好學猛進‧與古為徒

─施伯松書法篆刻展()

Easy to learn for the believers and Ancient Mengjin ‧

─ Shih Po-Sung Calligraphy and Seal Cutting Exhibition (Set) Order

蔡明讚

中華民國書法教育學會理事長Tsai Ming-Tsan

The Republic of Chinese Society for Calligraphy Education

「古人篆刻思離群,舒卷渾同嶺上雲,看到六朝唐宋妙,何曾墨守漢家文。」這是浙派篆刻名家丁敬的論印詩,旨在闡述篆刻藝術每個時代各有特色,宜廣泛取法,譬如漢印固為典型,然六朝唐宋官印也不乏精妙傑構,甚至明清流派印章興起後,風格競標、難分軒輊,本為實用的璽印名章遂發展為以刀法、布白、風格為尚的文人藝術,所謂方寸之間納須彌於芥子,行家識者方能體會箇中奧妙。篆刻如此,書法亦不例外,篆隸草行楷造形體勢看似尋常,實則變化萬千,筆法或方或圓、墨色濃淡潤渴、章法虛實欹正、形式材質、裝裱精麄……已是琳瑯滿目,若加以考究文房器用、鑒藏翫賞,則即使窮畢生心力也未必盡窺其中祕蘊,而古代文人卻視為餘事,用以遣興消閒,是壯夫不為的雕蟲小技。話雖如此,歷來眾多文人才士、能工巧匠既留下無以數計的精品,也訴之於文字論述,形成龐大的史料著錄,只要能取得入門之鑰,入寶山就不會空手而回。施伯松字煥禪,別號壽篆樓主、鹿江末學,一九七四年生於彰化鹿港,寫字刻印作為業餘從事,致力修習不及十載而成果已粲然可觀,每令同道師友詫異欽佩。

"The ancients thought Seal outliers, with the Ridge muddy clouds roll back and forth to see the Tang and Song Dynasties and wonderful, and ever cling Han Jia-wen." This is the theory of Jing Ding Zhe carver, Indian poetry, intended to illustrate the art of seal carving its own in every age characteristics, should widely emulated, such as solid as a typical Indian Han, Tang and Song Dynasties Ran seal kit structure is also no lack of subtlety, and even after the rise of the Ming and Qing seal genre, style bidding points and weak points, the Indian name for the practical Xi Zhang subsequently developed into a with blade, cloth white, yet the literati style art, the so-called square inch in between the Na Xumi mustard seeds, expert knowledge who can only understand箇中mystery. Seal the case, calligraphy is no exception, Zhuan Li Xing Kai-made grass seem unusual physical potential, but in reality-changing, strokes, or square or round, ink shades of Run-thirsty, the rules interjection actual situation is, form material, mounting precision is dazzling ... Cu ... , if they are elegant room Used for text, Jiancang翫reward, even if the poor his life's work may not be best glimpse of where Yun-Mi, while the ancient writers as I have something to Qianxing leisure, is not the insignificant skills Masao. Having said that, the text has always been a number of people with disabilities, craftsmen not only left a few dollars is nothing to boutique, but also appeals to the text discussion, the formation of a huge historical bibliographic, as long as the key to obtain entry, entry will not be Kongshouerhui Baoshan. Chan Huan Shih Po-Sung words, do not, Sau Fragrance Lou Zhu, Deer River end of science, was born in Lukang, 1974, writing as an amateur in engraving committed to attend less than a decade while the results have been beaming impressive, every so surprised by his admiration for fellow Mentorship .

民國八十八年間,我在臺北市立師院(今臺北市立教育大學)書法社任指導老師,社員施怡真提起兄長任教國中,對書法頗感興趣可否來社聽課。初見伯松的書法,學的是顏楷,因為從國小至國中都隨鹿港的黃政彥老師學習,鹿港是個文風極盛的古鎮,自來詩人、書畫家傳承風雅不絕於世,伯松常跟著任教小學的父親觀賞媽祖廟的名家揮毫、藝文展覽,多少留下一些印象,並見識這些前輩文人的風雅。高中時因課業為重暫停習字,待進入彰化師範大學物理系,因所學非文史美術,接觸機會不多,惟有私自仍習顏楷,偶臨二王行書。民國八十五年畢業分發至北縣,與篆刻名家李清源老師同事,伯松遂有機緣向他請教篆刻之道,於是嘗試刻印,一年之間頗有所得,惜並未深入,服兵役期間,因常寫大字報,算是過去顏體楷書的應用。真正下功夫習字、刻印是民國八十八年退伍執教鞭以後,從北碑入手,寫司馬顯姿、元顯儁墓志;行書臨二王、李北海,篆刻從皖派鄧石如、吳讓之入門,再下及吳昌碩,並特意取法來楚生的寫意刀法,細朱文取法趙時棡、陳巨來、王福盦諸家,白文則宗主漢印。

