EXCELLENCE WITH THE BRUSH Little Steps in Master Strides
吳曉雲書法藝術悉尼展 展期 ：20/08/2016 - 29/08/2016
曉雲書序
“Lost be the day to us in which a measure hath not been danced.” ——Friedrich Nietzsche.
XiaoYun once told me, that she would feel sorry if she misses doing calligraphy even one single night. would think calligraphy is what to her as dancing is talked about by Nietzsche.
＂每一個不曾起舞的日子，都是對生命的辜負。＂ ——尼釆
I
In her journey of more than ten years in calligraphy in Australia, I have had the pleasure to be with her, as her instructor, sharing with her the many wonderful things and precious moments: The serenity of Ouyang Xun’s regular script, the elegance of Wang Xizhi’s running, the exuberance of Zhang Xu’s exotic cursive, the daintiness of Cuan Baozi, the care-freeness of Chu Suiliang, the ardency of Zhang Menglong, the earthiness of the Mount Hua Tablet, the majesty of the Stone-drum script, the truthfulness of Yan Zhenqing, the mystic of the Oracle Bones, and, the regality of the Bronze Inscriptions……
有 天曉雲說，她已習慣每晚動筆，若一天有漏，心便愧疚。 我想，書法應算是曉雲日中起舞、不負生命的一個重要元素。 曉雲在澳洲十多年的書法旅程上，作為導師，我同她一齊徜徉在藝術多彩的世界，一齊採珍拾貝，忘情其間， 棲居靜美 ： 歐陽詢楷法的精嚴典雅，王羲之行草的倜儻雋逸，張顛狂草的豪邁不覊，爨寶子的天真多姿，褚遂良的灑 脫隨意，張猛龍的方剛正氣，華山碑的渾厚古樸，石鼓文的端荘尊貴，顏真卿行書的忠厚率性，甲骨文的 原始神秘，金文的自然凝重…… 這些五體俱備的各種書體，溶冶一爐，形成今天曉雲的書風 ：大氣而不失細節，豪逸而不失規舉，既見佳 人春日撲蝶之清麗，又顯將軍縱馬馳原之英姿。 我相信，在曉雲的生命中，有一份智慧、美麗、從容、自信、安寧，一定來自書法。 曾經有人問我 ：藝術家在中國內外有何區別。我答 ：區別在于，海外者，其藝術不僅僅代表個人，更代表 一個民族。西方人往往通過這些個人的藝術，去認知這個民族及其本質。 澳洲的亞洲藝術權威 Edmond Capon 强调 ：＂書法是東方文化藝術的最高表徵＂。 “兩腳踏東西文化”的林語堂在其著作《書法是中國美學的基礎》中指出 ： “中國書法在世界藝術史上的地 位實在是十分獨特” ，“不懂得中國書法及其藝術靈感，就無法談論中國的藝術”。 如此，當我們在海外執起祖宗傳下來的毛筆，便可感受那份量之重。 丘吉爾“寧可失去一個印度，也不願意失去莎士比亞” ，那種對自己民族文化的重視，或使我們重審自己 對書法的態度？ 我們拿起這管筆，應是自豪與振奮，因為我們身後有一個民族 ；我們同時也應恭謹與虔敬，因為這個民族 賦予我們一項特殊使命－讓文化藝術豐滿我們民族的形象。 曉雲，身為澳大利亞東方書法協會主席，道大、道遠，知難乎？畏難乎？
The five scripts of classical Chinese calligraphy, epitomised by the above, have conflated to form Xiao Yun’s own, with daintiness embedded in its grandeur, regulated in its exuberance. There is the elegant grace of a summer dressed lady, and yet the ardent valiancy of a knight on a galloping steed. In XiaoYun, there is this air of wisdom, grace, confidence, dignity and easiness that, I trust, she has developed with, and from, her calligraphy. I was once asked of the difference between an artist in her native country and one in overseas. I would say the latter carries not only oneself; she embodies the culture of her people. She introduces and helps others understand the people and their culture. Edmund Capon AM, OBE, art scholar specialising in Chinese art, considers Chinese calligraphy epitome of Eastern art. Lin Yutang, renowned Chinese scholar and linguist who “has a foot in both western and eastern cultures”, argues that Chinese calligraphy has a special place in world art history; and that one would not understand Chinese art without a good understanding of Chinese calligraphy and its artistic inspirations. We in overseas would no doubt know the burden of the brush: it weighs with traditions and cultural heritage. Winston Churchill would rather lose India than he would William Shakespeare. Would it not be the attitude that we should take towards our own? Taking up the brush, we should feel proud and privileged. We represent a people. And we have a great mission, to present a people of wonderful artistic and cultural heritage. For XiaoYun, president of The Australian Oriental Calligraphy Society, the road is high, and it’s long. You know it? And, you dare it? Liang Xiao Ping at The Stonewash Sydney June 1st 2016 Translation by Peter Lai
梁小萍 於悉尼漱石小築 二零一六年六月一日
1
2
吳曉雲 XIAOYUN WU 吳曉雲藝術 簡歷 XIAOYUN WU
1984 Graduated from South China Normal University, Chinese Major. 1985 Became a student of the calligraphy master, Xiaoru Li.
