The Senior Calligraphy Exhibition 黄金岁月展

The 21st Senior Calligraphy Exhibition, organised by the Chinese Calligraphy Society of Singapore (CCSS), will be held at Singapore Calligraphy Centre’s Lee Kong Chian Hall from 26 Sep to 29 Sep for 4 days. Calligraphic works of 61 learners of calligraphy will be on display at the exhibition.
It has been 23 years since CCSS held the first exhibition known as the ‘Calligraphy Exhibition for the Youth’ in 1986. This series of exhibitions, held for the learners of Chinese calligraphy, is among the calligraphy exhibitions with the longest history in Singapore. It was a platform created by CCSS to provide opportunity for students of its calligraphy classes to learn from each other and to share experiences. CCSS started the first calligraphy classes in 1974 at the Macpherson Education Centre.

The first ‘Calligraphy Exhibition for the Youth’ was held from 13 March to 16 March 1986 at the Singapore Chinese Chamber of Commerce & Industry. It was declared open by Ong Pang Boon (Wang Bangwen), the Society’s advisor and the then MP for Telok Ayer. 13 students from the Society’s calligraphy classes with 64 pieces of their works were put on display at the exhibition.

In 1992, due to the increase in the enrolment for its calligraphy classes, CCSS decided that the exhibition should be held annually and be renamed to ‘Calligraphy Exhibition for All’. The renamed exhibition was first held at the Singapore Conference Hall on 14 and 15 Nov 1992. It was declared open by the then Chairman of Teo Ann Association and 82 pieces of calligraphic works were put on display. The exhibition was to be held biennially.

The opening of the Singapore Calligraphy Centre in 1995 means the exhibition now has a permanent home. For the first time in 1995, a week-long exhibition was held in the Lee Kong Chian Hall of the Calligraphy Centre. It was declared open by the Centre Chairman on 11 Nov. The exhibition displayed 97 pieces of works by learners of calligraphy of all ages.

In 2005, in order to allow more calligraphy lovers to participate and to display their works, the exhibition was split into two different exhibitions. The ‘Junior Calligraphy Exhibition’ is a platform for school-going calligraphy learners to show off their talent in calligraphy, while the ‘Senior Calligraphy Exhibition’ is to provide opportunity for working adults and retirees to display their works and exchange learning experiences. The Senior Calligraphy Exhibition was declared open on19 Nov 2005 with 93 pieces of calligraphic works selected for display.

During the last 23 years, there were more and better calligraphic works being selected for participating in the exhibitions. This really reflects an increasingly active Chinese calligraphy community in Singapore, a fact that all of us should feel good and proud about.

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由新加坡书法家协会所主办的第二十一届‘黄金岁月展’将在9月26日在新加坡书法中心光前堂举行，为期4天，到9月29日结束。这次共有61名书法爱好者的作品被选展出。

这个展览自1986年举办至今，已经有二十三年的历史了，可以说是为书法爱好者所举办的一个历史悠久的新加坡书法活动。这个书展的前身是‘朝花书法展’，是新加坡书法家协会为属下书法班学员提供的一个互相切磋与交流的平台。书协（当时的中文名为新加坡中华书画研究会）自1974年开始于麦波申教育中心开设书法班。

第一届朝花书法展于1986年3月13日至16日于中华总商会举行，，由新加坡书法家协会（当时中文名称为新加坡书学协会）顾问及直落亚逸区国会议员王邦文先生揭幕。该届书展共展出了该协会13个研究班学员的64幅作品。该书展每两年举办一次。

从1992年起，随着书协书法班的学员的增加，书协决定把书展改为常年展，并改名为‘春华秋实书法展’。该届春华秋实书法展于1992年11月14日至15日在新加坡大会堂举行，共展出82位老中青书法工作者的作品，由潮安联谊社主席郑展松先生主持仪式。

1995年，新加坡书法中心落成，‘春华秋实书法展’就有了一个永久的家。该届书法展第一次在书法中心的光前堂举行。为期一周的书展于11月11日起举行由书法中心董事主席郑文麟揭幕，并展出老中青书法爱好者的作品97件。

2005年开始，为了让更多书法爱好者的作品能够有机会参加展出，这个书展改为两个书展会。‘新秀风采展’为正在念书的在籍学生的书法爱好者提供展出平台来展示他们的书法才华，‘黄金岁月展’则让来自各行各业的工作人士与已经退休的书法爱好者展出与交流学习经验。2005年11月19日举行的‘黄金岁月展’共有93人的作品被选展出。

可以说，这二十三年来，参与这个书法的人数与作品的阵容，无论在质与量方面，独有显著的增加与改善。正当然亦可以说显示了新加坡书坛的日益蓬勃发展，实在是可喜可贺。

Zhao Ji: The Emperor Calligrapher 赵佶：皇帝书法家

In the Chinese history, many emperors loved calligraphy and some of them became highly accomplished in the field. Speaking of emperor calligraphers, Zhao Ji (1082-1135) or Emperor Huizong of the Northern Song Dynasty (960-1279) immediately comes to mind. He reigned from 1100 to 1126.

