墨攻的力量（墨攻中英双语）

墨攻——书法三境

Mo Gong (Not only refers to Mozi 墨子 but also refers to calligraphy practice)

---Three levels of calligraphy

一曰技术：点画准确，结构到位，造型美观，节奏协调，章法优美，浓淡枯湿。

二曰文化：文字渊源，书风流变，底蕴功力，笔墨精能，多体融合，学养修为。

三曰艺术：格调气质，胸襟气度，力量气势，眼界气场，自信自我，天趣天成。

One is the skill: accurate stippling, well-structured, beautiful shape, harmonious rhythm, graceful composition and fitting ink shade.

The second is the culture: the origin of characters, changes and historical developments of calligraphy styles, culture conservation and brushwork skills, remarkable writings which can combine all kinds of scripts, and deep understanding.

The third is the art: artistic style and calligraphy manners, breadth of mind and quality of bearing, strength and momentum, a field of vision and aura, self-confidence and self-ego, natural charm as if made by heaven.

草书横幅 悟书

纵85厘米 横220厘米

“Insights on Calligraphy” on a Horizontal Scroll in Cursive Script

Length 85 cm, Width 220 cm

向下滑动显示更多图片

释文：

书写本小技 点画衍大义 墨濡天地元 指拈阴阳气 白纸留黑字 柔锋落劲笔 体载神和彩 章布象谐意 悠悠华夏史 浩浩文辞忆 权贵当时逞 契帖万古熠 今逢复兴纪 书入非世遗 高弘正门道 雅扬绝美艺

Annotation:

Calligraphy art is originally a small skill of brush writing, but it contains rich cultural connotations in the strokes of Chinese characters. It seems that there are elements of heaven and earth in the flying splash-ink, and the natural law of Yin and Yang is dyed when the fingers move their pens as if they were flying. The black handwriting on the white paper makes a sharp contrast. The handwriting written by a delicate brush is full of vigor and vitality. Calligraphy work is just a thin piece of paper, but it has extraordinary charm, harmony and beauty, vivid and interesting images. Our Chinese nation has a long history of culture and the literature achievements are as vast as the sea. The powerful and wealthy people are as numerous as the crucian carps across the river, and they can only strut for a while, but calligraphy works have the artistic charm of thousands of generations, and always maintain a strong vitality. Now is an important moment for the great rejuvenation of our Chinese nation. Calligraphy art has been listed as the world’s intangible cultural heritage. It is a good time to hold high the banner and vigorously promote this unique elegant and beautiful calligraphy art.

己亥暑湘君撰书

Written by Xiangjun in the summer of 2019

《散氏盘》为（清代出土于陕西凤翔的）西周四大镇国重器之一（另有《毛公鼎》《大盂鼎》《虢季子白盘》），现存于台北故宫博物院。其铭文书法价值列金篆之冠。昔有黄宾虹老之临本，近年亦拍出百数十万之天价。

湘君近年始通临之，尽得其原拓浑朴苍茫、古穆天真之神韵。

湘君深悟《散氏盘》之笔无常形、字无常势、章无常法之奥妙，得其沉雄从容、自然恣肆、伸展自如的风采。因而临来下笔有神，直通商周，风规自远，气格致高。

湘君临此乃取穿越临书法——此前于《毛公鼎》《石鼓文》《泰山刻石》等帖碑临摹中探索出之：

于晚子时夜深人静、万籁俱寂之际，与古之书者神会灵通，思交感融——细读原拓，抉精探微，咀画嚼体，揣行摩章，琢笔磨墨，蓄力取势，养气蕴韵，悟境达界；凝神谧息，沉心内视，想象自己彼时（西周晚期）即为《散氏盘》之书者。此际再返归当初书契铸金之场面境地，虽已经数千载沧海桑田时光，然毕竟是重书旧作，天人相通唤起记忆，灵感恢复水到渠成；细节关键奔来腕底，奥妙精彩复如泉涌；洒洒洋洋信手挥之，朴朴浑浑已得神助——往往笔下有远超预期水平之临作呈现，且屡试屡应（验）之。

——曾治国

“Sanshi pan” was unearthed during the Qing Dynasty in Fengxiang County, Shaanxi Province. It is one of the Western Zhou Dynasty’s Four Treasures (The other three are “Mao Gong ding” (The Duke of Mao’s cauldron), “Da Yu ding”(The larger cauldron of Yu), “Guoji Zibo pan”). It is now preserved in the Palace Museum in Taipei. Its inscriptions are of the highest calligraphy value of bronze seal script. Before, there was a copy of Mr. Huang Binhong. In recent years, this copy has been sold at an auction for tens of millions of yuan.

