博雅双语名家名作-中国书法(英汉对照)

让人跃跃欲试的文化读本书法小白更想拥有的入门佳作让歪果仁也爱上中国书法用生动的语言告诉你应该知道的关于书法的一切！地道英文原文 名家精美译文=双重阅读享受更有海量书画珍品与你共赏干货满满 有料！汉字是如何演变成今天的样子？不同书体是如何诞生的？如何欣赏书法——横平竖直=美？对称=好字？如何写好书法——毛笔的正确使用方式？看似简单的笔画，到底有多少种写法？笔画与笔画之间如何才能”和谐共处”？书法和你喜爱的其他艺术形式之间到底有何关系？妙语连珠 有趣！都说字如其人，如何从一个人的字迹中判断出他的体型甚至容貌？你所熟悉的米芾、苏东坡、黄庭坚性格究竟如何？同样是一国之君，蒋彝为什么pick了宋徽宗，却diss了乾隆？双语对照 涨姿势！地道英文写就，白谦慎、郑达领衔翻译，让阅读成为一种享受。丰富插图 有彩蛋！作者精心挑选名家书画珍品，更有独家收藏奉上，以飨读者。 

《中国书法》全书共十一章，以一个引人入胜的”绪论”开场，开宗明义地指出此书的写作对象。这一章从比较中西书法入手，叙述书法和中国人日常生活的紧密关系。第二章结合图形，讲述了中国文字学的基本知识，并通过将古代汉字和古巴比伦文字、埃及文字、日本、朝鲜、西夏文字等加以对照，说明汉字独特的美学价值。第三章结合了大量的图例，将五种主要书体的发展史作了简洁而生动的概述。第四章贯彻了蒋彝的美学观——中国书法的线条美，用现代力学原理、形象的图画以及舞蹈等来说明书法美的鉴赏标准。第五章到第八章讲述了具体的技法问题，为有兴趣练习的读者提供了有效的指导。第九、十章强调了书画间的密切关系。*后一章从美学观念上考量了中国书法与其他艺术形式之间的关系，将书法提高到体现中国艺术本质精神的重要地位。

蒋彝（Chiang Yee）（1903—1977），作家、画家、书法家、诗人。曾先后任教于伦敦大学、哥伦比亚大学、哈佛大学等，当选英国皇家艺术学会会员、美国艺术与科学院院士。蒋彝以”哑行者”为笔名，出版英文旅行画记十余册，图文并茂勾勒当地自然风貌和生活图景。他撰写的《中国画》（The Chinese Eye: An Interpretation of Chinese Painting）、《中国书法》(Chinese Calligraphy：Its Aesthetic and Technique)迄今仍是西方艺术院系教授中国书画的***之作。

目录：中译本序一 i中译本序二 vi中译本序三 viii序言 xi作者的话 xv壹 绪论 3贰 汉字的起源和构成 27叁 书体 55肆 中国书法的抽象美 133伍 技法 167陆 笔画 187柒 结构 209捌 练习 237玖 书法与绘画 259拾 美学原则 285拾壹 书法与中国其他艺术形式的关系 297注释 316参考文献 319Preface xAuthor’s Notes xivI. Introduction 2II. The Origin and Construction of Chinese Characters 26III. The Styles 54IV. The Abstract Beauty of Chinese Calligraphy 132V. Technique 166VI. The Strokes 186VII. Composition 208VIII. Training 236IX. Calligraphy and Painting 258X. Aesthetic Principles 284XI. The Relations Between Calligraphy and Other Forms of Chinese Art 296Notes 316Bibliography 319