1984 年畢業於華南師範大學中文系。 1985 年拜名師李小如門下，臨池不綴。 1988 年移居澳大利亞悉尼，2003 年以來，師從梁小萍，潛心墨瀚，五體俱有會心。 2006 至 2016 年，參加新州皇家農展會書法比賽，榮獲三次冠軍 , 四次二等獎，两次三等獎。 2007 年參展加拿大多倫多“第十六屆國際書法聯盟聯展”。 2009 及 2010 年分別參加河南墨客第二回和第三回“傳統與現代”國際書法美術邀請展。 2009 年獲選參展“廣州僑界賀新中國 60 華誕詩書畫精品展”。 2010 年 6 月參展韓國首爾“第十八屆國際書法聯盟聯展”。 2010 年 10 月參展日本奈良“第九回國際書法交流奈良大展” 。 2010 年 12 月參展香港“第十三屆世界華人藝術大會大型藝術展”榮獲國際金獎。 2011 年 6 月參展佛山“第十九屆國際書法聯盟聯展”。 2012 年 5 月參展河南全球華人同寫千字文。 2012 年 12 月參展馬來西亞吉隆坡”第十屆國際書法交流大展” 。 2013 年 5 月獲《澳亞衛視》“中華文化”欄目個人專訪，《西方有佳人—— 吳曉雲》。 2013 年 6 月參展曼谷“第二十一屆國際書法聯盟聯展”。 2013 年 12 月佛山石景宜劉紫英伉儷文化藝術館舉辦“故鄉的雲”—— 吳曉雲書法藝術展。 2014 年 6 月參展“第二十二屆國際書法聯盟聯展”。 2014 年 7 月參加“澳大利亞中國畫書法作品比賽”，獲書法組三等獎。 2014 年 8 月參展曼谷“第十一屆國際書法交流曼谷大展”。 2015 年 5 月 參展台北“亞太女書家書法展” 。 2015 年 6 月參展澳大利亚墨尔本“第二十三屆國際書法聯盟聯展”。 2015 年 8 月 參展中國北京“2015 乞巧情女兒夢國際婦女書法作品展”, 並獲西和县博物馆收藏， 永久陈列于西和民俗博物馆。 2016 年 9 月 參展北京“第十二屆國際書法交流大展” 。 現任澳大利亞書法協會會長。
1988 Migrated to Sydney, Australia. 2003 Practised under the calligraphy master, Xiaoping Liang. 2006-2016 Winner of three first-prize titles, four secondprize titles and two third-prize titles in the Sydney Royal Easter Show Oriental Calligraphy Competition.
December 2010 Exhibited works in Hong Kong at the 13th Global Art Exhibition held by World Chinese Group; Recipient of the International Gold Prize. June 2011 Exhibited works in Foshan, China at the 19th International Calligraphy Alliance Joint Exhibition. May 2012 Exhibited works in Henan, China at the Worldwide Chinese Thousand-character Classic Exhibition.
2007 Exhibited works in Toronto, Canada at the 16th International Calligraphy Alliance Joint Exhibition.
December 2012 Exhibited works in Kuala Lumpur, Malaysia at the 10th International Calligraphy Exhibition and Convention.
2009-2010 Exhibited works in Henan, China at the 2nd and 3rd “Traditional and Contemporary” International Calligraphy and Paintings Invitational Exhibition.
May 2013 Interviewed by MASTV’s program, Chinese Culture, for their episode “Beauty in the West —— Xiaoyun Wu”.
2009 Works selected for exhibition at the “Guangzhou Overseas Chinese Celebrate 60th Anniversary of the Founding of New China: Poetry, Calligraphy and Painting Showpiece Exhibition”. June 2010 Exhibited works in Seoul, Korea at the 18th International Calligraphy Alliance Joint Exhibition.
3
October 2010 Exhibited works in Nara, Japan at the 9th International Calligraphy Exhibition and Convention.
4
June 2013 Exhibited works in Bangkok, Thailand at the 21st International Calligraphy Alliance Joint Exhibition. December 2013 Solo Calligraphy Exhibition “Cloud of the Hometown” at the Foshan Shijingyi and Liuziying Couple Cultural Art Museum in Foshan, China. June 2014 Exhibited works at the 22nd International Calligraphy Alliance Joint Exhibition.
Jul y 20 14 Wi nn er of thi rdprize in the Australian Chinese Paintings and Calligraphy Competition. August 2014 Exhibited works in Bangkok, Thailand at the 11th International Calligraphy Exhibition and Convention. May 2015 Exhibited works in Taipei at the Asia-Pacific Women’s Calligraphy Exhibition. June 2015 Exhibited works in Melbourne, Australia at the 23rd International Calligraphy Alliance Joint Exhibition. August 2015 Exhibited works in Beijing, China at the 2015 International Women’s Calligraphy Exhibition; Work collected by Xihe County Museum and permanently displayed at the Xihe Folk Museum. September 2016 Exhibited works in Beijing, China at the 12th International Calligraphy Exhibition and Convention. Current President of the Australian Oriental Calligraphy Society. Translation by Betty Weng
The Maha Prajna Paramita Hrdaya Sutra
摩訶般若波羅蜜多心經
摩訶般若波羅蜜多心經
觀自在菩薩。行深波若波羅蜜多時。照見五蘊皆空。 度一切苦厄。舍利子。色不異空。空不異色。 色即是空。空即是色。受想行識。亦復如是。 舍利子。是諸法空相。不生不滅。不垢不淨。 不增不減。是故空中無色。無受想行識。 無眼耳鼻舌身意。無色身香味觸法。 無眼界。乃至無意識界。 無無明。亦無無明盡。乃至無老死。亦無老死盡。 無苦集滅道。無智。亦無得。以無所得得故。 菩提薩埵。依般若波羅蜜多故。心無罣礙。 無罣礙故。遠離顛倒夢想。究竟涅盤。 三世諸佛。依波若波羅蜜多故。 得阿藐多羅三藐三菩提。故知般若波羅蜜多。 是大神咒。是大明咒。是無上咒。 是無等等咒。能除一切苦。真實不虛。 故說波若波羅蜜多咒。即說咒曰。 揭諦揭諦。波羅揭諦。波羅僧揭諦。菩提薩婆訶。
摩訶般若波羅蜜多心經 The Maha Prajna Paramita Hrdaya Sutra 宣纸 rice paper 138 x 35cm x 6
5
6
7
8
Avalokitesvara Bodhisattva when practicing deeply the Prajna Paramita perceives that all five skandhas are empty and is saved from all suffering and distress. Shariputra, form does not differ from emptiness, emptiness does not differ from form. That which is form is emptiness, that which is emptiness form. The same is true of feelings, perceptions, impulses, consciousness. Shariputra, all dharmas are marked with emptiness; they do not appear or disappear, are not tainted or pure, do not increase or decrease. Therefore, in emptiness no form, no feelings, perceptions, impulses, consciousness. No eyes, no ears, no nose, no tongue, no body, no mind; no color, no sound, no smell, no taste, no touch, no object of mind; no realm of eyes and so forth until no realm of mind consciousness. No ignorance and also no extinction of it, and so forth until no old age and deathand also no extinction of them. No suffering, no origination, no stopping, no path, no cognition, also no attainment with nothing to attain. The Bodhisattva depends on Prajna Paramita and the mind is no hindrance; without any hindrance no fears exist. Far apart from every perverted view one dwells in Nirvana. In the three worlds all Buddhas depend on Prajna Paramita and attain Anuttara Samyak Sambodhi. Therefore, know that Prajna Paramita is the great transcendent mantra is the great bright mantra, is the utmost mantra, is the supreme mantra, which is able to relieve all suffering and is true, not false. So proclaim the Prajna Paramita mantra, proclaim the mantra which says: gate, gate, paragate, parasamgate, bodhi svaha.
