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’。

Su Demao on Practice Calligraphy by Copying 苏德茂：谈临帖

We have completed compiling the Chinese text of calligrapher Su Demao’s transcription of his talk on ‘Practice Calligraphy by Copying’ the model works of famous calligraphers. The talk was give at the 77th monthly Calligraphy & Painting Exchange Gathering organised by the Teochew Poit Ip Huay Kuan on 26 June 2010.

The main points of the talk are:

1. 
   
   The new learners of calligraphy can start with practicing either Official, Clerical or Regular script. However, they must select good model works to start with.
2. 
   
   Copying model calligraphic works is the most crucial or important step in learning Chinese calligraphy. In fact, one may say that it is the only way to learn Chinese calligraphy. So it is important to select suitable model works.
3. 
   
   The model work is said to be good if its characters are clearly printed, are written in standardised way, and it is printed from the original copy.
4. 
   
   After a suitable model work is selected, the next step is to ‘read’ the work careful, starting with ‘reading’ the words. Reading here refers to analysing the way the strokes are written, the structure of the words and the composition of the work.
5. 
   
   One can start with copying a few words or a few lines first. After copying, check against the model work and compare with it to analyse carefully where goes wrong and re-write to rectify the mistakes made. The process must be repeated as many times as possible.
6. 
   
   At appropriate time, proceed to copy the whole model work as many times as possible.

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我们已经把苏德茂老师‘谈临帖’的讲稿整理好。这是苏德茂老师于6月26日在潮州八邑会馆主办的讲座会中的讲稿。

谈临帖

---- 临摹是学习古代优秀书法技巧的唯一途径

在座各位女士先生可以说都是书法爱好者，你们好。

喜欢书法恐怕是比喜欢钱稍差一等的爱好，它们都能给我们每个人带来不同的欢乐。喜欢书法能给人带来兴奋、焦躁不安和欢愉，能享受创造的快乐。喜欢金钱可给人带来物欲享受的适志及心意满足的畅快，并伴随身心的疲惫与失落。

在座有不少先生是新加坡著名书法家，如曾广纬先生，沈观汉先生，还有新加坡艺术界最高奖项 -- 陈之初书法奖得主。也有刚学习书法不久，书艺正在精进的先生们。

即便是长期浸润于书法艺术的人，或是刚学习不久，或是想投入书法艺术圈的人，都需要临帖。写得好的人或者有一定基础的人，通过临摹古代优秀法帖会使你书艺水平进一步提高；决心要学习书法的人，通过认真的临法帖就能使您会更踏实的进入书法艺术之门。

在书法领域，临摹古人的优秀作品几乎是获得技巧的唯一方法。

对初学者而言，关键是临帖。对学有所成者，即使是书法高手，有目的的临帖以补自己的不足，增长自己的才能，也是须臾不可离者。

对初学者而言，楷、篆、隶是可选的书体。要选佳本。

对有一定基础的书法爱好者，要有针对性的去选择自己的法帖。对初学者而言，将隶书作为入门，会在点画的丰实与笔法的学习上，打下坚实的基础。这对一位学书者的后来发展意义重大。

学书法老师之一就是法帖。法帖是学习书法的人的永远的老师。指导老师也是有意义的，他会适时的指导学者渡过迷津。真师难求也。

选定所习书体后，便是选帖。

对字帖的要求：1清晰，2规范，3尽可能选墨迹本作范本。坊间选字本、放大本，只能当参考。

现代印刷技术昌明，可供选择之法帖多多。

第一帖将成为学习书法的人毕生从事书法的基础。他将在这本字帖上投入大量的精力，也许是几年，也许更长的时间。

通过这本字帖掌握一种书体后，可进一步去临习同一书家或用同一体系书家的其他法书，在这种书体深入领悟把握后，可开始试着用这种书体来进行创作；并可广泛地接触其他优秀作品。

