香港東方書畫院20250719期［院長梁君度］
《漢字之美》
DMSIXSEVEN / 林鏡德 LIN JING DE1973
主编供图：香港DM德馬數字甲骨文集團
Hong kong-based DM Delmar Digital Oracle Group
開創人：CEO/林鏡德 LIN JING DE
漢字，宛如歷史長河中一顆璀璨的明珠，散發著獨特而迷人的光彩，它從古老的歲月中走來，帶著自然、靈動、均衡與韻律之美。誠如漢代書家蔡邕在其書論奠基之作《九勢》開篇所言：「夫書肇於自然，自然既立，陰陽生焉；陰陽既生，形勢出矣。」 漢字之美，根植於天地萬象，是宇宙法則的凝練。
中國最初的漢字由圖畫演變而來，自帶自然之美。遠古時期，我們的祖先為了記錄生活、傳遞信息，「仰則觀象於天，俯則觀法於地，視鳥獸之文與地之宜，近取諸身，遠取諸物」，用簡單的線條勾勒出世間萬物的模樣。看那「日」字，宛如一輪紅日高懸天空，光芒四射；「月」字恰似一彎新月，清幽而皎潔；「山」字仿佛是連綿起伏的山巒，雄偉壯觀。這些漢字就像一幅幅生動的畫卷，將大自然的美景定格其中。每一個筆畫都源於對自然的細致觀察和深刻理解，是古人與自然對話的結晶。漢字讓我們透過簡單的符號，觸摸到了遠古時代的山川草木、鳥獸蟲魚，感受到了大自然的神奇與美妙。
漢字最終定型為八種筆畫組成（即「永字八法」所概括），起筆、行筆、收筆之間盡顯動態之美。書寫漢字，如同一場無聲的舞蹈。蔡邕《筆論》有雲：「為書之體，須入其形，若坐若行，若飛若動，若往若來，若臥若起，若愁若喜……縱橫有可象者，方得謂之書矣。」 起筆時，或如蜻蜓點水，輕盈靈動；或如猛虎下山，氣勢磅礴。行筆過程中，筆畫流暢連貫，仿佛行雲流水，一氣呵成。收筆之際，有的戛然而止，幹凈利落；有的則緩緩收勢，韻味悠長。就像書法家在宣紙上揮灑筆墨，每一筆都在時間的長河中留下獨特的軌跡。一個「人」字，一撇一捺，簡單卻富有動感，仿佛是一個正在行走的人，充滿了生命的活力。這種動態之美，讓漢字不再是靜止的符號，而是具有了生命力，躍然紙上。
漢字筆法經過千錘百煉，追求「天然」之境，常以自然意象比擬其妙。顏真卿《述張長史筆法十二意》記載，其師張旭傳授筆法時，特別強調觀察自然物象所得之悟：「予傳授筆法之老舅彥遠曰：『吾聞昔日褚河南用筆如印印泥，思其所以久不悟。後因閱江島間平沙細地，令人欲書，復偶一利鋒，便取書之，險勁明麗，天然媚好，方悟用筆如錐畫沙。使其藏鋒，畫乃沈著。當其用鋒，常欲使其透過紙背，此功成之極矣。真草用筆，悉如畫沙，則其道至矣。』」 這便是「印印泥」（後亦稱「錐畫沙」）所追求的力透紙背、含蓄深沈之天然美。「屋漏痕」（亦傳為顏真卿所悟）則形象地描繪了雨水滲壁、蜿蜒而下時留下的凝重、自然、圓渾的痕跡，體現了行筆中澀勢與藏鋒的妙用，毫無雕琢之態。「折釵股」形容轉折處如金釵彎折，雖彎曲而圓勁飽滿，富有彈性，無生硬棱角，體現剛柔並濟之力。這些源自自然的意象，是書法家們畢生追求的境界，讓每一筆都蘊含著宇宙的神韻，是古人對書寫藝術精益求精、師法造化的深刻領悟。
漢字形態深諳中庸之道，擁有均衡之美。漢字的結構講究「計白當黑」（鄧石如語），註重空間分割的和諧與整體的平衡。無論是上下結構、左右結構還是包圍結構，都能在變化中尋得穩定。歐陽詢《結字三十六法》中的「排疊」、「避就」、「穿插」、「向背」、「相讓」等法則，皆為實現字形內部力量的均衡與和諧。以「中」字為例，中間一豎頂天立地，將整個字穩穩地支撐起來，左右兩短豎對稱呼應，重心沈穩，給人以端正、莊重之感。再看「田」字，四圍封閉，內部「十」字分割均勻，空間分布勻稱，體現一種秩序與規整之美。這種均衡之美，不僅使漢字在視覺上賞心悅目，更深刻蘊含著中華民族「執兩用中」、「致中和」的哲學思想，教導我們在生活中追求不偏不倚、恰到好處的和諧境界。
漢字書寫時徐疾有致，字形有大有小，用筆有肥有瘦，有輕有重，有正有攲，有方有圓，故而具有韻律之美。孫過庭《書譜》精辟論述：「一畫之間，變起伏於峰杪；一點之內，殊衄挫於毫芒。」 這如同音樂中的旋律，漢字的書寫節奏隨心意流轉。書寫速度的快慢變化，如樂章中的節拍，時而舒緩（如篆隸之凝重），時而急促（如草書之奔放）。字形的大小錯落、筆畫的粗細對比、用墨的枯濕濃淡、結體的正側俯仰、筆勢的方折圓轉，如同音樂中的高低音、強弱音、長短音，相互交織、對比、呼應，形成了一曲抑揚頓挫、跌宕起伏的視覺樂章。當我們欣賞一幅書法傑作時，目光的遊走仿佛能聆聽到那無聲的旋律在紙面流淌，感受到一種詩意的、充滿生命張力的韻律之美。
