabulary in English for describing the subtle qualities of line that have concerned Chinese calligraphy.

Calligraphy is mainly about writing Chinese characters with lines and it uses materials such as brush, ink, and paper or silk. One of the basic criteria for good brushwork is known as zhongfeng, which literally means ‘centered tip’. The term has no equivalent in English because it is essentially meaningless for both Western oil painting, which is painted largely with a flat brush, and Western calligraphy, which is written with a stiff pen.

While it is a term that can be interpreted in different ways, the concept of the “centered tip” is absolutely crucial to an understanding of Chinese brushwork.

Zhongfeng, like many Chinese art terms, is profound in its ambiguity. It may refer to the way the brush is held, the position of the tip within the stroke, or to the brushstroke itself. The most common definition refers to the manner in which a brush is held and, in this basic usage, describes a method of holding the brush in an upright position, that is, it must be perpendicular to the writing surface - bearing in mind that almost all Chinese calligraphy is executed with the paper or silk laid out flat on a table. When the brush is held this way the tip of the brush naturally occupies the middle of the line as the calligrapher begins to create a line or stroke. No matter in which direction the brush is then moved - up, down, left, right, diagonally, or in an arc - the tip of the brush will always be within the middle of the stroke, provided that the brush continues to be held perpendicular to the writing surface. This will enable the hair of the brush-tip to spread out evenly in all directions.

It is generally agreed among experts that, when a calligraphy piece done in zhongfeng, is held up against the light, a thin line of thick ink should be seen running in the middle of the stroke, even when the stroke turns at sharp angles or in curves. Mi Fu told us that one of the best examples of zhongfeng, is Su Shi’s transcription of the Chibifu. Unfortunately the effect cannot be discerned in photographic reproductions. It is said that the entire piece is done in zhongfeng, and it remains to this day a standard phrase of critical acclaim.

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蔡邕说过：令笔心常在点画中行。

书法是中国特有的艺术，在英语词汇里缺少用来形容中国书法美妙的线条的字词，那是可以理解的。

书法主要是书写中文，应用的材料包括：笔、墨、纸或帛。用来评判笔法之好坏的其中一个准则就是‘中锋’，或‘笔锋在中间’。英语没有这个词的相对词，因为西洋油画用的是平锋笔，而西洋书法用的是硬笔，所以中锋对他们来说，没有意义。

这个词虽然有不同的理解，可是中锋对了解中国笔法是绝对关键的。

就如其他的中文艺术词语一样，中锋的含义模糊不清。它可以指执笔之法，笔锋在线条内的位置，或者笔法本身。最普通的解释指执笔的方法；而这种用法是说所执的笔要正直，就是说必要与书写表面垂直 - 记住书法是在与平铺在桌面的纸张或帛布上进行书写的。当用这种方法来执笔来开始书写时，笔锋自然就占据笔画的中间部分。无论毛笔向哪一个方向移动——上下、左右、对角、圆弧——如果毛笔能够与书写面垂直，那么笔心都回在笔画的中间。这也能够使得笔锋可以均匀地分散的每一个方向。

专家一般同意，一幅以中锋运笔而完成的书法作品，如果放在灯光下，不论它的线条是突转或圆转，我们可以在笔画的中间看到一条深线。米芾曾说，苏轼的‘赤壁赋’是中锋用笔的最好范本。可惜它的效果不能显现于影印本。据说整幅作品都是用中锋书写的，到目前为止，它还是为人赞颂的标准言语。

Wang Xizhi’s Story 王羲之的故事

Wang Xizhi (321-379) was born into an aristocratic family, but he was not enthusiastic about fame and wealth. When he first arrived in Zhejiang, he wanted to end his service for the government and retire to a life of comfort. The court loved his talents and wanted to appoint him as princely attendant and imperial secretary of the Ministry of Rites. But Wang declined these appointments. He finally retired from the government service on the ground of his poor health.

When he was young, he was slow and dull. No genius could be seen. In fact, he wrote more poorly than the other children. But his diligence in later years left others far behind. Whenever he took up his brush, he would concentrate so hard that he would forget about eating and his sorrows. Even when he was eating, reading or walking, he would think about the size and structure of the words and how to wield the brush. He would write with his finger. So eventually all of his clothes and books were worn out by his constant strokes. Once he forgot to have his meal while he was practising. So his dish was put on his desk. Not knowing what he was doing, he dipped his bun into the ink and ate with great relish, his mouth blackened.

