何秀乐

奇墨旅程

名字：何秀乐

鉴赏项目：书法（隶书）

语录：落笔随碑触，纸上千姿游。

书法介绍（Introduction of Calligraphy）

   书法，是中国传统的汉字书写艺术。常见的字体有篆书、隶书、楷书、草书和行书，书写工具是人称文房四宝的笔、墨、纸、砚。书法也被誉为：无言的诗，无图的画；无行的舞，无声的乐。经过千百年的创作和发展，中国书法已成为一门风格独特的艺术。

   中国历史上出现了许多著名的书法家，如：王羲之、欧阳询、颜真卿、柳公权、赵孟頫等。他们经过多年的勤学苦练，形成了不同的风格和流派，使中国的书法艺术达到了很高的水平。

        Calligraphy is a traditional art of writing Chinese characters. The usual styles of calligraphy include seal, official, regular, cursive, and running scripts. Instruments used for calligraphy are called “Scholar’s four treasures”, namely, writing brush, ink stick, paper, and ink slab. Calligraphy is also known as “poems without words”, “painting without pictures”, “dance without lines”, “music without sound”. After centuries of creation and evolvement, calligraphy has become a unique art.

There have been many famous calligraphers in the history of China, such as Wang Xizhi, Ouyang Xun, Yan Zhenqing, Liu Gongquan, Zhao Mengfu, and more. Each of them has formed a unique calligraphic style and genre after years of hard practice. These raise the profile of calligraphy art to a high level in China.

隶书（Official Script）

       隶书是汉代的通行字体，经由篆书的演化，将圆转的笔划逐渐改为方折，字形变圆为方，笔划改曲为直，使书写速度更快、更便捷。隶书在东汉时期产生了众多风格，并留下大量石刻。《张迁碑》、《曹全碑》、《礼器碑》是这一时期的代表作。

       The “official” script was popularly used in the Han Dynasty (206 B.C. - 220 A.D.), evolved from the seal script. At that time, the “official” script changed gradually from round stroke to square and fold stroke, the shape of the characters changed from round to square, lines turn bent to straight, making the writing speed faster and more convenient. During the Eastern Han Dynasty (25 - 220 A.D.), the “official” script developed many writing styles and left a lot of inscriptions. “Stele of Zhang Qian”, “Stele of Cao Quan” and “Stele of Li Qi” are the representatives of this period.

鉴赏与心得（Appreciation）

    落笔随碑触，纸上千姿游。在临摹《礼器碑》的过程过，我像是经历了一场奇妙的旅程。

    《礼器碑》刊刻于东汉永寿二年（156年），历来被推为隶书极则，书风细劲雄健，端严而峻逸，方整秀丽兼而有之，笔画寓疏秀于严密、奇险于平正之中。

    《礼器碑》字数极多，在临摹之前须认真读帖，通读数遍，以领会其神韵、风格和特点。一般来说，一件艺术作品主要有一种风格面貌，虽然会加入一些调节、平衡的手段和风格，但总体来看还是具有单一性。然而，《礼器碑》表面看起来端正严谨，但细看又千变万化。这些变化不但不会影响方整端庄的面貌，反而在丰富多姿中显出合于法度的严谨，在清瘦挺俊中也包含浑厚、圆润等审美元素，显示出一种包罗万象、充满生机的气象。

    此碑无字不变，全文的用笔奔放而且飘逸，一笔一画间自然成趣。我们在临写时也不必拘泥于所谓书法的端正、整齐，因为碑作者有意设计了字体的不同大小以及形状、写法，从而使得这些字显得并不统一，打破了过往的横与竖之间的书写规范。

    《礼器碑》用笔方圆兼备，以方笔为主，偶用圆笔；结体端庄凝练，秀丽典雅；笔画则瘦劲刚健，转折以方折为多，捺画粗壮。笔画中虽多有细笔，但劲挺有力，不乏凝重朴厚的意趣。碑阳结字端庄，章法排列纵有序，横有列，字距宽，行距密，充分展现了和谐端庄秀美的整体特征。因此，我选择了临摹碑阳部分，先得其精湛的笔法和严谨的结构。临写时，用笔提按丰富，线条灵动，结体错落有致，具有很强的书写性、抒情性。随心而运，自然生发，活泼多姿，意态奇妙。

    东汉碑刻大都有迷人的奇特魅力，大异其趣，展现出浪漫主义的笔意雅韵。让我们一起深入经典，研习碑帖，加以阐发，加之性情，发之于笔端，体会书法的妙处，来一场“奇墨旅程”吧！

“Brushes under the inscription, travels in thousands poses”. In the process of imitating “Stele of Li Qi”, I experienced a wonderful journey.

“Stele of Li Qi” was inscribed in 156 A.D. during the Eastern Han Dynasty. It was praised as the most important rubbing in the “official” script. The style of the calligraphy is fine and vigorous, strict and austere, square and elegans. The strokes show strictness and steepness within evenness.

There are a lot of characters in the “Stele of Li Qi”. Before imitating, we should read the rubbing carefully and all over to understand its textures, style, and characteristics. Generally, a work of art mainly has a style. Although some adjustments, balancing purposes, and styles were added, it is still unitary overall. However, although the “Stele of Li Qi” looks neat and rigorous, it is ever-changing when we observe carefully. These changes not only not affect the square and dignified appearance, but also show the rigor in accordance within richness and variety. It also contains aesthetic elements such as thick and round brushwork, showing an all-encompassing and full of vitality.

There are no words unchanged on this inscription. The brushwork in the full text is spirited and ethereal, every stroke travels naturally and interestingly. We don’t have to stick to the so-called correctness and neatness of calligraphy when we imitate. This is because the author deliberately designed different sizes, shapes, and writing styles of the fonts to make these characters appear inconsistently, breaking the horizontal and vertical writing specifications of the past.

“Stele of Li Qi” uses both square and round pens, mainly with square pens, occasionally with round pens; the structure is dignified and condensed, beautiful and elegant; the strokes are thin and fortitude, turning points are more squared, and the right-falling strokes are thick and strong. Although there are many fine brushes in the strokes, still they are bold and energetic, there is no lack of solemn and simple ink-joy. The front part of “Stele of Li Qi” is dignified, chapters are arranged vertically and horizontally in order, with wide word spacing, tight line spacing, which fully demonstrates the overall characteristics of harmony, dignity, and beauty. Therefore, I chose to imitate the front part of “Stele of Li Qi”, wishing to enjoy its exquisite brushwork and rigorous structure. During the process of imitating, brushes enriched with lift and press, lines travel lively, written with patchy structure, full of writing function and strong lyricism. Move with your heart, happen naturally, lively and coquettish, appeal wonderfully.

Most of the inscriptions in the Eastern Han Dynasty have fascinating and peculiar charms, which are very different from each other, showing the romanticism and elegant rhyme of calligraphy’s brushwork. Let's get into the classics deeply, study the rubbings, elucidate instead, add on disposition, starting from the tip of the brush, experience the beauty of calligraphy, having a “fantastic ink journey” together!