In 1999, the Taipei Municipal Teachers College, I (now Taipei Municipal University of Education) Calligraphy Society either the instructor, members Yi-Ru Shi Zhen brought his brother to teach countries, interested in calligraphy society could come to lectures. First saw Berthon calligraphy, learning the Yan Kai, because countries are small countries with Lukang Huang Zheng Yan teacher learning, Lukang is a style heyday of the town, unsolicited poets, painters and calligraphers elegance tradition never - Shih PO-Sung, ofte n accompanies his father to teach elementary school watch famous Matsu brush, art exhibitions, the nu mber of left some impressions, and insights of those older literati of elegance. High school due to school work for the re-suspended by duplication, waiting to go into Changhua Normal University, Department of Physics, because what they have learned the non-cultural and historical art, limited opportunities for contact, only secretly still learning Yan Kai, Dual Pro 2 King running hand. In Bashiwunian distributed to the North County graduate, and carver, LI Qing-yuan teacher colleagues, Po-Sung Hence the opportunity to consult him carving way, so try to engraving, one year is quite the proceeds, but unfortunately did not penetrate, for military service during the , because often put up posters, regarded as the last Yan style regular script applications. Really hard parts calligraphy, engraving is the Republican whip Bashibanian ex-coach after the monument from the north start to write Sima Xian Zi, Yuan Xian-Jun epitaphs;行书Pro 2, Wang, Li Beihai, and seal from the Anhui faction Deng Shiru, Wu so that the entry , then the next, and Wu Changshuo, and specially to Chusheng emulated the freehand blade, fine emulated ZHAO Shi-Gang Zhu, Chen Kui-years, Wang Fu-An Zhu Home sovereign Han Bai is printed.

伯松在課餘臨池刻印,時聞王北岳教授在「麋研齋」(藝廊)開篆刻講座,便欣然前往聽課,前後有五期之久,因而對篆刻流派、印學旨要豁然通曉。民國八十九年代表新莊區參加全縣語文競賽,他以魏碑體自運獲寫字組第一名,翌年又獲第一,九十一年更上層樓在臺灣區賽中拔得頭籌,這是他初試啼聲之舉。篆刻作品在九十二年、九十三年分獲臺灣省美展第三及第二名,三、四年間書法、篆刻基本功受到了肯定。此期間伯松隨墨潮會張建富研習古典詩詞,習作詩二、三百首;向水墨畫家黃才松教授請益畫法,而縣內書法家駱明春、鄭聰明、陳財發、李正發諸前輩也常給予指導,特別是編有四部書法字典及近二十種著作的鄭聰明老師,提供了許多魏碑的資料。至於篆刻方面,同校李清源老師的提携功不可沒。伯松除了自我功課的精進,也常訪謁名家,如臺灣印社祕書長陳宏勉、臺灣藝大篆刻教席薛志揚、臺中篆刻名家羅德星……,從其中汲取技法觀念、篆刻史識等。當今書印界人才濟濟,個人寫刻功力深湛不在話下,且重視文房收藏者亦不乏其人,蓋所以養眼養識也,伯松與之交游,故也逐漸培養眼力,每逢佳品、名蹟輒納於齋中,時時摩挲研究。