When he was 20 years old, the Emperor’s advisor Xi Jian (269-339) sent one of his associated to Wang’s father to state his wish to have one of his sons as a son-in-law. Wang’s father told the messenger to take a look at the young men in the house. The messenger later reported to Xi that the young Wangs are all suitable men. However, when he arrived there to see them, all became tense and uneasy. There was one exception. He just lay on his back with his belly uncovered, nonchalant as if he knew nothing of the purpose of his visit. On hearing this, Xi said, ‘That one will do fine.’ And that young man’s name was Wang Xizhi.

Wang Xizhi is particularly remembered for his love for geese. Legend has it that one day, he visited the beautiful landscape of Shao Xing with his son by boat. He found a flock of gooses on the bank, he liked them very much and prepared to buy all of them. These gooses were raised by a Daoist who knew Wang Xizhi was a well-known calligrapher. He said to Wang, ‘If you could write Huangtingjing for me, I will give all of these gooses to you.’ Wang Xizhi was eager to get these gooses, so he agreeably complied with his demand and conditions.

It is said that Wang learnt the key of turning his wrist in calligraphy writing by observing how the geese move their necks.

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王羲之 （321-379）生于豪门大族，但他并不热心于名誉与富贵。初到浙江，他就想要辞官退休。后朝廷欲官授待中，礼部尚书、王羲之皆不接受。最后以健康理由辞官归隐。

王羲之小时候其实相当迟钝，看不出有什么天分。事实上，他写的字比很多孩子都差。可是后来的勤奋，他就把其他人都抛在后头了。每当他提起笔时，他总是集精会神的把餐食与烦难给忘了。就算是在吃东西，阅读，行走时，他都在思考字的形状与大小，及如何挥动毛笔。他会以手当笔。因此，他的衣服与书本都在长期的指划下而损坏了。一次，他忘了用餐，食物就放在书桌上。他自然地把馒头浸入墨汁中，弄到满嘴黑墨，还吃得津津有味。

他二十岁时，太会太尉郄鉴（269-339)派人去找王羲之的父亲，要求他其中的一个儿子当女婿。王羲之父亲告诉使者到屋内去观察一下他的儿子。使者回去报告郄鉴，说所有的儿子多不错。但是，当他观看他们时，他们都显得十分紧张与不安。只有一个例外。他躺在那儿，露腹而漠不关心，完全不把使者到访的目的当着一回事。郄鉴听后，说：‘这个不错。’这个年轻人就是王羲之。

王羲之最为后人所知的就是他爱鹅。传说有一次，他与儿子乘船旅游美丽的绍兴，看到一群鹅在河岸。他喜极而要把它们全部买下。这些鹅是一个道人所饲养的，而这个道人知道王羲之是个著名的书法家。他对王羲之说：‘如果你能够把《黄庭经》写给我，我就给你所有的鹅。’王羲之满心要得到这些鹅，自然愿意承诺他的要求与条件。

据说王羲之书法上的运腕就是由观察鹅转动它们的颈项而领悟出来的。

Wang Xizhi: The Sage of Chinese calligraphy 书圣王羲之

Wang Xizhi (321 - 379) is reputed as the most outstanding calligrapher in Chinese history, unsurpassed over l,600 years. He has traditionally been called the ‘sage of calligraphy’.

He is remembered not only for revolutionising the art of Chinese writing, but also for his complete devotion to this traditional Chinese art form. He was also remembered as the founder of the Southern School, or Rubbing School of calligraphy.

Wang was born in a family of calligraphy, whose uncles and cousins were all famous calligraphers of their time. At the age of seven, Wang began a systematic study of calligraphy under a lady calligrapher - Wei Shuo, or Wei Furen (Madam Wei). He practised the Wei-style calligraphy for five years and later learned much from the work of other previous calligraphers, including Zhong Yao's Kaishu, Zhang Zhi's Caoshu and the calligraphy of Li Si and Cai Yong.

From then on, he digested characteristics of calligraphers from different dynasties, and innovated in the plain style of Wei and Jin to form a new style of flowing grace, emphasizing individual personality, style and mood.

