傳統書法：推陳出新 煥彩古今

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“無色而有圖畫之燦爛,無聲而有音樂之和諧”是世人對書法藝術形式最普遍的評價。書法是中國藝術的源泉,更是中國優秀傳統文化的重要組成部分。

“Although colorless, it has the brilliance of pictures, silent, but it is as harmonious as music.” This is one of the most common comments of the art of calligraphy. Calligraphy is the source of Chinese art and an important part of Chinese traditional culture.

傳統書法的歷史源遠流長,從甲骨文、金文、小篆再到隸書、草書、楷書和行書。漢字書法在黑與白,點與線的千變萬化中,完成了人的精神創造和情感表達。它所表現的精神內涵,是與中國的傳統文化一脈相承的。

Traditional calligraphy is as old as traditional Chinese culture. Its history spans from oracle bone inscriptions, gold script, small seal script to official script, cursive script, regular script and running script. In the ever-changing black and white, dots and lines, Chinese calligraphy completes the spiritual creation and emotional expression of human beings. It goes hand in hand with traditional Chinese culture.

在適應現代社會的發展中,繼承和創新始終是兩個不可或缺的主題。2008年,“中國書法”被列入《第二批國家級非物質文化遺産名錄》,關注和喜愛中國傳統書法的人越來越多。

Adapting to the development of modern society, inheritance and innovation are two indispensable themes. In 2008, “Chinese calligraphy” was included in the “Second Batch of National Intangible Cultural Heritage List”, and a growing number of people are falling in love with traditional Chinese calligraphy.

在北京中軸線附近,隱匿著一家書法工作室——莊培森書法藝術工作室。這家工作室的主人,是非物質文化遺産書法傳承人莊培森老師。

Along the Beijing Central Axis, there is a calligraphy studio – Zhuang Peisen Calligraphy Art Studio. The owner of this studio is master Zhuang Peisen, an inheritor of intangible cultural heritage calligraphy.

莊培森老師練習書法

Calligraphy by Zhuang Peisen

北京第二外國語學院突尼西亞共和國的留學生琳瑯滿懷好奇心來到莊培森書法工作室,參觀完工作室後讚嘆道:“老師寫的字太蒼勁有力了,這就是傳説中的筆若遊龍嗎!”她對傳統書法的文化與歷史産生了更加濃厚的興趣。莊培森老師熱情地向琳瑯展示中國傳統書法歷史長河裏別具一格的“天下第一行書”——《蘭亭集序》。

Lin Lang (Serine), a Tunisian student from Beijing International Studies University, came to Zhuang Peisen’s calligraphy studio with curiosity. After visiting the studio, she said, “The characters you wrote were full of power. Is this the so-called ‘write like a swimming dragon’?” It makes her become more interested in the culture and history of traditional calligraphy. Teacher Zhuang Peisen enthusiastically showed Lin Lang the Preface to the Lanting Collection, dubbed “the No.1 cursive handwriting in China”, which shows its unique place in the long history of Chinese traditional calligraphy.

在琳瑯的懇切求教下,莊培森老師耐心地向她講解“福”字的寓意,並邀請琳瑯與他一同書寫“福”字。在莊培森老師的悉心指導下,琳瑯一筆一劃寫下人生中的第一個“福”字。“今天感受到了中國文化的千年魅力,我也要好好練習書法,和我的朋友們分享,希望大家都能愛上這門藝術!”在學習與交流的過程中,琳瑯不僅感受到了中國傳統書法的魅力,還想要積極地傳播這門藝術。

Lin Lang’s eager for instruction made Zhuang Peisen explain the meaning of the Chinese character “Fu” to her. Zhuang also invited Lin Lang to write the word “Fu” with him. Under the patient guidance of Zhuang Peisen, Lin Lang wrote down the first “Fu” in her life. “Today we experienced calligraphy, the thousand-year charm of Chinese art. I will practice calligraphy in the future. I will share it with my friends. I hope everyone go to fall in love with this beautiful art.” With this learning experience, Lin Lang not only falls in love with the charm of traditional Chinese calligraphy, but also wants to help spread this art form.

莊培森老師作品:《五福(臨門)》

Five “Fu” characters written by Zhuang Peisen

在與莊培森老師的深入交流後,琳瑯了解到莊老師受家庭的熏陶,自幼便對書法産生了濃厚的興趣,在張伯駒老先生的引導下走上了學習書法的道路。隨著年齡的增長以及對書法史更深入的了解,莊老師對書法的學習有了新的認識,取與自己性情相近的“二王”——王羲之,王獻之的字體為宗,並在沈鵬,劉炳森,張榮慶等諸位先生的教導下,採眾家之長,形成了“莊而逍遙,自然為美”的書法學術理念。

After an in-depth communication with Mr. Zhuang Peisen, Lin Lang learned that Mr. Zhuang was influenced by his family and had a strong interest in calligraphy since he was a child. Under the guidance of Mr. Zhang Boju, Lin Lang came to the road of learning calligraphy. Time gives him a deeper understanding of the history of calligraphy, now Mr. Zhuang has found a new way of creating calligraphy. He takes the calligraphy of Wang Xizhi and Wang Xianzhi, who are similar to his temperament, as his root of creation. And under the guidance of Mr. Shen Peng, Liu Bingsen, Zhang Rongqing among others, he takes in the strengths of diverse sources and form his own calligraphy philosophy “As free as Zhuangzi (Zhuang Zhou), as beautiful as nature”.