PO-Sung pond engraving after school, when Wen Professor Wang Beiyue in the "Mi research Vegetarian" (Gallery) open carving seminars will be pleased to go to lectures, before and after five years, and thus carving schools, Indian school Zhiyao suddenly familiar. In Bashijiunian behalf of the New Village area to participate in language contests the county, he has been writing Weibei body and carry the first prize the following year obtained a first, Jiushiyinian new heights in the Taiwan tournament player among that this is his debut effort. Seal works Jiushiernian, Jiushisannian points by the Taiwan Provincial Art Exhibition, the third and second, three to four years, calligraphy, seal cutting the basic skills have been affirmed. With the ink flows during this period will be Po-Sung Jian-Fu Zhang study of classical poetry, two poetry exercises, 300; to brush and ink artist Professor Huang Caisong followers painting, while the county calligrapher Luo Ming-chun, Cheng smart, Chan Choi-fa, LI Zheng-Fa Zhu also often given to older guidance, in particular, allocated to four dictionaries and nearly 20 kinds of calligraphy works of Zheng smart teacher offers a number of Weibei information. As for the carving, the same school the teacher's guide and support contributed LI Qing-yuan. Po-Sung addition to self-assignment of sophistication, often visited pays respects to famous, such as the Taiwan Society Secretary-General of India Min Chen, Taiwan's largest carving arts teaching XUE Yang, Taichung, carver, and Rhodes sing ... ..., from which the concept of drawing techniques, and seal the history of consciousness and so on. Today a large pool of printed books, personal writing skill Shenzhan carved mention, and the emphasis on the text collection Zheyi no shortage of room, cover so seductive raise consciousness also, Po-Sung make friends with them, it also gradually develop his vision, and every high quality goods , were on the fast track Noir satisfied, the constant caress research.

語云「獨學而無友則孤陋寡聞」,伯松參加語文競賽兩三年間,於賽場常遇一些同道,每每相談歡洽,於是籌組雅集式書會以為定期切磋聯誼,名曰「海硯會」,民國九十一年成立後先是出版作品集,繼之於桃園縣立文化中心舉行首展,會中不乏青年輩好手,如黃伯思、陳忠建、林俊臣、楊旭堂、蕭一凡等,彼等來自不同門戶、各擅所長,經由觀摩、激盪、展覽,各自技藝得以精進,去歲「安廬藝術中心」負責人馬志遠擬出版一份刊物,供作書、畫、印、創作與理論發表的園地平台,伯松以其對書畫印壇物事的接觸廣泛,為人處事又古道熱腸,乃被委以主編任務,足見其已在藝林嶄露頭角。

A saying "independent learning without the Friends of the uninformed," Po-Sung to participate in language contests in 2023, the venue often encountered in a number of counterparts, often compared to talk about Huan contact, so the formation of Aristo-style book would think that on a regular basis Qiecuo to get together and fine-sounding name of "sea-Yan Council "after the establishment of the Republic of Jiushiyinian first set of published works, followed in Taoyuan County Cultural Center, the first show will be lacking in young generation players, such as yellow Berth, Chen Jian, Lin Junchen, Yangxu Tang, Xiao Yi-fan and so on, Peter and so on from different portals, each good at the Director, through observation, the stimulation, exhibitions, their skills can be refined, to the old "An Cottage Arts Center, the" responsible person Ma Zhiyuan intends to publish a publication for making books, painting, printing, creative and Theory published Corner platform, Po-Sung their paintings printed on the altar of the Wu Shi access to a broad, personal behavior also warmhearted, is editor in chief has been entrusted with the task, evident that it has cut a striking figure in the Yi-Lin.

於國立臺灣藝術大學造形藝術研究所中國書畫組卒業的伯松,其碩士學位論文為「近現代甲骨文入印的篆刻藝術發展研究」,洋洋灑灑十萬言,透過對此論題相關資料的爬剔抉要,在印史、印論乃至印章創作上又更上了一層。自古以來書印創作除了勤於臨池、奏刀,致力技法鍛鍊,博覽群籍,了然各宗派風格特色,體悟其中精微要旨厥為重要法門,流派師承、墨守家法在舊時代因資訊、資料缺乏有所不得已,近世以來出版發達,印刷精美普及,多加訪求搜羅即可大開眼界,當然也須具足覃思慧眼,這方面伯松是極優秀的實踐者,故而能在不到十年間,書印兩技藝及理論探討已躋入行家之林。他的書法各體並能,北碑體出於墓誌,雄健雜秀整;行草根基於二王,但於明清調亦多有用心,自運作品筆致俊逸、風神灑落;篆隸起家於鄧頑伯、吳攘之,並參酌吳缶翁墨韻筆趣、蕭蛻庵結體儀態、來楚生亂頭粗服。整體而言,各體書法雖不難窺其師法,探其融匯,但已儼然有自家風貌,尤為難得的是在布局章法上彰顯其格局的寬拓。當今書壇不乏五體兼擅的能手,但或囿於流派家法,或食古難化,或追逐流行風,能以入古出新、筆墨兼顧、形神俱雅為追求者實不多覩,觀伯松近作各體,除意會其用功勤敏,更可見其博學約取、尚雅遠俗的理念與成果。