Emperor Wu in Liang Dynasty praised his calligraphy as ‘the dragon jumping over Sky Gate, and the tiger lying on Phoenix Pavilion’.

In the early Tang Dynasty, Emperor Taizong loved Wang's calligraphy very much and because of his favour, most calligraphers at that time studied Wang's styles. When the official history of the Jin dynasty (265-420) was compiled, the emperor himself wrote an Imperial Postscript to the biography of Wang, in which he declared Wang the greatest calligrapher of all time, ‘I examined all calligraphy works with tiny details of ink from ancient times until now. I only find Wang as the most perfect calligrapher.’

Imperial sponsorship was largely responsible for the dominant position this stylistic lineage has long enjoyed. Emperor Tang Taizong fixed the style of Wang as the imperial signature with such finality that it was maintained as such through the Tang dynasty and beyond.

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王羲之被认为是中国书法史上最杰出的书法家，千六年来无人能出其右。传统上，他被称为书圣。

他为后世所知的不但是他改革了中国书法，还有对书法的完全投入。他也因是南派帖学书法的创始者而留名于世。

王羲之生长于书法世家，他的叔伯侄表皆为当代著名书法家。七岁时，他开始在卫夫人的指导下有系统地学习书法。他跟卫夫人学习了五年后，再学前朝其他书家的法书，包括钟繇的楷书，张芝的草书，与李斯及蔡邕的书法。

从此，他吸取了各朝书法家的特点，由魏晋之朴实而自创飘逸的新体，强调个性、风格、心境。

梁武帝赞之为‘龙跃天门，虎卧凤阙’。

初唐，唐太宗最喜爱王羲之的书法；因为他的喜好，当时书法家大都学习王体。《晋书》书学之时，太宗还亲自写了《王羲之传》，宣称王位古今最伟大的书法家：‘所以察详古今，研精篆素，尽善尽美，其惟王逸少乎！’

王体持久垄断书坛，自然与皇帝赞赏有关。唐太宗裁定王体为正统，以致王体得以由唐代起持续不衰。

Suo Jing 索靖

In the history of Chinese calligraphy, the works of calligraphy are generally classified into the Southern or North schools. The calligraphers of both schools practiced the calligraphy of Zhong Yao and Wei Guan. Suo Jing was the founder of the Northern school, and Wang Xizhi and his son Xianzhi founded the Southern school.
As a person who was named the founder of Northern school or the School of Stele Calligraphy, Suo Jing naturally occupied an important place in the Chinese calligraphy history.
Suo Jing (239-303) was a calligrapher lived in the Western Jin period. He was the grandson of the sister of the famous calligrapher Zhang Zhi of Eastern Han dynasty. Therefore, his calligraphy was greatly influenced by Zhang Zhi. He was famous for his Caoshu, or the running/cursive script, especially Zhangcao (a kind of Caoshu which was evolved from Lishu, or the Clerical script).
During the time of Emperor Wu of Jin, both Suo and Wei worked in the same State office. Wei was the Chief State Secretary and Suo the State Undersecretary. As both were good in calligraphy and each had his own style, they were known as ‘Two Wonders in One Office’. This is to say that both had inherited the calligraphy tradition of Zhang Zhi. Someone commented later, ‘Wei has mastered Zhang’s quality of muscle and Suo has mastered Zhang’s quality of flesh.’ (The Chinese traditional aesthetic theory has valuated individual brush strokes according to four qualities, namely, bone, flesh, muscle and blood.)
Suo’s calligraphy available today include ‘Chushi Song’ (Eulogy of Launching the Campaign), ‘Yueyi Tie’, and ‘Jijiu Zhang’ (Hurriedly Written Essay).  Suo’s works were included in the famous Chunhuage Tie (a collection of model calligraphic works) produced in Song dynasty. Suo’s calligraphy influenced greatly the later calligraphers. The famous calligraphy Ouyang Xun of Tang dynasty was well known for his paying attention to calligraphic techniques and he seldom praised ancient calligraphers. Once, he saw the calligraphy of Suo carved on a slab stone, he was so attracted to it that he couldn’t bear to leave the place. So he stayed there for a few days so that he can appreciate and study the calligraphy in details.
‘Chushi Song’ was collected by Wang Shimao of Song dynasty. During Qing dynasty, it was first collected by An Yizhou and later became part of the collection of the Qing Court. On 9 November 1922, Fu Yi brought it out of Qing Court, on the pretext that it was to be given to Fu Jie. Since 1945, it disappeared among the people and in 2003, it miraculously re-appeared.
In Jul 2003, the China Guardian Auctions Co., Ltd announced its plan to auction it, claiming that it was the only authentic work of Suo Jing and classified it as ‘the oldest Chinese calligraphic work available’, ‘amazing re-appearance of calligraphic masterpiece of Western Jin’ and ‘currently the only discovered authentic work of Suo Jing’. On 10 July 2003, the Palace Museum in Beijing shocked the world by buying the ancient calligraphy work for 22 million Chinese yuan.
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在中国书法史上，向有南北书派之说。一般上认为，南北两派书法皆出于钟繇、卫瓘，而索靖为北派之祖，王羲之、王献之父子则为南派之祖。
因为被视为北派，或碑学之祖，索靖在书法史上就自然而然的占了一个重要的地位。
索靖（239一303年），西晋书法家。他是东汉著名书法家张芝姊之孙，书法上受张芝影响很深。以善写草书知名于世，尤精章草（章草是隶书草化后的书体）。晋武帝时，他和另一大书法家卫瓘同在尚书台供职。卫瓘为尚书令，索靖为尚书郎。由于二人在书法艺术上独具风格，当时被人们誉为“一台二妙”。他们二人的书法与张芝有很深的师承关系。后人评价道：“瓘得伯英（张芝字）筋，靖得伯英肉”。（中国传统美学欣赏书法线条的四种品质：骨、肉、筋、血。）