这个广泛的吸取，是为了发展自己潜在的多种素质，对多种风格的可能性进行尝试和检验，最终找到自己的道路。

临帖前，首先把该帖的前言（序）、跋都要读一读，以了解该帖的内容与风格特点，此如临帖时有烛光在前面引路。而照耀临帖时不灭的太阳，是确立于我们各自心中的牢不可破的观念。这个观念是什么呢？

我认为邱振中所讲的最为简单明确：“临帖的第一阶段的目标 -- 准确。要做到准确，首先是仔细观察范本。尽可能记住每一个字的所有细节。”

临帖之前的第二个工作，就是读帖。

刚刚开始读帖，要逐步培养能仔细观察范本的能力，并养成习惯。可读一个字、三、五个字，或一小段。虽说鉴赏好的书法作品只见神采、不见字形，但看明白所临写的是什么意思、字还要认识为好。当然有些字或一时念不出，但认识字形也是应该的。个别字有残缺或到后面又重复出现或暂时放过亦无妨。

读（看）这些字：

1. 
   
   有无大小变化。
2. 
   
   结体有何特殊，与正常情况相较有何种变异：紧密还是宽松、有否侧欹错落移位。
3. 
   
   每一笔画运行中（每一笔画皆有起、行、收三个过程）是何种形、势。(a.)每一笔画的起、收是露锋（方笔）、藏锋（圆笔）？收笔有出锋否：所用形式与出锋方向。(b.)该笔画线条的轮廓是直、是曲，中间有何种变化。(c.)每一笔画（线条）的长短、粗细有否变化。
4. 
   
   有否侧锋，是如何转化为中锋的。
5. 
   
   在这一小段，每个字那一笔是主笔，那个字是主字。其特点如何？
6. 
   
   节奏如何？笔画与部件或字之间是如何呼应的。
7. 
   
   转折处、线条的运动方向与力度特点，使用力量的方向和笔画衔接时的运动方式，分清平动、环转与绞转，是圆折还是方折。
8. 
   
   点画之间、字之间是实连，还是虚连，引钩、牵丝的起讫位置与重轻，特别留心牵丝的方向。
9. 
   
   若所临帖为墨迹本，要细心揣摩用墨的变化，在临写时作参考。若所临帖为刻本，在考虑到自己在临写时在用墨上应如何变化。
10. 
    
    后一阶段临帖时，如改变字的大小与结体、变更行列的安排，如何在临帖中布白，在读帖中亦应有所考虑。 

临帖的开始阶段，只需要练习一本字帖，甚至是其中的几行。就从读过的一个字、三、五个字，或一小段着手临起。赵孟頫 说：“昔人得古刻数行，专心而习之，便得名世。”因为写汉字笔画的方式有限，如古人归纳出“永字八法”，故见真迹数行，便可悟用笔。

古人见真迹何其艰难，今人真是有福，能很容易见到下真迹一等之精印的各种字帖。

临书时或选临一部分，或按帖序顺临下去。看起来，先临其中的几行，临写精到才是根本。相当长时间后，要临全本，多见字形，没有数量就没有质量。

开始临帖，一笔写一画（如楷书，行草书万不可以一笔写一画），

一笔写一字，

一笔写一组字，或二字，三字或四、五字。

探求原书作者书写时的具体动作，用这些动作试着书写，如感到写出的点画不准确，再调整动作试着再写，反复观察调整，直到把点画书写准确为止。

逐步落实读帖时的十项认识，要投入大量的精力，把所临法书从笔法到意韵，力求做到深入把握，以适应来日之创作。

邱振中说：“一位书法家所有的技巧，感悟都源于对一本字帖的深入。”诚然。用笔千年不易，结体随时代而演变。故此临习中，一定要紧紧抓住线条质感这一关键。

为提高临帖与创作质量，必须

1. 
   
   坚决杜绝信手书写。
2. 
   