千字文 The Thousand-Character Writing 宣纸 rice paper 138 x 35cm x 22
9
10
11
12
13
14
The Thousand-Character Writing
千 字 文
The sky was black and the earth was yellow, The universe was vast and a dark whole. The sun rises and sets and the moon is regularly round, Stars spread high above without a toll. Cold and heat come and go, Fall harvest and storing for winter people know. Intercalary days and months are fixed to make a year, When clouds rise and meet cold, there will soon be a rain, When dew drops congeal, they become frost in the main. Gold is found in the Li River, Jade is found in the Kunlun Mountains. The best-known sword is called Juque, The most famous peal is known as Yueguang. Plum and a certain kind of apple are among best fruits, Important vegetables include mustard and ginger. Sea water is salty while river water is fresh, Fishes swim in water while birds fly in the air. Longshi, Huodi, Niaoguan and Renhuang, as legend goes, Were celebrities of China's remote ages. Cang Jie created Chinese characters, And some other people began to make clothes. Good emperors Yao and Shun Abdicated willingly, The Zhou Dynasty's Wu and the Shang Dynasty' s Tang Were the emperors who loved common people and punished criminals severely. A wise emperor often consulted his good officials to administer his empire, And the empire was governed in peace. He loved his subjects and tended the multitude, The minority nationalities like Rong and Qiang could be ruled with ease. Places far and near come to be under one ruler, All the people voluntarily submitted to the authority of the emperor. Phoenixes are singing merrily among bamboos, White colts are gazing on grassland. The grace of a virtuous monarch will nourish the grass and trees, And benefit the whole empire on many hands. Human bodies are from the four main substances, Man's minds should cherish the five virtues or principles. Every person should remember the parents' benevolence of rearing them, And never harm or hurt their own bodies. Women who are pure and virtuous are to be admired and respected, Men should learn from the people who are both talented and morally good. You should correct your mistakes as soon as you know it, And do not forget what you have learned. When you talk, Neither other people's shortcomings nor your own strong points should be mentioned. A person's honesty must withstand the test of time,
15
And it is better for one to be tolerant and generous towards others.
Which must be kept even when a person suffers setbacks in adversity.
Mozi lamented that the white silk had been dyed, The Book of Poetry commends pure lambs. If you keep following the examples of good people and good deeds, and restrain yourself properly, You can surely become virtuous and saintly. Good name can only be made on the basis of your virtues, And similarly, if you stand upright, you can have an upright appearance. In an empty vale, a sound can reach far, In an empty hall, a sound can easily have echoes. Misfortunes and disasters result from the accumulation of evil deeds, Happiness and blessings are the result of good deeds and virtues. A piece of jade, big as it is, is by no means as precious as Time, no matter how short the time is.
When people are calm, their emotions are peaceful; When people are attracted by material, they are liable to become tired spiritually. Stick to the truth and their ambition will be content, Pursuing material gains will shake people's will and worsen the people morally. If they keep their noble ideas and elegant sentiments, They will get high position and high pay naturally. Among the cities of ancient China, There are two capitals: one in the east and the other in the west. The eastern capital, facing the Luo River, was in front of Mount Mang; The western capital was situated in a place where the Wei River and the Jing River passed. The two capitals' palaces looked winding and sprawling, They were towering so high and astonishing as if they were flying.
When treating your parents and serving your monarch, You should be separately filial and loyal, solemnly and respectfully. To be filial, you ought to spare no effort, To be loyal, you should sacrifice your life willingly. Serving your monarch is like walking along an abyss and on thin ice – you must act carefully, Treating your parents, from morning till night, during hot days and cold days, you should do your best to make them live comfortably. In so doing, your moral integrity can be compared to an orchid – elegant and fragrant, And to a pine – grow thrivingly. Your morality and conduct are live rivers – flow without a stop, And are also like clear deep water which is mirroring. Your appearance and manner should be composed like brooding, When talking, you should be calm with no hasting.