In recent years, Xiangjun began to copy it fully, and his copy version has completely acquired the original charm of simplicity, vastness and ancient innocence.

Xiangjun deeply understood the mystery of “Sanshi pan” and knew that its writing style had no fixed form, its font had no fixed momentum and its rules had no fixed routine. Thus, he gained its calm, natural and unrestrained style. All the works he copied seemed to have a spirit of writing, leading directly to the Shang and Zhou Dynasties, with far-reaching customs and high temperament.

Xiangjun used the way of "Time Travel " to copy it as he was in ancient times---An exploration in copying masterpieces, such as“Mao Gong ding”(The Duke of Mao’s cauldron), “Shigu wen”(Stone-Drum Script) and “Mount Tai's Carved Stone”.

Between 11 p.m. and 1 a.m., deep in the night when all beings are at rest, he would communicate with ancient calligraphers in spirit and soul, mingling thoughts and feelings with each other.

Carefully studying the original rubbings, selecting the essence to explore the subtle things. Chewing the image of calligraphy and trying to figure out the artistic style. Perfecting calligraphy practice, accumulating strength to generate momentum, nourishing vital energy and retaining rhyme, achieving the realm of enlightenment and high level. Concentrating the attention and calming down the heart, looking inside and imagining that I was the author of “Sanshi pan” at that time (late Western Zhou Dynasty). At this time, when returned to the scene of writing contracts and casting bronzes, although thousands of years have passed, after all, it is a copy of the old works, the connection between Heaven and man shall evoke the memories and restore the inspirations, then the calligraphy shall come without extra effort. The key details rush to the bottom of the wrist and wonderful magic brushes pour out from the underground like fountains, constantly flowing in. Wave at random and write at great length. The calligraphy is so simple and natural that it seems to have got the assistance of the Gods.

---Often, after doing so, there will be copies of works far beyond the expected level and this method is effective every time it is used.

---Zeng Zhiguo

散氏盘集联（一）

纵67厘米 横133厘米

Calligraphic Couplets Made up of Lines from “Sanshi pan” (I)

Length: 67 cm, Width:133 cm

释文：

师还一旅月散三边 五州相义九有来同

左图右史矢车散田 孝乎惟孝宫还为宫

临散氏盘局部（一）

纵134厘米 横77厘米

Copy of “Sanshi pan” (I)

Length: 134 cm, Width:77 cm

临散氏盘局部（四）

纵134厘米 横77厘米

Copy of “Sanshi pan” (Ⅳ)

Length: 134 cm, Width:77 cm

临散氏盘局部（六）

纵134厘米 横77厘米

Copy of “Sanshi pan” (VI)

Length: 134 cm, Width:77 cm

临散氏盘局部（十三）

纵134厘米 横77厘米

Copy of “Sanshi pan” (XIII)

Length: 134 cm, Width:77 cm

临散氏盘局部（十四）

纵134厘米 横77厘米

Copy of “Sanshi pan” (XIV)

Length: 134 cm, Width:77 cm

临散氏盘局部（十七）

纵134厘米 横77厘米

Copy of “Sanshi pan” (XVII)

Length: 134 cm, Width:77 cm

临散氏盘局部（二十一）

纵134厘米 横77厘米

Copy of “Sanshi pan” (XXI)

Length: 134 cm, Width:77 cm

湘君叹曰：书法真乃今不如昔之艺术！不然，为何以高古为重要追求？事实上，很多书体遗憾的是初始的往往在最高境界——留心学到古人难。

嗜欲深者天机浅，智慧融时灵机通。今天，“我们那些淹没在信息里的知识到哪里去了？淹没在知识里的智慧到哪里去了？”（T.S.艾略特诗句）遥想当年，能够发明汉字及书体的古人都是些什么奇人呢？——他们竟是那么专注，那么敏感，那么纯粹，那么简洁，那么通灵，那么富于想象，那么善于表达，那么大胆地归纳和推衍，那么奇妙地打通具象和抽象·······能夺其魂岂皮相？每成大巧合天伦。