He was a skilled poet, painter, calligrapher and musician. He sponsored numerous artists at his court, and the catalogue of his imperial painting collection lists over 6,000 known paintings.

Because of his involvement with these pursuits, Huizong neglected the army, and Song China became increasingly weak and at the mercy of foreign enemies. In Jan 1127, the Jin on the northern border entered Bianliang (Kaifeng), the capital of the Northern Song Empire, and captured Huizong, his son Emperor Qinzong, as well as the entire imperial court and harem. In May 1127, Huizong was deported to northern Manchuria, where he spent the last eight years of his life as a captive in the small city of Wuguo (in present-day Yilan County, Heilongjiang Province). He died on 4 June 1135, at the age of fifty-two.

During his 25 years of governing, Zhao Ji was so addicted to calligraphy and art that he devoted little time to knotty political issues. He first made cuju (a prototype of football) star Gao Qiu his chief military commander, and then handed almost all governance to a few treacherous court officials, while he devoted himself to art and culture.

As a ruler he was incompetent, and allowed his officials to make decisions which hastened the demise of his empire, but his artistic talents and achievements were unparalleled. He invented the "Slender Gold" style of calligraphy. The name "Slender Gold" came from the fact that Huizong's writing style, comprising thin and straight strokes, resembled gold filament, twisted and turned.

His horizontal strokes ended with hooks, the vertical strokes with points. His slanting strokes were sharp as knives, and the vertical hooks as slim and tall as a fine young man. His style reflected a pursuit of perfection while obeying regulations. His calligraphy is unconventional and original, the strokes are stretched to their extreme limits and the result is a fascinating dynamism that until today stands out as an independent and striking interpretation of Chinese characters.

This style of calligraphy is a sharp diversion from anything seen before and in a way shows that although Huizong was not very courageous in the battle field, he certainly had the courage to innovate in the field of aesthetics. It can be said that his writing style reflected his rule as his endless pursuit of beauty in form made him overlook the overall setting, indicating that he was deficient in resolution and persistence.

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在中国的历史里，很多皇帝爱好书法，其中不少在这门艺术里的成就还是很高的。说到皇帝书法家，使人立刻想到北宋（960-1279）的徽宗赵佶（1082-1135）。他在位于1100 - 1126。

他精于诗、画、书法与音乐。在宫里，他养不少艺术家，收藏了不少过6000幅知名绘画。

由于他对这类事物的追求，以致忽略了军事，宋朝日益衰弱，为外敌所摆布。1127年1月，在北边疆的金攻入汴梁（开封），逮捕了徽宗、他的儿子钦宗、整个朝廷文武官员与后宫女眷。1127年5月，徽宗被流放到北方的满洲，这那里的小城市五国城 (今黑龙江省依兰县)度过了人生最后的八年的俘虏生活。他死于1135年6月4日，享年52岁。

在他统治的25年里，赵佶过于沉迷于书法与艺术而没有花时间在棘手的政治课题。首先他提拔善于蹴鞠（足球的雏形）的高球为殿前都太尉（掌管军事的高官），然后又把所有治理的权力置于几个奸臣手中，这样他就可以把时间花在艺术与文化。

作为一个统治者，他是无能的，他允许他的官员作决策，加速了王朝的灭亡，可是他艺术才能与成就却是无与伦比的。他创造了‘瘦金体’（ 瘦筋体）书体。之所以称为瘦金体是因为徽宗的书写风格包含了瘦与直的线条，犹如金丝、扭曲与削转。

他的横划收笔带钩，竖划收笔带点。他的撇划如匕首、竖钩细长如少男。他的风格反映出他追求完美同时遵循规律。他的书法独创、不跟随传统，线条伸延至极限，形成迷人的活力，直到今天它因独立与出众地阐述中国文字而显得突出。

他的书法前无古人，显示他虽然在战场上没有多大的勇气，在美的领域，他的创造勇气却是过人的。可以说，他的书写风格反映出他的统治，对于形式美的无限追求使他忽视了总体，显示了他的犹豫不决与缺乏坚持。

Chen Jen Hao 陈人浩

Chen Renhao (Chen Jen Hao 1908 - 1976) was an educator and Chinese calligrapher. He was also proficient in painting.