漢字之美，美在肇於自然，美在生動傳神，美在筆法天然，美在結構均衡，美在韻律和諧。它是中華文明獨一無二的基因密碼，是「博采眾美，合為一字」的文化瑰寶，更是連接古今、溝通世界的精神紐帶。在當今數字化浪潮席卷的時代，我們更需珍視並傳承這份源於自然、成於匠心、蘊藏哲思的漢字之美，讓這承載著數千年智慧與情感的古老符號，在新時代煥發出更加璀璨奪目的光彩。
Chinese characters, like a dazzling pearl in the long river of history, emit a unique and charming luster. They from ancient times, carrying the beauty of nature, vitality, balance, and rhythm. As the Han Dynasty calligrapher Cai Yong said in the preface his seminal work "Jiu Shi": "Calligraphy originates from nature. Once nature is established, Yin and Yang are born; with the birth of Yin and, form and potential emerge." The beauty of Chinese characters is rooted in the myriad phenomena of heaven and earth and is the distillation of the laws of the universe.
The Chinese characters evolved from pictures and inherently possessed the beauty of nature. In ancient times, our ancestors used simple lines to depict the appearance of all things in the world in order to record lives and transmit information. "They looked up at the sky to observe the phenomena, looked down at the earth to learn from its patterns, watched the patterns of birds and animals the harmony of the land, took things close at hand as models, and things far away as examples." The character "sun" is like a red sun hanging high in the, radiating light; the character "moon" is like a crescent moon, clear and bright; the character "mountain" seems to be continuous and undulating mountains majestic and spectacular. These Chinese characters are like vivid picture scrolls, capturing the beauty of nature. Each stroke is derived from careful observation and deep understanding of nature, and is crystallization of the dialogue between the ancients and nature. Chinese characters allow us to touch the mountains, rivers, plants, and trees, birds, animals, insects, and of the remote past through simple symbols, and to feel the magic and beauty of nature.