PrefaceWhen the first edition of Chinese Calligraphy appeared in 1938, I was immediately struck by its significance for the general philosophy of art, and more particularly by its bearing on certain aspects of modern art. Ever since we Westerners became familiar with Chinese civilization, we have known that the Chinese attached what seemed to be an inordinate importance to theirhandwriting. Most people probably interpreted this peculiarity in terms of scholastic discipline, for that is the way we have treated handwriting. To write what was called ‘a good hand’ meant to conform to a universal pattern, to suppress eccentricities, to approach as closely as possible to‘copperplate’, the standard lettering of the engraver. It is only comparatively recently that a certain ‘freedom’ has been allowed, and even encouraged, in schools. Another and very recent development is the popularization of Italic or Humanist ‘script’ writing. This is sometimesconceived as another formal discipline, in this respect not different from copperplate; but more generally it expresses a feeling for the beauty of handwriting, and in this respect is nearer to the Chinese conception of calligraphy.Mr. Chiang, in his chapter on ‘The Abstract Beauty of Chinese Calligraphy’, describes with great clarity the aesthetic principles underlying this art. They turn out to be the aesthetic principles of all genuine art, and what is really distinctive about Chinese calligraphy is the fact that it isnot a separate and inferior craft, but an essential element in the artistic life of the Chinese people. ‘The aesthetic of Chinese calligraphy is simply this: that a beautiful form should be beautifully executed.’ But the aesthetic of Chinese painting is simply that too; and so is the aesthetic of Chinese sculpture or Chinese pottery. I would say that this is a universal principle of all art, and it implies, not merely that the work of art should be formally perfect, but that it should also be organically vital. In Chinese calligraphy, says Mr. Chiang, the main principle of composition is in every case a balance and poise similar to that of a figure standing, walking, dancing, or executing some other lively movement. ‘The beauty of Chinese calligraphy is essentiallythe beauty of plastic movement, not of designed and motionless shape.’How such ‘lively movement’ is conveyed by a written character, or by a painting or a piece of sculpture or pottery, is a mystery that we cannot completely analyse—it is an instinctive coordination of the artist’s mental image and the muscular stroke with which he ‘expresses’ or ‘projects’ that image. It is, at any rate, a very personal faculty, achieved by continuous practice and meditation, by a discipline that is spiritual rather than physical. Only a few great masters attain perfection. What specially interested me when I first read Mr. Chiang’s book was the analogy between this aesthetic and the aesthetic of modern ‘abstract’ art. I use the word ‘analogy’ because modern artists in general have not made their principles sufficiently clear (bythe perfection of their works), and as a result the public is still confused and even antagonized by such art. I believe that the best of the Western abstract artists are groping in the right direction, and a great painter like Paul Klee had certainly found the illumination that comes from a perfect understanding of abstract beauty. But so many abstract paintings are‘designed and motionless shapes’; of how few could one say, as Mr. Chiang says of a Chinese character, that if any part had been wrongly placed the whole would appear to totter?In the last few years a new movement of painting has grown up which is at least in part directly inspired by Chinese calligraphy—it is sometimes called ‘organic abstraction’, even sometimes ‘calligraphic painting’. Soulages, Mathieu, Hartung, Michaux—these artists are certainly notunaware of the principles of Chinese calligraphy, and they try to achieve ‘the first two essentials of good calligraphy’ which are also the first two essentials of good Chinese painting—‘a simulation of life in the strokes and a dynamic equilibrium in the design’. Sometimes they succeed, but more often they seem to me to be hampered by the relatively coarse and heavy materials of Western painting. Nor, perhaps, have they that intimate relationship to nature which, however hidden, lies behind every Chinese character.Chiang Yee writes simply and clearly about matters which are subtle and difficult to understand. Not the least valuable aspect of his book is the charm of its style. Mr. Chiang has written many books since this one was first published, and has greatly extended our knowledge, not only of Chinese artand civilization, but also of art and civilization in general. He is one of those rare foreigners who help us to understand ourselves. Herbert Read序言《中国书法》版于1938 年问世时，我立即被它对一般艺术哲理的意义，特别是与现代艺术某些方面的联系所吸引。自从我们西方人熟悉中国文化以来，我们就知道中国人似乎超乎寻常地重视他们的书法。大部分人可能会根据学校训练的方法来解释这一特殊的现象，因为那正是我们以往对待书法的方法。从此出发，要写所谓的”好字”，就得遵循通用的规范，严禁各种怪癖，并尽可能写得像制版工人镌制的标准印刷体——”铜版字体”。只是在近年，某种”自由”才得到了学校的允许，甚至鼓励。此外，就是近年发展起来的斜体字、又名人文主义者”手稿体”的流行。这种字体有时被视为另一种形式的规范，就此而言，它与铜版字体毫无区别；但总的来看，它抒发了一种追求书法美的感情，因而更接近于中国人的书法观念。在《中国书法的抽象美》这章中，蒋彝先生透彻地阐述了这一艺术的基本美学原则。它们实际上也是所有真正的艺术的美学原则。此外，中国书法的独特之处在于它并不是一门孤立的、等级低下的技艺，而是中国人艺术生活中的一个基本组成部分。”简单地说，中国书法的美学就是：优美的形式应该被优美地表现出来。”而中国绘画的美学以及中国雕塑和中国陶器的美学也是如此。我要这样说，这是一条适用于所有艺术的普遍原则。同时，它意味着艺术品不仅应该具备完美的形式，还必须富于有机的生命力。蒋先生写道，中国书法中，结构的主要原则在任何情况下都是平衡，就像人体在站立、行走、舞蹈或者做其他一些充满生气的运动时保持平衡一样。”中国书法之美实质上就是造型运动的美，而不是预先设计的静止不动的形态美。”一个书写下的汉字、一幅画、一件雕塑或陶器，何以表现这种”充满生气的运动”，这是我们无法完全解开的谜——它是艺术家心中的意象与借以”表达”或”投射”该意象的由肌肉支配的笔触间本能的契合。不管怎么说，它纯属个人的才能，它来自于持之以恒的实践和领悟，来自于精神的训练而不是体格的训练。只有寥寥无几的大师方能臻其完美。次拜读蒋先生的著作时，使我特别感兴趣的是这一美学与现代”抽象”艺术的美学之间的相似之处。我之所以用”相似”一词，是因为现代艺术家普遍未能（用他们尽善尽美的作品）清晰地阐明他们的原理，因此，公众依然为这种艺术所困惑，甚至对其抱有反感。我相信，西方秀的抽象艺术家们正朝着正确的方向进行探索，像保罗·克利1 这样的大画家已经由充分理解抽象美而得到了启示。然而，大量的抽象画却属于”预先设计的静止不动的形态”，其中属于蒋先生对中国汉字的评价那样，只要任何一部分被安排错了，整体就会显得摇摇欲坠的作品，实在是很少的。近年来，兴起了一个新的绘画运动，这运动至少在某种程度上是由中国书法直接引起的——它有时被称为”有机的抽象”，有时甚至被称作”书法绘画”。苏拉吉2、马蒂厄3、哈同4、米寿5——这些画家当然了解中国书法的原理，他们力图获取”优秀书法作品的两个基本要素：奉师造化，静中有动”（优秀的中国绘画作品也是如此）。他们虽然时而获得成功，但据我看，他们更多地受阻于粗糙笨重的西方绘画材料，或许也由于他们对每个汉字内含的本性并不熟悉所致。蒋彝先生对一些微妙难解的问题阐述得既简洁又清晰。他那优秀的文笔也相当可贵。自从此书问世以来，蒋先生撰写了许多著作，大大地充实了我们的知识，不仅是有关中国艺术和文化的知识，甚至是有关于整个艺术和文化的知识。他是属于为数不多的帮助我们了解自己的外国人中的一个。 [英] 赫伯特·里德