   好线条的质量：遒劲、凝重兼及飘逸与灵动。折钗股、屋漏痕、印印泥、高峰坠石、千里阵云、陆断犀象、万岁枯藤等等。书写中宜注入诸点画线条的意象观念，久而久之，即有潜移默化之效。书法的神秘与玄妙，即在乎此。
3. 
   
   一定要避免劣质线条的产生，如牛头、蜂腰、鹤膝、鼠尾、折木、担柴等等。 

苏德茂 2010.6.16



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。

Chiang Kai-shek 蒋介石

Most of China's contemporary leaders are/were good at calligraphy, and Chiang Kai-shek (Jiang Jieshi, 1887 – 1975) was one of them.

Chiang Kai-shek was a political and military leader of 20th century China. At the age of 18 he went to military training college in Japan. He returned to China in 1911, took part in the uprising that overthrew the Qing Dynasty and became a member of the Chinese Nationalist Party (known as the Kuomintang or KMT).

He became the Commandant of Kuomintang's Whampoa Military Academy in 1924 and took Sun Yat-sen's place in the party when the latter died in 1925. In 1928, Chiang led the Northern Expedition to unify the country, becoming China's overall leader. He served as chairman of the National Military Council of the Nationalist Government of the Republic China (ROC) from 1928 to 1948. After the Japanese surrender in 1945, the Chinese Communist Party defeated the Nationalists in 1949, forcing the Nationalist government to retreat to Taiwan. Chiang ruled the island with an iron fist as the President of the Republic of China and Director-General of the Kuomintang until his death in 1975.

There is an old Chinese saying that calligraphy is a mirror to a person's character. It is therefore said that the calligraphy of leaders reflects the different characters that ruled the nation, and even their leadership abilities.

Chiang’s style of calligraphy is characterized by strong bones and precise constructions, as neat and orderly as that of Emperor Huizong (1082-1135) of the Song Dynasty (960-1279). On the other hand, differences are apparent. Huizong's ‘slender gold’ style featured thin and sturdy strokes, a poised and graceful style that attracted numerous followers. Chiang's was neat in formation and prudent, but not so creative. His handwriting was always even and orderly, irrespective of whether he was in a high or low mood. This shows he was careful about obeying regulations, but restricted by convention.

Mao Zedong defeated Chiang in military matters and also outperformed him in calligraphy. When writing, Mao let his feelings carry his brush freely, creating a new calligraphic vista. Reading his cursive style handwriting, people immerse themselves in the flow of strokes, slow or fast, dense or not dense. Readers are attracted by the aura his works create, as well as by his presence as the top leader.

中国当代领袖中，不少写得一手好书法。蒋介石（1887-1975）就是其中的一个。

蒋介石是中国二十世纪的一个政治与军事领袖。十八岁前往日本就读军事学校。1911年回国加入推翻清政府的革命，成为中国国民党党员。

1924年担任黄埔军校校长，1925年孙中山逝世，他就取代了孙中山在国民党的地位。1928年发动北伐战争，成为中国最高领袖。1928年至1948年，他担任中华民国国民政府的军事委员会主席。1945年日本投降后，中国共产党于1949年击败国民党，迫使国民政府退守台湾。从此，蒋介石以其铁腕统治台湾，担任中华民国总统与国民党主席，直到1975年逝世为止。

中国一句话说，书法反映一个人的个性。因此领袖的书法亦反映国家统治者的不同个性与他们的领导能力。

蒋的书法特性是笔画刚强，结构精确，与宋朝（960-1279）徽宗（1082-1135）的字一样整齐有序。他们之间也有不同。徽宗的‘瘦金体’的笔画细又有力，平衡而优雅的风格吸引不少追随者。蒋的书法排列整齐与谨慎，但是缺少创造力。不论他的心情如何，他的字写来都均匀与整齐。这显示他谨慎守法，拘谨于常规。

在军事上，毛泽东打败了蒋介石，在书法上亦是如此。毛让他的感情随意的控制毛笔，创造了书法新景象。观读他的草书，人们会融入他那快与慢、疏与密的线条节奏之中。读者会为其作品的气势所吸引，并感受到他作为最高领袖的存在。