“艺术有两条道：小道娱人，大道撼人。”（吴冠中导师苏弗尔皮语）发明汉字和书体的先哲们就是跋涉在文化艺术的大道上，通向这条大道往往要从崎岖不平的羊肠小道历险到寂寞苍凉的“无人区”——“书几笔，让几十代不肖子孙临摹不够；唱一曲，余音就绕梁几千年···……”(湘君早年诗句)比如晋唐楷书，让多少学书人叹为观止、顶礼膜拜。但往宽处琢磨，就觉得还少了些魏碑的苍劲与厚重；再领略汉隶的雄秀和静穆，更易为古隶的简洁和朴茂所倾倒；逆溯到篆籀金文，觉庙堂祀铭之气郁然；甲骨卜辞蝌蚪鸟虫（书）直通汉字诞生的胞芽型态，夜阑静谧之时容易让人联想仓颉造字“天雨粟，鬼神哭”的灵异神奇……自汉往前，书道便逾有古而高、静而穆、粗而拙、醇而厚、旷而渺、灵而神之境……于此足可体会汉字作为世界稀有流传有序的象形文字与其所表征的中华文化起点之高远、魅力之强大——而不在书道中浸淫多载，则浑然难觉也。觉之者，对中国书法极至之美便更多了几分敬畏，几分虔诚；修习也就多几分沉静，多几分踏实；也愿意循序渐进，不疾不厉，聚力成功，积健为雄。

湘君素喜泰山经石峪《金刚经》，于隶书视之于《曹全》《礼器》《张迁》《史晨》《乙瑛》《石门铭》乃至《好大王》诸名碑范帖之上，多有临习。乙卯年春湘君自中山金龙居士处偶得北朝高僧安道一书《四山摩崖》贴和莱子侯刻石、昆弟六人买地帖等古隶名帖，喜不自禁，从中可窥泰山经石峪《金刚经》、镇江焦山《瘗鹤铭》乃至《郑文公》《石门颂》等系列名刻碑之源脉——拙中见巧，安静圆融，大气灵动，高古浑穆。

Xiangjun sighed: Calligraphy is an art whose present cannot compare with the past! If not, why people take the ancient style as the advocated standard and pursue it? In fact, it’s a pity that for many calligraphy styles, the beginning is often at the highest level---it is difficult to learn carefully from the ancients.

People with deep desire and greed have only a low-level spiritual character and people gain insight and wisdom when there is a sudden inspiration. Today, "Where did our knowledge drown in information? Where is the wisdom drowned in knowledge? (T.S. Eliot's Poems) Looking back, what kind of eccentric people were the ancients who could invent Chinese characters and calligraphy? —— They are so attentive, so sensitive, so pure, so concise, so psychic, so imaginative, so expressive, so bold to generalize and deduce, so wonderful to connect concrete and abstract…How can a soul-stirring work depend solely on a superficial skill? Every masterpiece is a result of conforming to the will of Heaven and the natural bonds between humans.

"Art has two ways: the path amuses people and the avenue shocks people." (Wu Guanzhong's mentor Souverbie said) To reach this avenue, they often had to go through narrow, winding trails and experience lonely and desolate "no man's land". "Write a few strokes, they can make dozens of generations of unworthy descendants copy endlessly; sing a song, their remaining sound can be resounding and prolonged for thousands of years…”(sentences written by Xiangjun in his early years) For example, standard scripts in the Jin and Tang Dynasties made many scholars admire and worship them. But when we turn it over in the mind, we feel that there is still less vigor and thickness of the Wei stele (tablet inscriptions of the Northern Dynasties); When you appreciate the magnificence and quietness of the Han Dynasty, it is easier to be overwhelmed by the simplicity and sincerity of the official scripts commonly used from the Qin Dynasty to the early Western Han Dynasty; Back to seal and bronze inscriptions, the spirit of sacrificial inscriptions in temple is luxuriant; oracle inscriptions, tadpole inscriptions and bird-and-insect-imitating calligraphy are the germ patterns of Chinese characters. When quiet nights come, it's easy to associate them with "The grain rains like heavy rain on the sky and ghosts cry at night"---the mysterious story of Cang Jie Coinage…Before the Han Dynasty, there were more ancient and high, solemn and quiet, rough and clumsy, mellow and thick, vast and remote, spiritual and divine realms in the way of calligraphy…Here, we can fully realize that Chinese characters, as a rare and orderly hieroglyph in the world and the Chinese culture they represent, have a high starting point and strong charm--- If you have not been immersed in calligraphy for many years, it will be difficult to detect this point. Those who are aware of the extreme beauty of Chinese calligraphy have more awe and devotion, more calmness and more steadfastness in their practice, more willingness to go step by step, more concentration and can accumulate the artistic authenticity and change it into a vigorous charm.