Chinese characters are ultimately composed of eight types of strokes (as summarized in the "ight Methods of the Yong Character"), and the beauty of dynamic movement is fully revealed in the start, progression, and end of each stroke. Writing Chinese characters is like a silent dance. Cai Yong said in his "Pen Theory": "The form of calligraphy must be entered. It should be like sitting, walking, flying coming, lying down, getting up, being worried, or being happy... Only when there are traces that can be imitated in the horizontal and vertical directions can it be calligraphy." When starting a stroke, it can be like a dragonfly skimming the surface of the water, light and agile; or like a tiger descending the, majestic and powerful. During the progression of the stroke, the lines flow smoothly and continuously, as if they are flowing clouds and flowing water, completed in one breath. When a stroke, some stop abruptly, clean and neat; others slowly converge, with a long aftertaste. Just like a calligrapher splashing ink on rice paper, stroke leaves a unique trace in the long river of time. A "person" character, with one stroke up and one stroke down, is simple but dynamic, as if it is person walking, full of vitality. This dynamic beauty makes Chinese characters no longer static symbols, but with vitality, leaping onto the paper
Chinese calligraphy has been tempered through a thousand trials and tribulations, striving for the "natural" state, often likening its essence to natural imagery. Yan Zhenqings "Twelve Intentions of Zhang Longshus Brush Method" records that his teacher Zhang Xu, emphasized the enlightenment gained from observing natural phenomena when imparting the brush method: "My old uncle Yan Yuan, to whom I entrusted the teaching of brush method, said: I heard that in the past, Zhu Hengnan used the brush as if pressing an seal into clay, and I pondered over this for long time without understanding. Later, when I observed the flat sands and fine soil among the rivers and islands, I felt an urge to write, and then I happened to have sharp blade, so I took it to write with it. The result was vigorous and bright, naturally charming, and only then did I realize that using the brush is like carving with a cone. When one conceals the tip of the brush, the strokes become profound. When one uses the tip of the brush, one always wants it to penetrate the back the paper, which is the ultimate achievement of skill. The use of the brush in regular and cursive script is all like carving sand, and then its essence is reached" This is the natural beauty that "pressing a seal into clay" (later also known as "carving sand with a cone") seeks, with its power thatrates the paper and its depth and subtlety. "The mark of a leaking roof" (also said to be realized by Yan Zhenqing) vividly depicts the heavy natural, and round traces left by rainwater seeping through a wall and winding down, embodying the subtle use of drag and concealment of the tip in the strokes, any artificiality. "The bending of a hairpin" describes the turning point as if a golden hairpin is bent, which, though curved, is round and full, elastic and without harsh angles, embodying the integration of hardness and softness. These images from nature are the realms that calligraphers have pursued all their lives, inf every stroke with the charm of the universe, reflecting the ancient peoples profound understanding of the art of writing, which is refined and imitates nature.