索靖流传后世的书法作品有《出师表》、《月仪帖》、《急就章》等。宋代著名的《淳化阁帖》也收集了索靖的墨迹。他的书法对后世影响很大。唐代书法家欧阳询平生最重法度，不肯轻易推许古人。一次，他路见索靖书写的碑石后，竟卧于碑下，朝夕摩掌，不忍离去。

《出师表》墨迹本，在明代归王世懋，清归安仪周，后入清宫石渠宝笈收藏。民国十一年（1922）十一月初九日溥仪以赏赐溥杰名义携出宫外。一九四五年散落民间，于2003年奇迹般地出现。

2003年7月，嘉德拍卖行宣布将拍卖索靖惟一真迹《出师颂》，并将此作品定性为“中国现存最早的书法作品”、“西晋书法珍宝惊现”、“迄今为止发现的索靖惟一墨迹”等等。2003年7月10日北京故宫博物院以人民币两千二百万天价购买该作，轰动一时。

Shi Xiangtuo 施香沱

Shi Xiangtuo (1906-1990) was a pioneer artist in the history of calligraphy and paintings of Singapore. As he had taught many students in fine arts and therefore can be considered to be one of the most influential masters of epigraphy, calligraphy and painting in Singapore and Malaysia. He was well known as an art educator in Southeast Asian countries such as Singapore, Malaysia, Brunei, Indonesia and Philippines.
Shi Xiangtuo was born into a noble literati family in Zhangzhou of Fujian in 1906. His father was a famous master of calligraphy and seal cutting. In his home town of Longxi (now known as Longhai) in Zhangzhou, the family had a collection of several thousand books. Their study was known as ‘House of Lychee Fragrance’.
During the Japanese war with China, Shi came to Singapore alone in 1938 and was appointed as Principal of Heng A School. 1938 was also the year in which the Nanyang Fine Arts College (currently known as the Nanyang Academy of Fine Arts, NAFA) was established. Shi joined the staff of NAFA in 1941 and taught Chinese ink and brush paintings during weekends for 36 years. After Singapore fell into Japanese hands, Shi escaped to Sumatra, spending 3 years and 8 months there before returned to Singapore.
He was actively involved in the arts groups. He was a former President of the Singapore Society of Chinese Artists and advisor of Molan Art Association, Siaw-Tao Chinese Seal-Carving Calligraphy & Painting Society, San Yi Finger Painting Society. He also gave talks to schools, art societies and radio talks on art subjects.
Shi passed away on 25 April 1990, at the age of 85.
Shi excelled in calligraphy, painting, seal cutting, poetry and essay writing. In the area of painting, after many years of hard work, he had evolved a new art style with distinctive Nanyang characteristics. In this respect, he can be said to be in a league of his own. Generally, it is commented that he was best in calligraphy, followed by painting and seal cutting.
In calligraphy, Shi advocated the learning of Stone Drum inscription (inscriptions on drum-shaped stone blocks) of Qin and Bronze inscription (inscriptions on ancient bronze objects). The former must be written with Qi (vital spirit) and the latter should contain rhythmic momentum. Shi paid much attention to Qi, and as he was driven by Qi and over a period of time, he had achieved a unique grandeur of his own in calligraphy. He also put emphasis on Clerical script, which he thought was the connecting link between the Seal script and other scripts developed later.
His student Lim Buan Chay (Lin Wanjing) thinks that the style of his calligraphy is imposing and bold, and yet is tinged with an air of simplicity.
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施香沱（1906－1990）是新加坡书画史上的一位先驱人物，在书画界中拥有最多学生，故成为影响新加坡、马来西亚最深远的一位金石书画家，并以美术教育工作者驰誉新马、汶莱、印尼及菲律宾等地。