Birds and animals were painted on the buildings, On which, painted also were immortals and many a spiritual being. On both sides of the main palace were side palaces with side doors, Among the halls' columns were curtains which were gaily decorated. Feast and banquet were well prepared in the palace Where music was played, which made people happy and delighted. Getting on the steps and entering the palace, the emperor's subjects were busy celebrating at a feast. The pearl-filled hats worn by the subjects moved and dazzled like stars. The right corridor led to Chengming Palace. Classics of many centuries were collected here, And here was also a place for the gatherings of outstanding persons.
It is good to be a good person at an early age, It is better, even perfect to be good all the time. This is the foundation of one's achievements and fame, With this foundation, one's success will be greater and sublime. Study well to be promoted to an official position, With the position, one can participate in political administration. A Zhou Dynasty official, under a tree, fulfilled well his political obligation, The people after his death kept the tree and praised him with even greater admiration. Musical notes and instruments are used according to the rank of the people listening to them, Different etiquette is used to distinguish classes. One should be in harmony with one's superiors and inferiors, The wife follows and supports whatever the husband advocates and does.
Kept her were the precious Chinese handwritings — Du Du's cursive script and Zhong Yao's official script. As well as the books written long before and the classics found in the residence of Confucius. The palace was lined with ministers on both sides; When the emperor went out, he was protected by the officials alongside him, who were high-ranking. The ministers or the officials were given by the emperor eight countries' land And a thousand soldiers who were ready to fight for their home-protecting. Accompanied by the officials wearing tall hats, The emperor rode on his carriage whose wheels rolled on and on with ornamental tassels fluttering. Monarch's ministers and their descendants enjoyed the government salary and so lived a wealthy life, They rode fine horses or carriages and moved briskly. The gave counsel to their monarch and made contributions to the empire, Their merit and credit were engraved on tablets to leave their marks on history.
Away from home, heed what your master instructs, At home, follow the rules your parents have fixed and decided. To your uncles and aunts, you should be as respectful as to your parents, To your brothers' children, you should be as kind as to your children indeed. Brothers should be concerned about each other, For they are of the same blood lineage like branches of a tree. One should make friends with the people of one's same character, And friends should advise one another, seeing a friend go wrong, they should not let it be. People should have in their hearts kindness and sympathy, They should not ignore the others who are in difficulty. People's virtues include fidelity, loyalty, modesty, and forgiveness,
Both JIangtaigong and a famous official named Yi were prime ministers or important ministers assisting their monarchs. In the fief of Qufu, Zhougong was the only person who could run it well among many rulers. Qihuanggong, the head of Qi Kingdom corrected other kingdoms and made them unite, To give aid to the weak and assist those that were in danger. Qili Ji helped Han Emperor Hui from being ousted, And Wu Ding, a monarch of the Shang Dynasty, through a dream, found Fu Yue who proved to be a good prime minister. It was the efforts made by the persons of exceptional ability That gave a peaceful life to many people of the empire.
16
17
Kingdoms Jin and Chu in turn dominated the other kingdoms during the Spring and Autumn Period, Kingdoms Zhao and Wei were forced into adversity because of the Lianheng tactics during the Warring States times. Kingdom Jin took a neighbor kingdom's road to overthrow Kingdom Guo And the king of Jin called the dukes together at Jiantu and formed the alliance. Xiao He followed the rules fixed by Liu Bang, the first emperor of the Han Dynasty, Han Fie got punished and harmed by his own self-made laws. Bai Qi, Wang Jian, Lian Po and Li Mu were famous senior generals during the Warring States period, All of them were best versed in the art of military fighting. Their reputation and prestige spread even in the desert land, And their heroic deeds and honor would be recorded in history and everlasting. The control of floods by Da Yu was known throughout the nine provinces in the then China, The Qin emperor unified hundreds of prefectures. Mountain Tai was known as Number One among the five famous mountains, Feudal monarchs offered sacrifice to the gods of heaven and earth at Yunyun and Tingting which were two holy hills. The Yanmen Pass, the Qin Great Wall, Jitianyi, a post station, the Mount called Chicheng, The Kunming Lake, Mount Jieshi in Hebei Province, Shandong's Juye Lake, and Hunan's Lake Dongting, All the above places bore out that China had a vast territory, High and steep mountains whose deep caves seemed glooming. Take farming industry as the foundation of the country, Remember to get well prepared for sowing and harvesting. During the tilling time, people were out in the fields laboring, And sowed grain crops such as millet and kaoliang. Once harvested, a certain amount of new grain must be handed over to the state to pay the tax; The willing tax-payers got praised and rewarded, and those would be punished who were unwilling. Mencius advocated a simple life, Shi Yu was honest and upright in behaving. People should try their best to maintain balance in their life attitude, And keep being careful, modest and hardworking. When listening to the people, one should try to understand what was really meant by their words; When being together with the people, one should be good at weighing up their words, watching their facial expressions and guessing their implied meaning. One ought to learn good ideas and experience from other people, And encourage oneself to be modest, to make progress and to well establish oneself in society. To be well established in society, one ought to constantly engage in introspection and never ridicule others; When finding favour in the superior's eyes, one ought to guard against the "extreme joy begets sorrow" calamity. When one's honour and rank reach their height, disgrace and shame are approaching; One can avert disasters if one timely retires to one's home or seclusion. Shu Guang and Shu Shou (two wise persons of the Han Dynasty) resigned from their post at an opportune time, Who else could force them to giver their resignation? Stay at a lonely place and retire in comfort, Without gossips one could live in serenity and happiness. Seek ancient wisdom and find life's truth,
18
Be carefree and live in leisureliness. Joy is increased and worry is decreased, As sorrow declines, there comes joyousness. Lotus blooms in the lake look dazzlingly beautiful, The grass in the garden sprouts and turns green. Loquats are still as green as emerald even in winter, Wutong trees' leaves early in autumn are fallen. Old roots die naturally, Old leaves fall and fly. A solitary roc is flying High as if it reached the sky. To be deep in studies is like being in a marketplace, All one sees are things about books. After you have a new carriage, you should be aware of the new danger; When you talk, you shouldn't forget "Walls have ears". When people usually eat, They can be satisfied if the food suits their taste. When they have just eaten enough, even the best food like meat and fish can not attract them; When they are hungry, even the bad food like chaff and husks can satisfy their appetite. When relatives and old friends visit your home, You should treat them differently: better food is given to older relatives and older friends. Married women's main daily work at home is spinning and weaving, And their duty in their bedrooms is to attend their husbands. Silk fans were pure, elegant and white, Candles were silver and burning dazzlingly bright. Took a rest during the day on blue bamboo mats And slept on ivory beds at night. Banquets were given and livened up by bands singing in hounour of visitors and friends, Who, with their hosts, raised high their cups to toast each other and drank contently. They sang cheerfully and danced for joy, They were so happy that they enjoyed good health naturally.
