Chinese calligraphy is unique because it evolved from pictographic characters, simulating the natural world yet transcending it into abstract lines. It combines decorative beauty with life-like expression, allowing for individual creativity in each character and composition. The strokes' weight, speed, and rhythm are deeply connected to Chinese music, dance, painting, and sculpture, forming the soul of Chinese visual and expressive arts.
The 'Yin-Yang' concept in Chinese calligraphy represents the balance and interplay of natural forces. Calligraphy mimics these natural rhythms through the contrast of heavy and light strokes, fast and slow movements, and the balance of empty and filled spaces. This principle is rooted in ancient Chinese philosophy and reflects the harmony of opposing yet complementary forces in nature.
Zhang Meiju employs a three-pronged teaching method: first, he teaches the history and theory of calligraphy; second, he guides students in reading and analyzing classic calligraphy works; third, he focuses on teaching brush techniques, emphasizing the importance of foundational skills and the correct use of brush strokes.
Chinese calligraphy evolved from oracle bone script, which was pictographic, to seal script, clerical script, cursive script, running script, and finally regular script. Each style developed unique brush techniques and aesthetic principles, with the seal script emphasizing structure, clerical script introducing wave-like strokes, and cursive script focusing on fluidity and expressiveness.
Regular script is recommended for beginners because it has the most complex brush techniques and strict structural rules, making it an excellent foundation for mastering other styles. It is also easier for beginners to appreciate the quality of regular script, as even children can recognize well-executed characters.
Brush techniques are fundamental to Chinese calligraphy, dictating how the brush is held, moved, and lifted. These techniques, refined over centuries, are essential for creating the dynamic and expressive lines that define calligraphy. Mastery of brush techniques allows calligraphers to convey emotion, rhythm, and individuality in their work.
Zhang Meiju believes that innovation in calligraphy must be grounded in a deep understanding of traditional techniques. While calligraphy has evolved over centuries, all innovations are built upon the foundational principles of brushwork and structure. He emphasizes that true creativity comes from mastering tradition before exploring new expressions.
For beginners, Zhang Meiju recommends starting with Yan Zhenqing's 'Duobao Pagoda Stele' for regular script, followed by Zhao Mengfu's 'Sanmen Ji' and 'Danba Stele'. For clerical script, the 'Three Stele of the Confucian Temple' are suggested, while for running script, Zhao Mengfu's 'Red Cliff Ode' and 'Luo Shen Fu' are excellent choices.
Calligraphy reflects Chinese cultural and philosophical values through its emphasis on balance, harmony, and the expression of individuality. It embodies the Daoist principles of Yin and Yang, the Confucian ideals of discipline and self-cultivation, and the artistic pursuit of beauty and emotion. Calligraphy is not just a visual art but a profound cultural practice that connects the artist to the broader traditions of Chinese thought and aesthetics.
Zhang Meiju advises beginners to find a good teacher who can provide proper guidance, choose the right classic works for practice, and remain consistent in their efforts. He emphasizes the importance of patience and dedication, noting that calligraphy is a lifelong journey that offers both personal fulfillment and a deeper connection to Chinese culture.