施香沱在1906年出生于福建漳州一户书香世家。他的父亲施拱南是福建有名的书法家和篆刻家。施家在中国故乡漳州龙溪县(今称龙海市)拥有许多藏书，达数千券之多，书房叫‘荔香楼’。
日本攻打中国时，施香沱于1938年独自南来新加坡，任兴亚小学校长。当时正逢南洋美术专科学校（南洋艺术学院的前身）创立，他于1941年加入美专师资阵容，周末任水墨画科老师，达36年之久。新加坡沦陷后，到苏门达腊避难，三年零八个月过后才回返新加坡。
施香沱活跃于艺术团体，曾任新加坡中华美术研究会会长，并应邀担任墨澜社和啸涛篆刻书画研究会顾问，三一指画会名誉顾问。施香沱也常到学校，画会，电台讲解美术。
1990年4月25日，施香沱与世长辞，享年85岁。
施香沱书，画，印，诗，文样样皆通。在绘画的领域，它多年来努力于南洋风的创建，在南洋画坛上不能不说是独树一帜。一般论者对他的评价是：书法第一，画作第二，印张第三。
在书法上，施香沱力倡临学石鼓文和钟鼎文。石鼓文必须是写气，而金文还有势在内。故施香沱时时重气，以气作书，其书法渐渐具备了无所依傍的大家气魄。除了篆书，施香沱特别重视隶书，认为隶书有承上启下的作用。
他的学生林万菁认为“他的书法风格以雄迈浑厚，古朴苍劲取胜。”

Xuan ShiBiao：The Masterpiece from Heaven 天下神品《宣示表》

Zhong Yao (151-230) is an important calligrapher in the history of Chinese calligraphy as he has great influence on Wang Xizhi, who is considered to be the sage of Chinese calligraphy. Zhong’s calligraphic works are said to be elegant and yet plain, orderly and artistic. His handwritings definitely improved the transition from clerical script (lishu) to a new look standard script (kaishu), and he was the forerunner of Wang Xizhi’s style of regular script.
However, very few of his authentic works left, and most of the works attributed to him were actually the works of calligraphers of later generations. Among Zhong Yao’s works handed down from ancient times, only two of them are authentic in style. One is the memorial to the throne of Emperor Wendi, which was written in the second year of Wei Wendi in 221. The script is now known as Xuan Shi Biao.
It is said that the calligraphy was collected by Wang Dao at the end of the Western Jin dynasty. In chaos caused by war, he hid the book in his cloths and fled to the south. Later he passed the calligraphic technique to Lady Wei, who passed it to Wang Xizhi, Wang Xianzhi and Yang Xin successively. Zhong’s writing technique thus became the criterion when studying calligraphy.
It had been collected successively by courts and folk connoisseurs of the Tang, Song and Qing dynasties. Unfortunately, the memorial was plundered by a British marine during the invasion the Eight-power Allied Forces; then it was bought back at a very high price by Huo Qiu and Pei Jingfu. But it was stolen unexpectedly later. The thief, afraid of being discovered, buried the work in the ground. Thereafter nobody knows where it has been. The script we see today is a photo-offset copy.
Although it was written in small regular script, the strokes and ways of writing come clearly into view. The calligraphy, with square form and curved turnings, is steady, slightly flat, and well-structured. It is highly valued by late generations as ‘masterpiece from heaven’ or ‘best calligraphy in China’.
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在中国书法史上，钟繇（151-230）是一个重要的书法家。他影响了书圣王羲之。他的书法高雅而简洁，平正而有艺术感；是由隶书过渡到新面貌的楷书的改进，也是王羲之楷体的前身。
钟繇真正的传世作品不多，很多都是后代书家的作品。传世作品中，就风格而言有两部比较可信。其中一部是三国魏黄初二年（221）上表魏文帝的奏章的《宣示表》。
据说此帖在西晋末为王导收藏，在战乱中藏在衣袖中南逃。后来他把所得笔法传给卫夫人，连接传给了王羲之，王献之，羊欣。钟繇的笔法就成为学习书法的规范。
此帖曾先后被唐、宋、清等朝内宫及民间鉴赏家收藏，不幸于八国联军入侵时被一个英国水军掠得，后被霍丘与裴景福以重金购得，不料又被盗去，盗者怕被人发现，将其藏在土中，从此不见了踪迹。现在我们所见到的墨迹，是根据照片影印的。
虽为小楷，但笔画清楚，笔法意态历历在目。其笔法已转化方为圆，八面沉稳，字形略扁，结构严密而出之自然，所以被后人推崇为‘天下神品’，‘天下第一妙迹’。
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Zhong Yao Stole Calligraphy Essay from Grave 钟繇开墓盗书