People, from generation to generation, Never forget to offer sacrifices timely to gods and their ancestors in every season. When the sacrifices were offered, they kowtowed to express their courtesy solemnly; They were full of awe and veneration and were in fear and trepidation. Letters and documents should be concise, Answers to others' questions should be in detail. People want to take a bath if they have got dirty, A hot thing in hand is hoped to become cool. When donkeys, mules, calves and bulls get startled, They all possibly run wildly. Governments are in charge of arresting rebels and escaped criminals, And killing the bandits usually. Lü Bu was adept in shooting arrows and Yi Liao at playing with pellets, Jikang was good at plucking a certain musical instrument and Ruan Ji at whistling. Meng Tian was the first man to make writing brush and Cai Lun the first man to make people, Ma Jun, a skilful craftsman, created a waterwheel and an ancient gentleman surnamed Ren was good at fishing. It is beneficial to society to settle disputes, Which is a good deed, but the way to settle disputes should be skilful. Both Mao Qiang and Xi Shi were outstanding beauties in ancient China; Frowning or similing, they still looked charming and beautiful. Time flies like an arrow and hastens people to their old age, The sun shines overhead. The Plough moves high in the sky, The moon, whether full or not, illuminates the whole world. People should be useful and accumulate merit by good deeds So that a peaceful and happy life can be permanently lived. When walking, people should be steady and easy in their manners; Whether bending bodies or raising heads, people should behave themselves as seriously as in temples. The dress people wear should look neat and dignified, When taking walks or climbing high, people should pay attention to their appearances. Since I am limited in knowledge and ill-informed, I might be like a benighted person to impress others ridiculously. Some quite frequently-used auxiliary words in Chinese Are the four characters whose pronunciations are "yān" , "zāi" , "hū" and "yě" separately.
19
20
奔馳 Gallop 宣纸 rice paper 69 x 138 cm
21
22
練得身體似鶴形 千株松下兩函經 吾來問道無餘說 雲在青天水在瓶 Zen Poem by Li Ao Tang Dynasty 宣纸 rice paper 138 x 68cm
蹤 Footprint 宣纸 rice paper 138 x 69cm
23
24
李清照 《如夢令．昨夜雨疏風驟》 昨夜雨疏風驟，濃睡不消殘酒 。 試問捲簾人，卻道海棠依舊。 知否 ? 知否？應是綠肥紅瘦。 宣纸 rice paper 138 x 69cm
萍 Lemna 宣纸 rice paper 138 x 69cm
25
“To the Tune of Ru Meng Ling” by Li Qingzhao Last night the rain was light, the wind fierce, And deep sleep did not dispel the effects of wine. When I ask the maid rolling up the curtains, She answers, “The crab-apple blossoms look the same.” I cry, “Can’t you see? Can’t you see? The green leaves are fresh but the red flowers are fading!”
26
菩提本無樹 明鏡亦非台 本來無一物 何處惹塵埃 Hui Neng: “Enlightenment has nothing to do with the tree, And the bright mirror itself has no reality. Originally there is not even a single thing, Where,then,is the place for defilement to attach?” 138 x 68cm
覺悟 Consciousness 宣纸 rice paper 138 x 69cm
27
28
明月松間照 清泉石上流 Bright moon shines through the pine trees; Fresh spring flows on the stone 宣纸 rice paper 138 x 35cm x 2
影 Shadow 宣纸 rice paper 138 x 69cm
29
30
愛 Love The greatest love knows no boundary 宣纸 rice paper 138 x 69cm
金文集字對聯 事有是非明以智 位無大小在於勤 The rights and wrongs of a matter are clear to the wise. The highs and lows of one’s position depend on diligence. 宣纸 rice paper 138 x 35cm x 2
31
32
行到水窮處 坐看雲起時 Travel to the end of the waters; Sit up to enjoy the rising clouds
雲 Cloud
宣纸 rice paper
宣纸 rice paper
138 x 35cm x 2
138 x 69cm
33
34
辛棄疾 《青玉案．元夕》 The Lantern Festival Night - to the tune of Green Jade Table by Xin Qiji Full translation on the left. 宣纸 rice paper 138 x 69cm
The Lantern Festival Night - to the tune of Green Jade Table by Xin Qiji One night’s east wind adorns a thousand trees with flowers And blows down stars in showers. Fine steeds and carved cabs spread fragrance en route; Music vibrates from the flute; The moon sheds its full light While fish and dragon lanterns dance all night. In gold-thread dress, with moth or willow ornaments, Giggling, she melts into the throng with trails of scents But in the crowd once and again I look for her in vain. When all at once I turn my head, I find her there where lantern light is dimly shed.