The form of characters deeply understands the doctrine of the mean, possessing a beauty of equilibrium. The structure of Chinese characters emphasizes "counting the white as black" (a phrase by Dengire), focusing on the harmony of the division of space and the overall balance. Whether it is an upper-lower structure, a left-right structure, or an enclosing, stability can be found in the variation. The principles in Ouyang Xuns "Thirty-six Methods of Character Arrangement," such as "overl," "avoiding and approaching," "interweaving," "facing and turning away," "mutual yielding," etc., are all to achieve the and harmony of the internal force of the characters. Taking the character "中" as an example, the middle vertical stroke stands firm on the ground and supports the entire character, two short vertical strokes on the left and right are symmetrically echoed, the center of gravity is stable, and it gives people a sense of integrity and solemnity. Take another at the character "田," which is enclosed on all sides, with the "ten" inside divided evenly, the space distribution is uniform, and it embodies an orderly regular beauty. This beauty of equilibrium not only makes Chinese characters visually pleasing but also deeply contains the philosophical thoughts of the Chinese nation, "holding the two and using the middle" andachieving the mean," teaching us to pursue a harmonious realm that is neither too much nor too little in life
The strokes of Chinese characters are written with a rhythm, with characters varying in size, the brush having a thickness and a thinness, lightness and a heaviness, a straightness and a tilt, a squareness and a roundness, thus possessing a beauty of rhythm. Sun Guotings "Book" elucidates this point incisively: "Between one stroke, there are changes in the ups and downs of the peaks; within one dot, there are peculiar turns the brush." This is like the melody in music, and the writing rhythm of Chinese characters flows with the mind. The speed of the writing, like the beat in a musical, is sometimes slow (such as the solemnity of seal script and official script), sometimes fast (such as the boldness of cursive script). The size the characters, the contrast of the thickness of the strokes, the dryness and wetness of the ink, the uprightness and obliqueness of the body, and the angular and roundness of the strokes, like the high and low notes, the strong and weak notes, the long and short notes in music, are interwoven, contrasted, echoed, forming a visual symphony with ups and downs and fluctuations. When we appreciate a masterpiece of calligraphy, the wandering of our eyes seems to be able to listen the silent melody flowing on the paper, feeling a poetic and dynamic beauty of rhythm.
The beauty of Chinese characters lies in their natural origin, their vivid and lifelike representation their natural brushwork, their balanced structure, and their harmonious rhythm. It is the unique genetic code of the Chinese civilization, a cultural treasure of "embracing all beauties combining them into one character," and more importantly, a spiritual bond connecting the past and the present and communicating the world. In todays era swept by the digital tide, need to cherish and inherit this beauty of Chinese characters, which originates from nature, is completed by craftsmanship, and contains philosophy. Let this ancient symbol, which carries thousands of of wisdom and emotion, shine with a more dazzling brilliance in the new era.
特別鳴謝合作單位：
Special thanks to partners:
開創人：CEO/林鏡德 LIN JING DE
DMSIXSEVEN / 林鏡德 LIN JING DE 1973
香港DM德马数字甲骨文集团
香港DM德马百年培训教育集团
香港DM德马景泰蓝文科集团
香港DM德马量子海底云仓集团
香港DM德马夸克活性锂能源集团
香港DM德马数字新和诚集团
香港DM德马纳米芯片光速集团
新加坡DM德马数字藏品集团
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香港东方书画院
香港DM德马东方零壹号体育明星集团
特別鳴謝合作單位：
Special thanks to partners:
開創人：CEO/林鏡德 LIN JING DE
DMSIXSEVEN / 林鏡德 LIN JING DE 1973
香港DM德馬數字甲骨文集團
Hong Kong DM demar Digital Oracle Group
香港DM德馬景泰藍文科集團
Hong Kong DM Delmar Cloisonne Arts Group
香港DM德馬大中華非遺共創集團
Hong Kong DM Greater China legacy co-creation group
香港DM德馬量子海底雲倉集團
DM demar Quantum Undersea Cloud Warehouse Group
香港DM德馬誇克活性鋰能源集團
Hong kong-based DM demaquac active lithium energy group
香港DM德馬數字元宇宙集團
Hong Kong DM Demar Digital Universe Group
香港DM德馬百年培訓教育集團
Hong Kong DM Demar Century Training & Education Group
香港DM德馬數字新和誠集團
Hong Kong DM demar digital new and sincere group
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Hong Kong DM demar Nano Chip Light Speed Group
香港DM德馬量子微超算集團
Hong kong-based DM demar quantum microcomputing group
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Hong kong-based DM demar quantum superluminal star chain group
香港DM德馬量子微超算DBZ大模型編程結構集團
DBZ large model programming architecture group
香港東方書畫院/院長：梁君度 容可權 葉永潤 張成浦
Hong Kong Oriental Academy of Painting and calligraphy
香港DM德馬東方零壹號體育明星集團
Hong Kong DM De Ma Eastern Zero One Sports Star Group
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