Zhong Yao (151－230) was thought highly as the originator of kaishu, or the standard script. He is also famous for holding the view that brush techniques are the key to good calligraphy. It is said that in order to obtain the handwriting of the famous calligrapher Cai Yong, he even resorted to stealing it from another famous calligrapher’s grave.
Below is the story of Zhong Yao recorded in Selected Essays on Chinese Calligraphy by Chen Si of Song dynasty.
When he was young, Zhong followed Liu Sheng to study calligraphy at Mount Niudu for three years. He also discussed brush techniques with Cao Cao (Emperor of the Wei State during the Three Kingdoms Period), Han Danchun, Wei Dan, Sun Zijing and Guan Pi. Once, he found the handwriting of Cai Yong (a famous calligrapher of the Han dynasty) on Brush Techniques in Wei Dan's possession. He begged Wei to let him borrow it but was refused. Zhong became so angry that he beat his chest and stamped his feet for three days, until he finally vomited blood. Cao Cao took out his panacea and saved Zhong from death. Later, after Wei Dan died, Zhong ordered people to open his grave and he finally got the essay of Cai Yong, from which he appreciated the meaning of the theory that ‘calligraphy with much strength and rich in sinew is of sage-like quality; that with neither strength nor sinew is sick. One must discover the secret and comprehend the essence of calligraphy, and it is best to apply the principles appropriately.’
On his death bed, he took out the essay from his pocket and said to his son, ‘I have been studying calligraphy for more than 30 years. I have learnt so many methods without success, until I learned Cai’s brush techniques. Whenever I meet a friend, we will discuss calligraphy by writing on the ground. My bedclothes were lacerated due to my practice on them with my hand. I would stay in the toilet the whole day thinking of calligraphy, and forget that I am in the toilet. I also imitated the living things in nature from the calligraphic point of view.’
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钟繇（151-230）被誉为楷书之祖。他以笔法为重的观点闻名于世。据说他为了要得到著名书法家蔡邕的笔法论文还得从另一个著名书法家的坟墓中偷来。
以下是宋陈思在《书苑菁华》记录有关魏钟繇的故事。
魏钟繇少时，随刘胜入抱犊山学书三年，还与太祖、邯郸淳、韦诞、孙子荆、关枇杷等议用笔法。繇忽见蔡伯喈笔法于韦诞坐上，繇苦求不与。自捶胸三日，其胸尽青，因呕血。太祖以五灵丹救之，乃活。及诞死，繇阴令人盗开其墓，遂得之，故知?多力丰筋者圣，无力无筋者病，一一从其消息而用之，由是更妙。?
临死，乃从囊中出以授其子会，谕曰：“吾精思学书三十年，读他法未终尽，后学其用笔。若与人居，画地广数步，卧画被穿过表，如厕终日忘归。每见万类，皆画象之。”