At the National Taiwan University of Arts graphic arts research institute of Chinese Painting and Calligraphy Group Graduation PO-Sung, its a master's degree thesis is "into the modern Indian Art of Seal Carving Oracle Development Research", heads of state, hundreds of thousands of words, through which information on topics related to tick crawling ūņ be, in the Indian history, India On the seal of creativity as well as to a higher layer. Since ancient times, apart from writing the book printed hard pond, playing a knife, is committed to training techniques, Expo group membership, all denominations and styles of one gains an understanding of the essence of vital importance in which microscopic Famennian and schools modeled on the loyalty of family laws in the old era of Information , the lack of information has been a last resort, since the publication of modern times developed, printed beautifully and popular, collecting can be more eye-opening visit to seek, of course, also be the situation right Tansi Hui eyes, this is extremely good Berthon practitioners and therefore I can be in less than 10 years, the book arts and theoretical study of two India is among the experts into the forest. The body of his calligraphy and to the north monument body out of epitaphs, vigorous hybrid show the whole; lines based on two grass-roots king, but in the Ming and Qing Dynasties notes are found to have motives, since the transport works brushstrokes Toshihaya, Fengshen floating down; Zhuanli started in the Deng stubborn Bo, Wu's throw into confusion, and light of Wu Yun-Pen Fun Mexican pottery Weng, Xiao shed Um Composition deportment, to Chusheng chaos head coarse clothes. On the whole, although the body is not difficult to glimpse its lead from calligraphy, exploration of their fusion, but just like there own style, is especially rare is that in the layout pattern of tricks of the highlights of its wide extension. Tan Shu-five bodies of today's no shortage of skilled proficiency in both languages, but, or limited by genre and domestic discipline, or the difficulty of the ancient food, or chase popular wind, and be able to enter the ancient new, the works into account, Body and Spirit Ya-Ju who is really not much in pursuit of Du, view the body of his recent Po-Sung, in addition to realize its hard-Qin-min, whose erudition is about to take a more visible, Shunya far vulgar ideas and achievements.

篆刻方面伯松著力特多,古樸精細工放自如,漢印風則精謹,元朱文則細膩,以書法入印者學吳缶翁之渾茂;刀筆並聘者效吳攘翁之婉暢;甲金入印者又富個人巧思。因平素嘗師友於中壯輩名家陳宏勉、薛志揚、李清源,故三家影響痕迹彷彿自在。邊款所用書體有楷書、有漢金文、有北碑、有行草,豐富多樣,姿態橫生,文字則多個人對篆刻之體悟,饒有可觀。伯松所裒集之書法、篆刻近期作品,大抵筆法、刀法均能入於古法,合於格轍,這是極不簡單的事,尤其所涉獵的書體、印派又相當廣泛,其間往往不只是用功或名師指點,實為天賦使然,時下愛好寫、畫、刻者頗眾,成果如伯松之豐碩、進境之神速可稱奇葩。我個人以為有下列幾個現象、特色:

Seal in Po-Sung focus on Trinidad and Tobago, simple fine work placed freely, Chinese and India are fine like the wind, Yuan Zhu is delicate calligraphy into India and those who study the muddy Weng Mao-Fou Wu; knife pen, and throw into confusion recruits Weng Wan Xiao-Wu Chang ; A gold into India are also rich personal ingenuity. Friends of ordinary times to try because of divisions in a middle-aged masters Chen Min, XUE Zhi-Yang, LI Qing-yuan, so three seems to ease the impact traces. The side body of a regular script used in the book, there are Han Jin, Northern monument, there are Cursive, rich and varied, and shape will occur, the text is more than one person on the carving of the sort of understanding, interesting significant. PO-Sung The Pou collection of calligraphy, seal cutting the recent works, probably the brush blade can enter in the traditional method, qualifying for grid nature, and this is a very simple matter, especially if they have adopted the materials from the book body, and India were also quite extensive, During this period is often hard or the teacher is not just pointing, actually talent dictates, nowadays love writing, drawing and engraving are quite public, the results of the fruitful as Po-Sung, entry can be said of the wonderful work rapidly. I personally think that any of the following a few phenomena, features:

其一是博學廣師、古法為尚:伯松自知其非文史美術科系專修,於是學習詩文、研閱書畫篆刻史論,書印技藝取法乎上,不追逐流行風,筆法得力於北碑峻利整飭的結體氣勢,行草謹守二王米趙法度;篆刻一面治精謹的漢印、元朱,一面追隨筆法入印的皖派、海派規矩,而無論使筆奏刀,一種爽利豪邁的氣息隱含其間。其二是以書入印,以印潤書:伯松書法雖取徑北碑,然不取粗獷霸悍者,而走秀逸雅致一路,其下筆伶俐、結構勻稱,涉獵篆刻之後,分朱布白,古篆、吉金、漢印、皖浙派篆法多方揣摩,一面在方寸間挪讓,一面移於宣紙筆墨,兩者之間營造出一種溝通渠道、促成其神速的進境。其三是文人風度、雅逸自期:伯松日常用功寫刻之外,對當代名家成就模式用心觀摩,深知書印乃文人藝術、技法固當得力於勤學苦練,然作品之格高韻雅必與學問識見、生活蒙養息息相關,於是賞鑑收藏,一種文人風品味的薰息濡染就不可忽略,印石、文玩、字畫一方面實用或怡情悅目,一方面也因諸器的工藝美學富涵而提升用藏者的眼光與氣質。其四是師友交游:書畫印包羅廣泛,古往今來正史軼事不可勝數,每個愛好者、從事者也各有偏好,結社雅集、交流討論有一定功效,閉門造車、單打獨鬥絕無法營造大家氣勢,伯松除發起成立海硯會,加入拓方印集、玄修印社,也曾擔任書法教育學會祕書長、副理事長,受聘任台北縣語文競賽評審及台北市教師書法教學研習班講座等,由於多方面參與,累積經驗乃至人脈資源,在藝事的成長上自然多所裨益。(丙戌年清和月初稿於彩蜨山房)

One is widely learned division, using ancient techniques for still: PO-Sung knew that their non-arts department specializing in literature and history, so studying poetry, research the History of Art Inn reading, book printing techniques Qufahushang, do not go after popular wind, and strokes are effective in North Jun Lee straighten out the knot monument body momentum, Cursive held fast to two meters, Zhao Wang Fadu; carving one side of the Han rule like fine print, Yuan Zhu, follow the strokes into the Indian side of the Anhui faction, sophisticated rules, regardless of the pen so that played a knife, a During the heroic atmosphere of refreshing and high implied.其二是以書入印,以印潤書:伯松書法雖取徑北碑,然不取粗獷霸悍者,而走秀逸雅致一路,其下筆伶俐、結構勻稱,涉獵篆刻之後,分朱布White, ancient Fragrance, Ji Jin, Han and India, Anhui Zhe Fragrance multi-France try to figure out the one hand, between the loss to Norway let the one hand, pen and ink transfer on rice paper between them to create a channel of communication led to its economic prowess of the entry. Third, literary grace, Yayi from the period: PO-Sung routine carved hard to write, the right mode of intention to observe the achievements of contemporary artists, who know the book printed Nai-art techniques in Qinxuekulian solid when the effective, natural works of the grid Gao Yun-Bi-Ya insight and knowledge of life is closely related to Mongolian raised, so Shangjian collection, a kind of literary taste of the smoked wind you should not ignore the interest Ruran, Indian stone, paper play, calligraphy and painting on the one hand practical or pleasing pleasing to the eye, but it is also a result of various device technology Fu Han and enhance the aesthetics of possession of those with the vision and temperament. The fourth is the mentorship make friends: painting printed inclusive, as it always Masashi anecdotes innumerable, every enthusiasts, practitioners also have their own preferences, association, Aristo, exchanges and discussions on a certain effect, behind closed doors, it alone can not create you must momentum, PO-Sung In addition to initiating the establishment of sea-Yan will join the Indian side extension set, Xuan Xiu India Club, also served as Secretary-General, Calligraphy Education Society, vice chairman of the appointment by the Taipei County and Taipei Language Competition assessment workshops for teachers in the teaching of calligraphy talks, due to various participation, the accumulated experience, contacts and even resources in art matters more than the natural growth of the benefit. (BingXu years Seiwa butterfly mountain room on the first draft)

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