Xiangjun has always liked Mount Tai's “Diamond Sutra” (Stone carvings calligraphy on the cliff surfaces of Mount Tai's Stone Valley) and he believed that in all official script classics, “Diamond Sutra” had a higher achievement than other famous calligraphy models such as “Cao Quan”, “Ritual Articles”, “Zhang Qian”, “Shi Chen”, “Yi Ying”, “Stone Gate Inscription” and even “Good King”, so he often practices it. In the spring of 1975, Xiangjun accidentally got some famous ancient inscription models from Jinlong Jushi of Zhongshan, such as "Four Mountains’ Cliff Stele", "Lai Zihou Carved Stones" and "Records of Kundi Six People Buying Land" copied by an eminent monk named Andao Yi in the Northern Dynasty. He was so happy and unable to contain his joy. From his calligraphy works, we can see the origin of a series of famous inscriptions, such as Mount Tai's “Diamond Sutra”, Zhenjiang Mount Jiao's “Inscription of the Crane Burial Stele”, “Zheng Wengong” and “Shih-Men Eulogy,” which are ingenious in clumsy, quiet and melodious, flexible and elegant, simple and unsophisticated.

临昆弟六人买地刻石

纵90厘米 横90厘米

Copy of Kundi Six People Buying Land Carved Stone

Length: 90 cm, Width: 90 cm

释文：

昆弟六人共买山地大吉建初元年住此宗地直（值）三万钱

Annotation:

Kundi and the other six people bought this mountain land together, which was a very auspicious thing. In 76, we could build houses here. It cost 30,000 coins to buy this land.

临莱子侯刻石

纵67厘米 横133厘米

Copy of Lai Zihou Carved Stone

Length: 67 cm, Width: 133 cm

释文：

始建国天凤三年二月十三日莱子侯为支人为封使偕子食等用百余人后子孙毋坏败

Annotation:

On February 13^th, 16A.D., Lai Zihou employed more than 100 craftsmen, such as Dai Ziliang, to build an ancestral temple for his parents. Future generations must not destroy it.

临曾熙摹瘗鹤铭（一）

纵67厘米 横133厘米

Copy of Inscription of the Crane Burial Stele Copied by Zeng Xi (I)

Length: 67 cm, Width: 133 cm

释文：

鹤寿不知其纪上皇岁得于华亭午化于朱方未遂

瘗鹤铭乃大字鼻祖（黄山谷尤为推崇），千古一刻，须有篆籀隶分楷魏诸体修为之功乃可习得真髓。看似平常但奇崛，成如容易却艰辛。历代习书者都慕其高妙，然畏其难于得手。故自此碑名世，能书得其七分神韵者即为大家。能上手者，唐宋以来亦不过寥寥几人而已。黄山谷、康南海、李道清、曾麓髯即为其中翘楚。张大千从髯公和清道人习书，于鹤铭不过得其皮相，由此获取的书法线质助其画境清峻爽利，竟至名动天下。

Inscription of the Crane Burial Stele has been praised as Great Character Ancestor (Huang Tingjian thinks particularly highly of it). In order to accomplish it in a moment, one must master all the refined techniques in writing seal script, clerical script and standard script to express its true essence. It looks very ordinary but in fact, it’s very strange and prominent. It seems easy to do, but in fact, it is very difficult. People who practiced calligraphy in the past dynasties admired it very much, but they were afraid that it was difficult to copy. So since this inscription became famous all over the world, the calligrapher who can write 70% of its charm will be called a master. Since the Tang and Song Dynasties, only a few people have been able to become masters of it, and Huang Shangu, Kang Nanhai, Li Daoqing and Zeng Luran are among the best. Zhang Daqian learned calligraphy from Zeng Xi and Li Ruiqing. His copies only got a skin-deep charm of Inscription of the Crane Burial Stele, but his calligraphy line quality obtained by studying Inscription of the Crane Burial Stele helped his paintings to achieve a quiet and refreshing artistic effect, which have made him famous all over the world.