那些欣赏这位作者”哑行者”系列轻松愉快文风的读者，会发现作者比较学术化的一面，然而仍旧不乏魅力。——《旧金山纪事报》非常精彩的一本书，光是那些插页就非常有价值，在书的后半部分，当作者讨论抽象美、技巧和构字时，劝我们用自己的手去试一试。——《泰晤士报文学副刊》

我曾听到过不少西方人评论我们的书法。他们说：”我喜欢汉字的外形，但我却无法辨别优劣”，或”法书具体是由哪些因素所构成？”,或是”字怎样写才算美？”，等等。很明显，人们十分想了解这类知识。……我写本书的动机之一，是希望帮助这些人不需费劲学习中文就能欣赏书法。倘若他们能够懂得那些词的文字意义，当然更好；但对审美欣赏来说，词义并不是必不可少的。我打个比喻你就能懂得我的意思：譬如说有张风景画，画上的景物是你熟悉的故乡的景色， 那一定能触动你回忆的心弦。看这样的画的感觉和看一幅景物陌生的画的感觉不同，前者让人倍觉欣快。然而，我也确实认为，即使没有熟悉的认知，人们也能凭借对线条运动的感受和事物组织结构的认识来欣赏线条的美。在中国，人们普遍认为书法表达书写者的品性。一个人的性格、气质、嗜好以及得意与否，据说都能从字上准确地推论出来。我知道，西方国家对笔迹的分析几乎成了一门科学，但在我看来， 结体的丰富多变、笔画的安排与形式使中国人的字迹更适宜于采用这种分析形式。例如，宋代[960—1276（1279）] 距今已很久远，但我们还能从宋徽宗创作的独特的、被称为”瘦金书”（图47）的作品中，想象出他是一个外貌优雅的人，修长而削瘦，注重细节的修饰，气质还有点阴柔；我们甚至可以推断，他是一个言语缓慢而慎重的人。再如，我们研究米芾的书法（图46）时，立即会联想到口语中常用的一个词”胖墩”，来作为这个艺术家外表的好描绘， 我想象他走路时带着自得其乐的、深思熟虑的神态，昂着头，机警而又富于幻想——这是一个竟会像敬爱自己的兄长一样，拜倒在所崇拜的怪石面前的人也就是这位艺术家，用大胆的、充满幽默感的”米家点”画出雾色迷濛中的群山。苏东坡的书法使我想起这样一个人，他比米芾稍胖略矮，在性格上比米芾更不拘小节，然而，心胸开阔，生气蓬勃，是一个伟大的诙谐大师，一个伟大的乐天派（图40）。而黄庭坚的书法则展现出另一种形象。我敢说，他是强健的瘦高个，意志坚定，甚至有点固执，但对他人却宽容大度（图38）。以上仅是粗略的判断，对书迹作更细致的研究后，还可以推出许多更细微的特征。