【画中有话】心达笔自正——韵味无穷的书法品评标准

【画中有话】心达笔自正——韵味无穷的书法品评标准（上）             2014-11-18                                [url=]上海市质量和标准化研究院[/url]            
                    

从“象形”的本源出发，伴随着汉字数千年来的规范化演进，书法作为一门中华民族书写文字的特有艺术，在帮助汉字超越符号属性的同时，不知不觉间已成为表达民族美感的杰出载体。

Evolving from hieroglyph, Chinese calligraphy has  witnessed the Chinese character standardization for thousands of years. As a unique writing art, Chinese calligraphy has gone beyond the scope of letter symbols and reflected the aesthetic concept of Chinese nation.

尽管有学者认为，书法是一项个性化的私人活动，其发展应远离诸多限制性标准，但事实上，在中国漫长的书法发展史上，勤于锤炼“字内功”的人们，却始终执着于书写法度的研究与倡导。

Some scholars believe that Chinese calligraphy should be an individual art without rules and restrictions , but in fact those who practise internal skills of calligraphy have been developing the standards and codes of writing.

以楷书为例，东汉时期，在蔡邕著《九势》归纳书法运笔规则的基础上，卫烁著《笔阵图》明确了楷书七种基本点画的形态美规范。晋王羲之创《永字八法》确立楷书的基本用笔法则。到了唐代，楷书日趋程式化，并形成欧体、颜体、柳体等代表字体，成为后世习书的标准范本。清代，邵瑛集前人之大成，著《间架结构摘要九十二法》，系统归纳汉字结体书写方法，贡献出历史上第一本完整、实用的楷书法帖。

We shall take regular script for example. In the Eastern Han Dynasty, on the basis of " Jiu Shi" (by Cai Yong) on the rules of calligraphic style, Wei Shuo wrote "Bi Zhen" to codified seven standard styles of strokes. In the Jin Dynasty, Wang Xizhi wrote "eight principles of Chinese Yong" to develop the basic rules of regular script. In the Tang Dynasty, regular script derived the "Style of Ouyang Xun", "Style of Yan Zhenqing" and "Style of Liu Gonequan", which became the model for calligraphy for posterity. In Qing Dynasty, Shao Ying wrote "Ninety-two Structures of Regular Script" to systemically summarize the standardization of Chinese regular script, which was the first complete model calligraphic work of Chinese regular script.

此外，中国文人还将对人的伦理评判模式移植到书法上，以儒家思想为指导，强调心正笔正，指出用笔的六大忌讳：太肥太瘦、多露锋芒、深藏圭角、上大下小、左高右低、前多后少，并要求书者严格遵守礼的规范……这也逐渐演化成为中华民族品评文字与人生的无形标准。

Furthermore, Chinese literatus integrated Confucian ethical standards into calligraphy and emphasized the combination of pure thoughts and exquisite skills. They listed six taboos: too fat or too thin; too many sharp points; vague angles; larger above and smaller below; higher on the left and lower on the right; more on the front and less on the back. These rules were also the etiquette of Chinese calligraphy ,which has become the moral standards of Chinese people.

诚如林语堂先生所指出，通过书法，中华民族形成了自己独特的书法审美情趣，如线条上的刚劲、流畅、蕴蓄、精微，形式上的和谐、匀称、对比、平衡。书法艺术给美学鉴赏提供了一整套术语，奠定了中华民族美学观念的基础。

As Mr Lin Yutang (Chinese famous writer)said, Chinese nation developed a unique aesthetic concept for calligraphy that is strength, smooth, implicitness and subtleties in strokes; and harmony, symmetry and balance in structures. The art of Chinese calligraphy has developed a system of aesthetic terminology for aesthetic appreciation, which lays a solid foundation for Chinese nation's aesthetic concept.