35
36
37
38
念奴嬌 赤壁懷古 蘇軾 大江東去，浪淘盡，千古風流人物。 故壘西邊，人道是，三國周郎赤壁。 亂石穿空，驚濤拍岸，捲起千堆雪 ； 江山如畫，一時多少豪傑。 遙想公瑾當年，小喬初嫁了，雄姿英發， 羽扇綸巾，談笑間，強虜灰飛煙滅。 故國神遊，多情應笑我，早生華髪。 人生如夢，一尊還酹江月。 宣纸 rice paper 138 x 69cm x 6
Nian Nu Jiao Memories of the Past at Red Cliff Su Shi East flows the mighty river, Sweeping away the heroes of times past; This ancient rampart on its western shore Is Zhou Yu’s Red Cliff of Three Kingdoms’s fame; Here jagged boulders pound the clouds, Huge waves tear banks apart, And foam piles up a thousand drifts of snow; A scene fair as a painting, Countless the brave men here in time gone by! I dream of Marshal Zhou Yu in his day With his new bride, the Lord Qiao’s younger daughter, Dashing and debonair, Silk-capped, with feather fan, He langhed and jested While the dread enemy fleet was burned to ashes! In fancy through those scenes of old I range, My heart overflowing, surely a figure of fun. A man grey before his time. Ah, this life is a dream, Let me drink to the moon on the river! 笑 Laugh 帆布 Canvas 60 x 75cm
39
40
上善若水 The highest excellence is like that of water 宣纸 rice paper 35 x 138cm
41
42
43 44
35 x 138cm
宣纸 rice paper
Joyous
欣
35 x 138cm
宣纸 rice paper
Seem
若
《金剛經》偈子 一切有為法，如夢幻泡影，如露亦如電，一切如是觀。 Because all phenomena are like a dream, an illusion, a bubble and a shadow, Like dew and lightning. Thus should you meditate upon them. 宣纸 rice paper 35 x 138cm
45
46
” 我 的朋友吳曉雲女史苦習書法
歷久彌新的文化密碼 ——讀吳曉雲書法作品有感
為索緒爾定義符碼的標準形態是 終於有成，近年在中澳書法界聲 一種“ 音 響 形 象 ” ，那當然最適 名鵲起。拜讀其作，回溯其所承 配的就是西式語言文字了，那正 源流，一片渾灝蒼茫的文化河山 是基於抽象發音系統的符號記錄。 景 致，漸漸呈現在人們的眼前， 直到後來美國詩人艾茲拉 • 龐德 竟逼令書法門外漢如我者，也一 在漢語和日語詩歌的啟發下創造 時入靜，而有所感。 了“意象派”詩歌，以及上世紀 法國的後現代思想家德裏達強烈 有關漢字，我想起自己以前曾讀 批判西方的“語音中心主義”，並 到上世紀之初瑞士語言學家索緒 表達了對圖形化的中國漢字的無 爾提出的符號學理論，大意是說 限傾慕，索緒爾語言學的歐洲中 語言符號是符碼和義述（能指和 心主義才受到一番清算，而漢字 所指）的結合，而符碼是由壹定 的價值，也才在世界上益發彰顯 的物理形態以一定的內部規律所 出來。 組成，其精妙完善的結構，值得 剝離掉它在現實生活中的指代負 當然在現當代生活中，漢字也有 擔，而作獨立的欣賞研究。不知 漢字的問題。通過現代印刷術加 道書法界有沒有人將此公宏論引 上電腦技術的標準化處理之後， 申為書法價值的現代論述。不過， 傳播的難題是解決了，而它和個 假使評論界尤其是漢語評論界很 人的活生生的相互激發的律動聯 少人想到這麽做也並不奇怪，因 系，卻惟有真實的書寫行為可以
承續。可惜的是，這種行為正在 新的世代手中日益減少。所以我 覺得每個獻身於書法者，可能都 有壹種不懈的使命感。我手寫我 字，才能體味到漢字之為漢字的 美感文化的靈動和厚重。這當中 有傳統風格的垂範，有個體掙紮 的印跡，更能為華人的海外生存， 帶來一番奇異的個人感悟與文化 風景。這一切，都可以從吳曉雲 的書法作品中獲得精彩的印證。 我試以“韌”、“深”、“變”三字 看取吳曉雲的書法歷程和藝術世 界。 韌性是其首先感動於我的地方。 十多二十年前，已知吳曉雲師從 澳華書法名家梁小萍習藝，但令 人沒有預料到的是，她沒有做一 時興起的玩家，而是開始了經年
47
累月的勤學苦練，帶著中文系專 業的底子，她遍訪名山大川，於 華夏河山風物之間，交結書法方 家，探索古碑典籍。據友人傳之， 對於大量書法遺產，比如從北魏 碑拓的無名氏遺跡，到佛道聖地 的廟堂經刻，再到王羲之、懷素、 張旭等風格化的文人名帖，吳曉 雲沒有不是癡讀苦臨的。過往十 多年間她每年都會逐家摹寫多遍， 可以說已達到了廢寢忘食的地步。 書法文化已經徹底改變了她的私 人生活。古人有臨池練筆的美談， 而今的澳華移民中藏著這樣一些 個以運筆潑墨為醉、以各體漢字 為精神家園的人物及其眾多同道， 僅此一例已足證 ：所謂華人在西 洋 生 活 必 異 於“ 國 ” 中 的 印 象， 實為大謬。相較於今日浮躁繁囂 的中華大地，澳洲或許反而容易 成為反思、體味中國傳統的好地 方，關鍵是需要鎮靜執著的情致 和虛懷若谷的韌性。吳曉雲的書 法，正體現了這壹份“放下”了 的安心與堅持。
到一定的深度，並勇敢地開拓和 創新。這是一種很有代表性的意 見。 我 們 作 為 觀 者， 靜 賞 之 下， 也不難看出，其正書（如“菩提 本無樹”和“練得身形似鶴形” 等帖），多正氣而少匠氣，多質感 而少滯感，得碑意，有隸味，樸 拙雄勁。沒有對魏碑的較深體味， 這是出不來的。而她的二十二條 屏楷書《千字文》 ，運筆之嚴整與 用功之集中，也不難見出褚遂良 式的精深博雅，說是大得《大字 陰符經》筆意，並不為過。吳曉 雲的行草書，似以北碑方駿之筆 如之，頗得蒼莽之氣，可觀可嘆。
北碑風格為基礎，有意無意把北 碑的寫法融入各種書體。這一方 面是其個人心性對傳統的選擇， 另一方面也可看出自康有為張揚 北碑書法的價值以來，中國歷史 變革對當代書人的影響，仍在延 續。吳曉雲的楷書端整嚴正，側 重體現的是傳統功力，草書則勇 於變化，當然在“使” “轉”方面 如能更流暢一些，便可更上一層 樓。這也恰恰說明她的風格化探 索，是非常活躍而積極的。
回過頭來，我覺得包括吳曉雲在 內的漢字書法的現代求索者，不 僅張揚著索緒爾所懸想的文字符 再次，所謂“變”，是說吳曉雲的 號的純形式之美，而且也在其中 書法世界能夠博采眾家之長，並 灌註了並非符號理論所能窮盡的 時時求變求異，力求走出一條自 意蘊。在白紙黑字交錯枯潤的漢 己的路，體現了尊重傳統而又不 字筆劃交錯之間，有著一個歷久 墨守成規的精神氣度。她很好地 彌新的文化靈魂隱秘而又開放的 學習了《爨寶子碑》的筆法，結 呼息。捕捉這種呼息而加以獨特 體 古 拙， 用 筆 方 整， 盡 得 其 神。 的美感的彰顯，或許正是漢字書 把北碑名品“二爨”的神采齊集 藝的境界所在。我們看到，吳曉 筆下，並欲求於其之間找到自己 雲正款然行進在通向這一境界的 的變化機運，這是很難得的努力。 道路上。 其次，所謂“深”，是說其書法成 吳曉雲在草書——這一體現個性 果已達到了相當的造詣。這一點， 較為自由灑脫的領域，更是在臨 我也從旁獲得了許多行家意見的 帖多年的基礎上，走向了讓人難 印證。比如廣州的書畫名家盧元 以 歸 類 的 風 格 化 道 路， 其 結 體、 譽閱覽過吳曉雲的作品後，認為 章法似無可循處，但也更耐人尋 錢超英 其對漢字文化美感的把握，已達 味。目前來看，吳曉雲的正楷以 二零一六年五月十九日
48
The Ever New Cultural Code
—— Some thoughts after reading Xiao Yun Wu’s calligraphy works
My scholarly friend Madam
Xiao Yun Wu finally achieved success in calligraphy after years of hard work. In recent years in Australia, she quickly rose to fame in the realm of calligraphy. After reading her works and tracing back to the original source and course which she has inherited, a picture of culture in its primeval state gradually emerges in front of our eyes. To my surprise, it actually forced me, a complete layman in Chinese calligraphy, to enter into a state of meditation and to start thinking. In regards to Chinese characters, I recall reading the theory of semiology by an early last century Swiss linguist and semiotician, Ferdinand de Saussure. Roughly speaking, it states that a linguistic symbol is a combination of a sign and its connotation (the signifier and the signified). A sign takes up a fixed physical form in accordance with certain fixed rules. Its exquisite and ingenious form is worthy of appreciation and study on its own right without relating to its role of being a signifier. I do not know if anyone in the field of calligraphy ever extends the theory of de Saussure into a modern exposition of the value of calligraphy, but it would come