書法的學習並非一日之功,這無疑是個苦差事。莊培森老師在日復一日的練習中也會遇到一些瓶頸,幸運的是,莊老師得到了幾位老師的悉心指導。“我在不斷的請教中,逐漸形成自己的風格,比如沈鵬先生的變化,張榮慶先生的章法,劉炳森先生的莊重等等,都可以讓我有一些新的突破。”莊老師説道。

Calligraphy cannot be mastered in a day, learning and practicing it can be backbreaking work. Like others, Mr. Zhuang also encounter setbacks and bottlenecks in his practice. Fortunately, Mr. Zhuang has met several teachers who gave him kind advice. He said, “By consulting those teachers, I gradually form my own style which assimilates the merit of different sources, such as Mr. Shen Peng’s idea of change, Mr. Zhang Rongqing’s belief in rules, Mr. Liu Bingsen’s gravitas. They all give new ideas to write calligraphy.”

除此之外,莊培森老師還談到想要成為一個好的書法家,僅僅練習書法是不夠的,對於其他領域的學習也是必不可少的。“書法的筆墨濃淡與詩詞的平仄韻律是相通的,同時書法與音樂也是相通的,書法也被稱為無聲的音樂,在其他領域的學習能不斷豐富自己的書法藝術。”莊培森老師如是説道。

Besides, Mr. Zhuang also remarked that in order to become a good calligrapher, practicing itself is not enough, learning in different fields is necessary. “The thick and thin strokes of calligraphy are connected with the rhythm of poetry, and it is also connected with music. Calligraphy is also known as silent music. Learning in other fields can continuously enrich one’s calligraphy art,” said Zhuang Peisen.

隨著時間的推移,莊培森老師的書法技藝日益精湛,不僅在國內聲名鵲起,作品還多次參加海外大型展覽並獲獎,在傳統書法的傳承與發展中發揮了重要的作用。

Zhuang Peisen’s calligraphy skills are become increasingly exquisite with time. Now his name is not only known in China, but also overseas as his works have been exhibited in overseas exhibitions and have won awards. Zhuang plays an important role in the inheritance and development of traditional Chinese calligraphy.

莊培森老師書法作品:《七律·題“莊而逍遙,自然為美”學術理念》

Work by Zhuang Peisen showcasing his philosophy of as free as Zhuangzi (Zhuang Zhou), as beautiful as nature

作為一名非遺傳承人,莊培森老師深知傳承的不易,積極地進行書法的普及工作,不僅在一些中小學和大學的課堂上進行書法講解,還參與了對書法教師的培訓,讓傳統書法能更好地進入校園。

As an inheritor of intangible culture, Zhuang Peisen knows too well the difficulty of inheritance, so he does what he can to popularize calligraphy. He not only explains calligraphy in the classes of some primary and secondary schools and universities, but also participates in the training of calligraphy teachers, so that traditional calligraphy can have a better access to the campus.

除了傳統書法的普及,莊培森老師提到在2014年舉行了“培森莊苑收徒雅集”,其書法主攻“二王”一係,莊培森老師談及此道“收徒只是一種形式,並沒有完全以老師的身份自居,更多的是大家共同學習,共同成長,在教學相長的過程中,我自己也得到了提高,為今後傳統書法的發展鑿實基礎。”

In addition to popularizing traditional calligraphy, Zhuang Peisen mentioned that in 2014 he held a camp for students, where they created calligraphy mostly based on the style of Wang Xizhi and Wang Xianzhi. Zhuang said, “It is actually not taking in students, since I don’t see myself only as a teacher, I also would like to learn from them, to grow together with them. The process of teaching and learning also has enrich me and helped me to pave a solid foundation for the development of traditional calligraphy in the future.”

“科技的發展與網際網路的普及確實給中國傳統書法的傳承帶來了挑戰,傳統書法的性質也發生了改變,從先前的實用性轉變為如今的藝術性。”莊培森老師坦言,但他依然對傳統書法的傳承有信心。

“The development of technology and the popularization of the Internet have indeed brought challenges to the inheritance of traditional Chinese calligraphy, and the nature of traditional calligraphy has also changed. It used to be pragmatic-oriented, now it’s more artistic driven,” said Zhuang. But he still has confidence in the inheritance of traditional calligraphy.

他表示,希望在未來,傳統書法作為中華民族的瑰寶不僅可以在民族內部傳承下來,在未來還應不斷推陳出新,在傳承中發展,走出國門,讓中國的傳統書法在世界民族之林發揮更大的作用。

He hopes that in the future, traditional calligraphy, as a treasure of the Chinese nation, will not only be passed down and developed within China, it should continue to renovate itself, and have more and more presence overseas, so that Chinese traditional calligraphy can play a greater role in the world.