Ouyang Xun: Commemorative Stone Tablet for the Sweet Spring near the Jiucheng Palace 欧阳询：《九成宫醴泉铭碑》

Ouyang Xun left a number of masterpieces engraved on commemorative stone tablets and those works have remained to be excellent models for practice and emulation over 1,000 years. Their influences on later calligraphers are indisputable. Even the great calligrapher Yan Zhenqing had studied Ouyang's styles diligently before he invented his style which later impacted greatly on Liu Gongquan. Since then, most calligraphy students of regular script (kaishu) would choose either styles of Ouyang, Yan, or Liu.

Commemorative Stone Tablet for the Sweet Spring at the Jiucheng Palace (Jiucheng Gong) is his signature work in regular script. Chen Jiru, a scholar of Ming dynasty once commented, this calligraphic piece is ‘like a mountain recluse who has achieved the ultimate wisdom, gaunt and lean in muscle but robust in spirit.’ Another scholar Zhao Han praised that it is the best calligraphic work in regular script.

The Jiucheng Palace was originally built in the Sui dynasty and Emperor Tang Taizong visited the palace in 632. Taizong is said to have discovered a sweet spring on its ground, which was interpreted as a propitious sign. Consequently, a commemorative stele was erected at the spot. The text was written by senior court officer Wei Zheng and calligraphy by Ouyang Xun.

The calligraphy of Ouyang Xun, a follower of the calligraphic style of Wang Xizhi, has a ‘steeper’ look than that of Wang Xizhi. His regular script style employs brushstrokes that are thicker at the two ends and thinner in the middle, falling in the contractive category. The indrawn strokes in turn produce an indrawn character structure, with outer lines drawn inward, forming arcs, and strokes concentrated as much as possible in the interior, creating a character structure that is compact in the centre and less dense in the periphery. At the same time, some strokes are made longer than normal, transgressing the character grid, in order to avoid giving an overcautious look.

However, some critics commented that the steeper strokes and structures of his calligraphy make it very difficult for most beginners to emulate his style because a slight error or deviation will result in wide divergences in strokes, structures, and the overall look.

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欧阳询留下不少刻在碑石的书法杰作，千多年来它们是法书范本，被无数人临摹。它们对后代书法家的影响是无可置疑的。就算是大书法家颜真卿在未形成自己的书体之前，也是十分认真地学习欧体。而颜体也深深地影响了柳公权。自此之后，书法学习者在学习楷书时，所选的不是欧体，就是颜体，或者柳体。

《九成宫醴泉铭碑》是他的楷书代表作。明陈继儒曾评论说：‘此帖如深山至人，瘦硬清寒，而神气充腴。’明赵涵称此碑为‘正书第一’。

九成宫原来建于隋朝。公元632年唐太宗来巡视该宫。据说太宗在那里发现了醴（甜）泉，认为那是个吉兆。后来，就在那里立了块碑石。碑文由魏征写，书法则由欧阳询来写。

欧阳询学的是王羲之的字体，而他的字形比王羲之险峻。他的楷书笔画两端粗而中间细，属于内擫笔法。笔画向内而产生向内靠的字形，外围笔画向内行走，形成弧形，因此结字中宫紧而外围松驰；有些笔画则故意拉长，超越界线，为的是避免呈现一种太过拘禁的形态。

但是，不少评论家认为他的书法中的险峻笔画与结字，令初学者难以模仿他的字体，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。

Anecdotes about Ouyang Xun 欧阳询轶事

Ouyang was born in the Northern and Southern Dynasties. He was intelligent since young and was very serious in his study, with a special interest in calligraphy.