临曾熙摹瘗鹤铭（二）

纵67厘米 横133厘米

Copy of Inscription of the Crane Burial Stele Copied by Zeng Xi (II)

Length: 67 cm, Width: 133 cm

释文：

吾翔也乃裹以玄黄纳之币藏乎（于）山之下仙家石旌事

临曾熙摹瘗鹤铭（三）

纵67厘米 横133厘米

Copy of Inscription of the Crane Burial Stele Copied by Zeng Xi (Ⅲ)

Length: 67 cm, Width: 133 cm

释文：

篆铭不朽词曰相此胎禽浮华表留惟（唯）仿佛事厥土唯（惟）

临曾熙摹瘗鹤铭（四）

纵67厘米 横133厘米

Copy of Inscription of the Crane Burial Stele Copied by Zeng Xi (Ⅳ)

Length: 67 cm, Width: 133 cm

释文：

宁后荡洪流前固重固（扃）爽垲势掩华亭爰集真侣瘗尔

临曾熙摹瘗鹤铭（五）

纵67厘米 横133厘米

Copy of Inscription of the Crane Burial Stele Copied by Zeng Xi (Ⅴ)

Length: 67 cm, Width: 133 cm

释文：

夅山征君丹杨外仙尉江阴真宰

释文：

瘗鹤铭有序。

华阳真逸撰，上皇山樵书。

鹤寿不知其纪也。壬辰岁得于华亭，甲午岁化于朱方。天其未遂吾翔寥廓耶?奚夺之遽也！乃裹以玄黄之币，藏于兹山之下。仙家无隐，我简空陈。故立石旌事，篆铭不朽。词曰

相此胎禽，浮丘著经。余欲无言，尔也何明？雷门去鼓，华表留形。义唯仿佛，事亦微冥。尔将何之，解化真身。西竹法里，厥土惟宁。后荡洪流，前固重扃。左取曹国，右割荆门。山阴爽垲，势掩华亭。爰集真侣，瘗尔作铭。

夅山征君。

丹杨外仙尉。

江阴真宰。

Annotation:

The Inscription of the Crane Burial with a Preface

A reclusive spiritual master of Huayang wrote the article and a woodcutter of Shanghuang Mountain wrote the calligraphy.

I don't know how old this red-crowned crane is. In 812 I got it in Huating Valley and in 814 it became an immortal in Zhufang and flew away. Could it be said that my wish to soar in the sky on a crane has been deliberately refused by the Heavens? How can it end its life in such a hurry! I wrapped it in colorful silks and buried it under the mountain. There is nothing to hide in the lives of the immortals. I want to tell them to the Heavens. I made stone inscriptions here to record its deeds, to show its life, so that it can be passed on forever. The inscription says:

Crane is a rare, viviparous bird. An immortal in ancient legends once wrote “Crane Physiognomy Classic”. If I don't record its life, how can the later generations know it? The bass drum of Thunder's Gate can no longer be heard form thousands of miles because of the white crane flying away. After the Taoist Ding Lingwei has become an immortal, he once embodied himself into a crane and remained visible on the ornamental pillar. These things are so profound and perplexing that it's hard to distinguish. Where on earth will it go when the sacred body dissolves and gets reborn? I built its grave on the west side of Jiao Mountain. It's a peaceful and calm land. Behind the grave, there is the mighty torrent ring upon ring coming from the Yangtze River and in front of the grave, there is the heavy grave gate layer upon layer erected by Jiao Mountain. On the left is the distant Cao Kingdom and on the right is the steep Jingmen Mountain. The north of Mao Mountain is clear, refreshed and dry, where the geomantic omen is better than Huating Valley. I invite some reclusive friends to bury it here and write down this inscription.

A Reclusive Man of Deep Red Mountain

A Reclusive Man of Danyang Prefecture

A Reclusive Man of Jiangyin Prefecture

2019年暑期湘君背临瘗鹤铭第十一通，背临总第61通

纵700厘米 横36厘米

In the summer of 2019, Xiangjun completed the eleventh “Inscription on the Crane Burial Stele” without looking at the original work. There are 61 copies in total written by Xiangjun without looking at the original work.

Length: 700 cm, Width:36 cm

散氏盘集联（二）

纵67厘米 横133厘米

Calligraphic Couplets Made up of Lines from “Sanshi pan” (II)

Length: 67 cm, Width:133 cm

释文：

大德用九至道登三 图史自镜道义为田 有若传道予莫执中 义田执德原道从师

,