Chen was born into a wealthy family in Fuzhou, China. After completed his secondary school education in 1924, he went to Shanghai to receive art education. In 1928, he travelled to Paris for further study. After graduation in 1932, he returned to China and taught at the Shanghai Academy of Fine Arts from 1933 for 5 years. While in Shanghai, Chen met and became close friends with fellow artist Liu Kang (1911-2004), who married Chen's sister Jen-ping (Ren Bin) in 1937. In the same year of his sister’s marriage he was forced to flee to Muar, Malaya due to the Japanese invasion of China. At first, he taught at Chung Hwa Secondary and after the Second World War he became the principal of Chung Hwa High School in Muar, Johor.

He moved to Singapore in 1956 and became the principal of Kallang West Government Chinese Middle School, which is the predecessor of Dunman Government Chinese Middle School (now called Dunman High School). He was the principal of the school till 1969 when he retired.

Chen’s father was a scholar who practiced Chinese calligraphy regularly. Since young, Chen observed closely how his father practiced calligraphy. He was very much influenced and became interested in the art as well. His family had a good collection of calligraphic works of various periods by various calligraphers. Chen practiced all of them and later developed his own style of writing. He started with Yan and Ou style and followed by practising the works of Su Shi, Huang Ting Jian, Mi Fu and others.

As a principal, Chen liked to write school notices using the Chinese brush. The beautifully written notices had attracted many students to come to the notice board just to look at the writings. Some students from neighbouring schools were attracted by the writings too. One of them was calligrapher and painter Koh Mun Hong (Xu Mengfeng) who mentioned in one of his books how he was fascinated by Chen’s writings and decided to learn calligraphy after seeing them. There is no doubt that many more students were similarly influenced and had developed a keen interest in calligraphy.

Liu Kang, a famous painter, once commented Chen’s calligraphy, saying the structure of his calligraphy was decorous and solid, and his strokes were strong, smooth and simple. The calligraphy therefore revealed its gentle beauty and yet retained the dignity, its liveliness and yet maintained the manly mettle. His couplets, displaying the charm of vigour and strength, would pleasantly delight the viewers. His vertical banners, mostly written in walking cursive (xingcao) style, were spontaneous and free, like floating clouds and flowing water, and naturally they would charm the viewers.

It is a pity that Chen did not conduct calligraphy classes and therefore did not have students learning calligraphy from him during his life time. Probably this is a greatest loss to the Singapore calligraphy community.

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陈人浩是一名教育家与书法家。他也是一名画家。

陈人浩出生于福州的一个富有人家。1924年中学毕业后到上海去接受艺术教育。1932年毕业后，到法国深造。1932年毕业后回到上海，于1933年在上海美专教课，为期五年。在上海的时候，他遇到了画家刘抗并成为了好朋友。1937年，刘抗与陈人浩的妹妹陈人滨结婚。就在他妹妹结婚的这一年，由于日本侵略中国，陈人浩被逼逃亡到马来亚的麻坡。他首先在麻坡的中华中学当教员。第二次世界大战后，他成为柔佛州麻坡中化中学的校长。

1956年，他移居新加坡，担任加冷西政府华文中学的校长。这间学校是德明政府华文中学（现改名为德明中学）的前身。他一直担任这间学校的校长，直到1969年退休为止。

陈的父亲是一名书生，经常练习书法。从小陈就仔细观察父亲书写书法，因此受到了影响，以至对这门艺术产生了兴趣。由于他的家所藏的书法字帖丰富，陈临摹了这些字帖，并在后形成自己的风格。他从颜、欧体开始，后来学苏、黄、米及其他书家的字帖。

在他担任校长期间，他喜欢以毛笔来书写布告。字体美丽的布告吸引了不少学生前来布告栏看字，就连附近学校的学生也被这些字所吸引了。其中的一个就是著名画家与书法家许梦丰。他在一部书中谈到他如何被陈的字所吸引与看到陈的字后决定学书法。相信当时不少学生就是受到他的影响而对书法发生兴趣。

著名画家刘抗(1911-2004)曾评说，他的字宫架稳实厚重，笔法苍润扑拙，庄严中含有几分秀丽，活泼中不失丈夫气概；他的对联，最能表现出雄浑的魄力，令观者胸怀为之一畅；他的条幅，多以行草书写，洒脱超逸，有如行云流水，叫鉴赏者心醉。

很可惜，陈人浩在世时并没有开书法班和收书法学生。这可能是新加坡书法界的最大损失。

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。