有人说要全面认识中国的古典艺术,就需要经历从家具、建筑;到瓷器、青铜器;再到绘画;最后到书法这样一个由浅入深,门槛越来越高的过程。在这个言论中,书法位于中国艺术的核心与顶端。 而李泽厚先生论述中国书法为何不同于阿拉伯书法、拉丁文美术字时也曾说道:书法的独特性在于,它脱胎于象形文字,是一种对自然世界的图画模拟;但在模拟过程之中又超越了物象,被提炼为抽象线条。因此这种线条之美兼具图案花纹的形式美、装饰美,以及富有生命暗示和表现力的美。行云流水,骨力追风,柔中带刚,方圆适度 —— 书法中的每一字、每一篇都可以有个性的创造。而运笔的轻重、疾涩、虚实、强弱、转折顿挫、节奏韵律,同中国的音乐、舞蹈、绘画、雕刻一脉相承又相互彰显,共同构成了中国各类造型艺术和表现艺术的魂灵。 向世界传播这样一套独特的美学秩序,并非易事,每个时代都有优秀的文化学者前赴后继地推动这项事业。张梅驹老师就是这样一位在旧金山设帐授徒的书法家。本期节目,我们邀请张老师聊一聊他在美国教书法的故事。 内容包括:** 04:17 为什么世界各国的人们热衷学习中国书法? 10:11 青铜器铸造和作为审美对象的文字 15:12 理解中国古典艺术关键不在血统 19:40 何为阴阳?美的秩序来自对自然规律的模拟 24:58 张梅驹老师的三管齐下教学法 28:28 解构笔法神话:用笔有无数方法,正道只有一条? 42:19 从甲骨文、金文到五种书体的演变和相应的笔法 47:25 张老师详细推荐书法入门路径和字帖 70:57 风格化的书写:探讨技术之外,书法抒情达性的一面 83:56 从弘一法师到井上有一:无数支流汇聚书法的大江大河
上图为:《自叙帖》、《书谱》 明轩明轩,又名阿斯特庭院,是位于美国纽约大都会艺术博物馆的一座中国古典庭院。明轩仿苏州网师园殿春簃建造而成,是中美两国之间首个永久性文化交流项目,开启了中国“园林出口”的先河。明轩由著名艺术史学家方闻先生,携手陈从周、贝聿铭这些园林、建筑领域的泰斗联袂打造。通过搭建一个真实的中国古典场景,呈现中国文化中园林、家具、绘画、书法等等不同的品类相互补充、又相互彰显,共同构成的独特的中式美学。 图为:明轩 线的艺术 早在新石器时代,世界各地的人们就会绘制一些几何图形、花卉、动物纹样对陶器进行装饰。这些纹饰,后来成为了各地绘画美术的重要起源。而中国的特异之处在于,到了青铜时代,我们开始在金属上大量刻写铭文,通过文字的线条和排布,呈现出原本绘画图案才有的美感。在此过程中,文字线条经过了千锤百炼的净化和提纯,同时具有了装饰线条的形体姿态之美,秩序比例之美,自由多样之美;以及文字符号的情感、意兴、气势力量——这种线条的艺术,正是书法美学的历史来源。 图为:马家窑文化彩陶舞蹈纹盆,散氏盘 书肇于自然** “书肇于自然 ,自然既立,阴阳生焉,阴阳既生,形势出矣” —— 这句话出蔡邕的《九势》,长期以来被视为中国书法的总纲和第一块理论基石。 它的大意是:书法是对天地自然的再现。用笔的轻重快慢,点画的粗细方圆,章法的疏密虚实,用墨的枯湿浓淡,都对应着自然界的阴阳关系。而阴阳转换的千变万化,在书写中则落实为“形”与“势”之间的对立统一。 中国古典文化极大地脱胎于上古先民对自然宇宙的观察和模仿。例如“阴阳”,目前考古发现最早对阴阳观念的形象表达“太极图纹”,就来自距今4000多年的石家河遗址群集的陶纺轮。有学者推测,太极是对一年之中昼夜消长的抽象模拟 ——以白色代表白昼的阳,在夏至日达到顶峰;以黑色代表黑夜的阴,在冬至日达到顶峰;阴阳(昼夜)的连续消长和不断平衡,就形成太极的形象(详见附图)。石家河作为长江中游地区的稻作农业文明,从农业种植的规律中总结出太极,也许并非偶然。 事实上,全球各地人类的美学经验,普遍源于改造自然的劳动经验。节奏、韵律、对称、均衡、连续、间隔、重叠、单独、粗细、疏密,这些美的秩序,都和劳动中合规律性的需求密切相关。基于共同的源头,我们相信即便是书法这样一种极度中国化的艺术,依然可以被全世界的人们理解和欣赏。 图为:画有太极纹的新时期时代陶纺轮;太极如何模拟一年中的昼夜消长示意图 井上有一临摹的颜真卿** 张梅驹老师的书法作品