as no surprise if there are few critics, particularly critics of the Han language, thinking of doing so, because de Saussure’s standard form of a signifier is an ‘acoustic image’ which suits best to Western languages. The written symbols of a Western language is the visual record of its pronounced signifiers. It was only after the American poet, Ezra Pound, who was inspired by classical Chinese and Japanese poetry, started his movement in poetry called Imagism, and the last century postmodern French thinker, Jacques Derrida, strongly criticized the Western phonocentrism, and expressed his strong admiration for graphical Han characters, that Eurocentrism in de Saussure’s theory of semiology was settled. Consequently the value of the Han characters has become more conspicuous in the world. Dealing with Han characters in present day life brings about its own set of problems. Through the standardised use of modern printing and computing technology, the problem of circulating Han characters has been resolved, but the lively mutual evoking of rhythm relations between the character and the individual can only be passed on in the
act of writing itself. It is a shame that in modern days fewer and fewer people write these Han characters. So I believe that every dedicated Chinese calligrapher carries with him a persistent sense of mission. Only when one writes one’s own characters can one appreciate that such intelligence and richness of this beautiful culture can only be found with Han characters. In the midst of this, there is an example set of a traditional style, and a trace of individual struggle. It also allows for amazing personal reflection and for the cultural scene to be brought to Chinese living overseas. All of this can be witnessed in Xiao Yun Wu’s exemplary calligraphy works. I endeavour to look at Wu’s journey with Chinese calligraphy and her artistic world through three different perspectives, that of ‘persistence’, ‘depth’ and ‘change’. I was first moved by Wu’s persistence. Some ten to twenty years ago, I came to know that Xiao Yun began learning Chinese calligraphy with renowned calligrapher, Liang Xiao Ping. However, what was surprising was that this was not a fleeting interest
49
or hobby to her, but rather the beginning of years of hard study and dedicated practice. With her tertiary background in Chinese literature, she visited many famous mountains and rivers of historical significance in China where she became acquainted with accomplished Chinese calligraphers and she explored ancient stelae and books. According to friends, Wu religiously studied and based her practice upon a large number of Chinese calligraphy artefacts such as rubbings of anonymous calligraphers’ works in Beiwei stelae, inscriptions in Buddhist and Taoist temples and shrines, and well known copies of the styles of Wang Xizhi, Huaisu, Zhang Xu. In the past ten or so years, Xiao Yun imitated the work of each master many times, and it can be said that she devoted her heart and soul to her study. The culture of Chinese calligraphy has completely transformed her personal life. There are anecdotes that tell of the ancient Chinese practicing calligraphy by a pond. Today, among Chinese migrants in Australia, there lives someone who is intoxicated with the use of brush and ink and has made these various styles of Han characters her spiritual home, and now is joined by many others
50
