廖婉雯

 墨香四溢，承书养心

名字：廖婉雯

鉴赏项目：书法（楷书）

语录：【纸上韵墨笔锋见，挥笔寄情心照宣】

 

书法介绍（Introduction Of Calligraphy）

            书法是历经了循序渐进的发展阶段后逐渐形成的文化体系，有自身悠久、浓厚的传统，是琴棋书画四艺之一。在书法字体中，我选择的是楷书。楷书又名真书、正书、今隶，是在隶书、草书的基础上逐渐形成的。书法是以笔、墨、纸、砚等为主要工具材料然后通过汉字来书写的。随着汉字结构的不断变化，书法不仅发生了无穷无尽是视觉变化，也通过特殊的书写工具形成了丰富多样的书法线条，进而让中国书法从形式层面跨越到精神层面上。

Calligraphy is a cultural system that has gradually formed after a gradual development stage. It has its own long and strong tradition and is one of the Four Arts of the Chinese Scholar (Zither, Go, Calligraphy, Painting). In the calligraphy fonts, I chose a regular script. The regular script also known as Zhenshu, Zhengshu and Jinli, which is gradually formed based on the clerical script and cursive script. Calligraphy is written using Chinese characters with pen, ink, paper, inkstone, etc. as the main tools and materials. With the continuous changes in the structure of Chinese characters, calligraphy has not only undergone endless visual changes but also formed a rich variety of calligraphic lines through special writing tools, which in turn allows Chinese calligraphy to leap from the formal level to the spiritual level.

 

鉴赏与心得（Appreciation）

在这门楷书书法中，我临摹的是柳公权的《玄秘塔碑》，又名《大达法师玄秘塔碑》。它叙述了大达法师在德宗、顺宗、宪宗三朝所受恩遇，以纪念大达法师的事迹而告示后人。这个时候的柳公权已经完全形成了自己的“柳体”风格，他用笔以方笔为主，起笔和转折干净利落，收笔顿挫清晰，中心收紧，四边舒张，筋骨刚健。通过柳体经典《玄秘塔碑》，其柳体碑文汉字的结体精密紧凑，内敛外拓，形态方正。它的书体端正俊丽、谨严而且手劲紧实，中宫紧缩，多数是左紧右松，疏密有致，可是整体是均匀有致的。他的笔法锐利，筋骨外露，阳刚十足，字迹像刀刻一般，且笔画粗细变化多端，风格特点显著。《玄秘塔碑》是柳公权书法创作生涯中的一座里程碑，标志着“柳体”书法的完全成熟，历来被作为初学书法者的正宗范本，对后世的影响深远。

通过中华艺术这门学科，我选择书法的原因在于练习书法不仅能陶冶性情，更能磨炼我们的耐心。正所谓欲速则不达，学习书法不是一件容易的事，更不是一蹴而就的，它需要经过时间的沉淀和淬炼才能写出一幅好字。起初在练字期间难免会因为写不出好字而有些浮躁、气馁，但后来所有负面情绪都在练习柳体笔顺的过程中被消磨殆尽。或许书法不像其他艺术那般需要幅度较大的动作，但在练字过程中能聚精会神地练习字体的笔画、结构等也是一件很有成就的事情，特别是完成整幅临摹字体稍齐的字迹，更是喜不自胜。亦或许是书写毛笔字是一种“举手不回”的技术活，它的一笔一划很考究一个人的下笔功夫，人的心情也能从字体表面直面反映出来，所以书法的确是一门很磨炼性情，也很修身养性的中华艺术。我很庆幸，也很感恩选择这门艺术，因为在练字期间让我提高自身的艺术情操之余也能渲染和拓展文化知识，将中华书法艺术融汇在日常生活中，传承下去。

In this regular script calligraphy, I copied Liu Gongquan’s "Mysterious Tower Stele", also known as "Dada Master Mysterious Tower Stele". It narrates the benevolence and experience of Master Dada in the Dzong, Shunzong and Xianzong dynasties to commemorate Master Dada's deeds and inform future generations. At this time, Liu Gongquan has completely formed his own "Liu style" style. He mainly uses square brushes. The start and turn are clean and clear, the centre is tightened, the four sides are stretched and the bones and muscles are strong. Through the Liu style classic "Mysterious Pagoda Stele", the structure of the Chinese characters on the willow style tablet is precise and compact, introverted and outstretched, and the shape is square. Its body is neat and handsome, precise and firm with firm hands. The centre is tightened, mostly tight on the left and loose on the right, but the whole body is uniform. His brushwork is sharp, bones and muscles are exposed, masculine, handwriting like a knife, the thickness of the strokes varies widely and the style is distinctive. "Mysterious Tower Stele" is a milestone in Liu Gongquan's calligraphy creation career, marking the full maturity of "Liu style" calligraphy. It has always been used as an authentic model for beginners and has a profound impact on later generations.

          Through the subject of Chinese art, the reason why I chose calligraphy is that practising calligraphy not only cultivates temperament but also improves our patience. As the saying goes, haste is not fast. Learning calligraphy is not an easy task and it can't be accomplished overnight. It takes time to settle and quench to write a good character. At first, during the calligraphy practice, I was a little impetuous and discouraged because I couldn’t write good words, but then all the negative emotions were wiped out in the process of practising Liu Ti’s stroke order. Maybe calligraphy does not require a large range of movements like other arts, but it is also a very accomplished thing to be able to concentrate on the strokes and structure of the font during the calligraphy process, especially the completion of the entire copy of the font. The handwriting is even more overjoyed. It may also be that writing brush calligraphy is a kind of technical work of "raising your hand without returning". Its strokes are very delicate to one's brushwork and one's mood can be directly reflected from the surface of the font, so calligraphy is indeed a Chinese art that tempers temperament and self-cultivation. I am very fortunate and grateful to choose this art because during the calligraphy practice time, it allowed me to improve my artistic sentiment and also to exaggerate and expand my cultural knowledge, integrate Chinese calligraphy art into daily life and pass it on.