He was totally engrossed in the learning of calligraphy. One day, during an outing with his friends, Ouyang came across a stele inscribed by Suo Jing, a famous calligrapher of the Western Jin Dynasty. In order to understand the unique feature of Suo Jing’s techniques of using brush, he stood there and studied carefully the inscriptions. The more he studied the inscriptions, the more subtle it became. Shortly, the sky became dark, but Ouyang’s interest in the inscriptions remained strong. He decided to sleep near the stele for the night so that he could continue to study the stele the next day. At the end, he went on to explore the stele for another three days before leaving it reluctantly.

He was often considered the best kaishu (regular script) calligrapher of the Tang Dynasty. His fame reached overseas so the ancient Korea sent a special envoy to the Tang court to acquire his calligraphy. According to historical records, Ouyang Xun was an ugly person, but his calligraphy was well known throughout the country. People were eager to obtain authentic copies of letters written by him and they treated calligraphy in their possession as a treasure. They would use his calligraphy as model works for practice. During the reign of Tang Gaozu Li Yuan (618-624), Korea sent a special envoy to capital Chang-an to acquire Ouyang’s calligraphy. Tang Gaozu said emotionally, ‘I have never expected his fame has reached thus far, even the barbarians in faraway places know him. When they see the brush work of Ouyang, perhaps they may think that he is a strong and big man.’

It seems that the Japanese also admire the calligraphy of Ouyang Xun. The Asahi Shimbun is one of the largest newspapers in Japan; it publishes both morning and evening daily editions. The four Chinese characters of its name that appear in the newspaper’s masthead are words selected from Ouyang’s calligraphy. When the newspaper was founded, it was decided that words written by Ouyang would be used. The three words ‘chao’(朝), ‘ri’(日) and ‘wen’(闻) were chosen from ouyang’s famous calligraphic work of clerical script ‘A Panegyric of the Imperial Temple’ stele. The word ‘xin’(新) could not be found, so radicals of ‘qin’(亲) and ‘xi’(析) were extracted to form the word. As a result, the energetic structure and bony and vigorous style of Ouyang’s calligraphy becomes part of the masthead of the newspaper.

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歐陽詢生於南北朝時，從小就聰明過人，對於讀書寫字非常認真。

歐陽詢對書法學習十分投入，有一次在旅遊途中，見到了西晉書法家索靖寫的石碑，他為了瞭解索靖用筆的奇特之處，於是仔細的研究，果然越看越覺得奧妙。 不久，天色漸漸暗沈，可是歐陽詢的興致依然濃厚，便乾脆拿了鋪蓋睡在石碑旁邊，等到天亮繼續琢磨。就這樣一字一畫的考究了三天，才依依不捨的離開。（原文出自《书林纪事》：‘欧阳询尝行，见古碑，晋索靖所书。驻马观之，良久而去。数百步复反，下马伫立，及疲，乃布裘坐观，因宿其旁，三日方去。’）

他被认为是唐朝最杰出的楷书书法家。据史书记载，欧阳询的形貌很丑陋，但他的书法却誉满天下，人们都争着想得到他亲笔书写的尺犊文字，一旦得到就视作圭宝，作为自己习字的范本。唐李渊武德（618－624）年间，高丽（今朝鲜）特地派使者来长安求取欧阳询的书法。唐高祖李渊感叹地说：‘没想到欧阳询的名声竟大到连远方的夷狄都知道。他们看到欧阳询的笔迹，一以为他是位形貌魁梧的人物吧。’

日本人看来也很仰慕欧阳询的书法。《朝日新闻》是日本现今最大的一家报纸之一，有早报和晚报。它的报头题字，为初唐书法家-欧阳询所书。《朝日新闻》近代在东京创办时，决定用欧书作为报头题字，于是找来欧阳询的得意之作，隶书《宗圣观记》，从中挑选完整无损的“朝”、“日”、“闻”三字，再把帖中缺少现成的“新”字，巧妙地用“亲”字和“析”字分别剔去“见”旁和“木”旁合并而成。这样，《朝日新闻》四字，就以饱满的形体，瘦劲的姿态出现在该报的首端了。