who cherish her same ideals. This single example alone proves false the impression that Chinese in western countries are living their lives differently to how they would if they remained in China. In contrast to the flippant and bustling motherland of today, it is easier for Australia to become a better place of reflecting and appreciating Chinese tradition. The key to this is to have a keen interest and to rely on a steady, open-minded persistence. Xiao Yun Wu’s calligraphy embodies this freedom of peace and persistence. Furthermore, in relation to “depth”, Xiao Yun Wu has attained a high level of accomplishment with her calligraphy. I have also gathered the opinion of many peers within the Chinese calligraphy community to prove this point. For example, having looked at Xiao Yun’s works, Lu Yuanyu, a master of painting and calligraphy in Guangzhou, holds a representative belief that Xiao Yun’s grasp of the beauty of the Han characters has reached a certain depth and shows brave development and innovation. As quiet observers it is not difficult for us to see that her regular scripts (e.g., puti ben wu shu and lian de shen xing si he
xing, etc.) manifest more of a spirit of righteousness and less mediocrity, show more firmness and less stagnancy, acquire the spirit of inscriptions, show a trace of li shu, and have an air of an unaffected masculinity. Without a deep knowledge of Wei stelae, this would not be apparent in her work. In her twenty-two scrolls of the Thousand Character Ode in regular script, one can easily see from Xiao Yun’s rigorous use of the brush and her focused efforts, the extensive and profound style of Chu Suiliang. It is not an overstatement to say that this piece of work acquires the style of Da Zi Yinfu Jing. Wu’s running cursive script seems to have applied the severe and harsh brush strokes of Beiwei stelae, demonstrating quite an air of vastness, and is worthy to be seen and praised.
Next, we talk about “change”. In Xiao Yun’s world of calligraphy, she is capable of gathering the strengths of all others and can then apply them to her own work. At the same time, she strives for change and difference from the masters. She endeavours to attain a style of her own. Her so doing embodies deference to tradition whilst at the same time she does not blindly adhere to convention. She acquires well the techniques in Cuan Baozi Bei. With a simple and unsophisticated structure, and uncompromising brush strokes, Wu captures the entire spirit of the stela. By putting the expression of both the Cuan Baozi Bei and Cuan Longyan Bei at the tip of her brush, she seeks to find her own opportunity for change. This is a tremendous effort. As for her cursive script — a script which allows more free and easy expression of individuality, Xiao Yun, on the basis of years of practice, attains a style which is hard to categorize. The structure and composition of her cursive script does not seem to follow that of any past masters, thus making her work even more thoughtprovoking.
Looking at her present work, Xiao Yun’s regular script is based on the style of Beibei, and she consciously or unconsciously integrates the style of Beibei in her various scripts. On the one hand this represents her own choice, and on the other hand since Kang Youwei affirmed its artistic value, one can still see Beibei’s continuing influence on contemporary Chinese calligraphers amidst the changes in modern Chinese history. Wu’s regular script is regular and precise, showing that her calligraphy is well-grounded in traditional practice. Her cursive script is never shy of change. If her brush strokes could be more free-flowing, then she will have reached a higher level yet. This precisely demonstrates that her search for her own style is very active and positive.
In another manner of speaking, I feel that contemporary calligraphers, including Xiao Yun Wu, who are striving for change, not only make known the formal beauty of word symbols as suggested by de Saussure, but also bring deeper meaning to what semiology is incapable of expressing. Amidst the crisscross of black strokes upon white paper and the interlacing of dry and moist strokes, there exists the mysterious and open breath of an ever new cultural soul. Capturing this breath whilst adding a unique manifestation of beauty is perhaps where the realm of Chinese calligraphic artistry lies. We can see that Xiao Yun Wu is walking on the path leading to this realm.
責任編輯 ：吳曉雲 裝幀設計 ：劉苑 出版 ： 審編 ： 聯繫 ：cwu888@hotmail.com 主辦單位 ：澳大利亞書法協會 Australian Oriental Calligraphy Society, Inc. 承辦單位 ：中華文化中心 Chinese Cultural Centre (NSW)
By Qian Chaoying May 19th 2016 Translation by YY Chan
51
展覽地點 ：中華文化中心 Chinese Cultural Centre (NSW) 开幕时间 ：2016 年 8 月 20 日上午 11 ：00 時
WITH THE
: LITTLE STEPS IN
吴曉雲蹤萍影