(一)

　　深圳女书家徐洁出生在浙江金华，其父徐裕国60年代师从汪达川先生。金华俗称古婺，婺剧誉满天下，我听过《秋瑾》一剧，音腔凄婉激越，荡气回肠。我曾有幸欣赏过徐先生的书画作品和他上世纪60年代绘制并收藏40余年的《婺剧服饰图谱》，既有皇族贵气，又有民俗灵趣，可谓精美绝伦。《婺剧服饰图谱》2006年入选首届非物质文化遗产并于2007年在深圳文博会上首次向世人展示，被海内外行家称道。徐先生温文儒雅，朴素和善，可亲可敬，他德艺两方面的优良基因在女儿徐洁身上得以遗传。

　　徐洁幼承家训，受父影响。耳濡目染，潜移默化，传统文化深深烙印于心。上世纪九十年代就读于中国美术学院，师从王冬龄、金鉴才、金铮等诸师。而今她是深圳市书协，广东省书协重要骨干，二十余年活跃深圳书坛，走南闯北参与和组织了有关书法的各项活动，在社会上都有很大的影响。在深圳有一个书画艺术沙龙，她是异常活跃的人物之一。孙振华，刘子建，陈加林，鲍传江，张之先，都是沙龙精英，他们的触角遍及全国。

　　如今的徐洁，在创作的同时，全情致力于少年儿童的书法教育培养，桃李满天下。书法在深圳这个现代大都市有着广泛的爱好群体，她的弟子中甚至有不少老外。在体制外，执着地进行着这样事业的人，是值得尊敬的。至于对徐洁给出一个文学的概括，用台湾诗人痖弦形容中国女性的词语是比较贴切而有意思的：闻过书香的鼻，吟过唐诗的嘴，看过书画的眼。况且徐洁天性温柔，姿色悦人，吴越的灵山秀水，不愧是才子佳人真沃土也。

　　(二)

　　隔行如隔山。我自幼喜爱书法，止于欣赏。好在浸淫日久，总有一些感受够胆班门弄斧。

　　《草诀歌》开篇道：草圣最为难，龙蛇竟笔端。徐洁独钟草书，其内心世界可想而知。三十多年前，我在恩师家偶然接触到一幅秋瑾的诗，正是一位书法家用草书挥就：“一腔热血勤珍重，洒去犹能化碧涛”。多么豪迈的诗句，多么令人景仰的俊杰。时隔几十年，每次吟来，总使眼眶发热。那一天因记住秋瑾的诗而记住了《草诀歌》，记住了《草诀歌》的“龙蛇竟笔端”。“龙蛇”、“热血”浑然一体，直冲云天。我感觉草书就是热血和激情的化身，它为英雄抒怀，它为烈士壮志。

　　徐洁作为一介女子，十数年独独眷恋草书，不离不弃，所谓“不痴不悟，不悟不痴”。想当年，她手舞三尺龙泉，越王的剑魂，疑为在今天的越女身上附体。扯玄了。当今写草书的女书家何止徐洁一人，或许都认识到，在大草一路，会能作出成绩来。

　　我读徐洁的草书，是照大江东去图按图索骥的。那里面展现的是恣肆汪洋、气势万里的胸怀。我认为草书的本性如此，它婉如一匹骏马驰骋草原。古代张旭、怀素、徐渭等大师是乘着文学和诗的浪漫主义翅膀高高飞扬的。草书从某种意义上最能体现中国传统文化精神，是中国文人在极度逼仄的现实空间里心灵对神的梦游。从这点看，草书和古代仕子的性格是统一的。正是如此，所创造的草书才焕发出撼天地泣鬼神的艺术魅力。大师们把草书艺术推向历史峰巅，给后人留下高山仰止的背影。

　　“世间无物非草书”。徐洁说草书的继承很难，发展更是难于上青天。所以她认为今人能做的就是借书法写古人的高风亮节，博大情怀，以期达到能和伟大与崇高做一些跨时空的虔诚的交流。

　　(三)

　　中国的书法有悟道的脾性。我看过许多书写者在书写时，都作提神运气状，这是东方文化所特有的精神状态。以前学中国传统哲学时，老师总结说，学了一肚子“气”。“气”对之书法有无比玄妙之用，但徐洁重视不是形而上的“气”。形而上的气是宇宙万物的根源，形而下的气是具体事物生命场景。所谓事物的气场就是在这个意义上的，她能使一切无机、有机，无为、有为，自在、他在，无我和自我和谐成一个玄妙的类似于“神”的东西。中国“神”的观念，不是西方的“上帝”，中国的“神”一指天上的“仙”，二指天人合一的境界。“气场”的概念对徐洁在创作中体会颇深。她具体地解释：气随点划走，形来意早在。一幅作品要有特点是必须的。一个书家要有风格，细技末节是其切入的重点，这往往被当今书家作为确立自己书风的捷径。自我，品味，以及现实生活“态”，是每一个书家可资利用的资源。这些在“气场”的牵引下，攀上精神的高台，书法的书写便有的放矢了。此时一幅书法的内容已并不重要，它已经升华为形而上的形式审美。

　　对许多人来说，书法美的构成必须是经验的，是在具象上所生发出来的抽象。欣赏者以类取象，以类比象，把作品的盖头掀将开来。如龙争蛇斗，狮子搏象，担夫让道，惊鸟穿林，庙堂气、书卷气描述等等。对徐洁的个体经验来说，她年少时在浙江省武术队学过刀枪棍剑拳，我看她的草书线条中或多或少有剑舞之美，只是感到虚招少了一些，但整体气势很好。

　　我谈徐洁的草书，总想在其中寻找可供咂摸的味道。但流连在细微之处，有四顾茫然之感。在那千回百转的线的丛林里，不知去往何处。我想草书的欣赏就是那么“大概”的东西，是整体气象，是森林，而非一草一木。

　　徐洁所书的内容多是唐诗宋词，“细雨湿衣看不见，闲花落地听无声”，“墙角数枝梅，凌寒独自开”。等等。中国古诗词是中国文学的精华，神形兼备至性至情且韵律抑扬，这些特点正好是一幅书作所需要的基本物质和精神内涵。在此内涵上，书法特别是草书的形式才能独立成为审美内容。

　　今天的专业和业余书家，更多地注重书法的形式美，而我想古人书写大概是内容、情致和表现融为一体，这样的书写才可能是书家的完美追求。

　　今天，时代的风向不同了，书法就只能是“形式”的样子。我想徐洁们肯定不甘落后于时代，她们的追求或许更贴切下面这句诗意：一个牧人要赶远路，只带上最珍贵的东西上马走人。

　　(四)

　　“墙角数枝梅，凌寒独自开，遥看不是雪，为有暗香来”

　　徐洁此幅作品中最重要的因素是“力”与“动”。“动”也可说是“势”。她说草书的流畅气韵是“力”和“动”相互作用的，力作用的核心是动。动的方式在艺术感染上可以是明显和强烈地打动，也可以是不知不觉地感染和熏陶。“墙角”二字墩实自在，是一种力的积蓄状态。“数枝梅”在自身纷繁有序的内部作结构铺排，这种结构也是一种“动”的聚集，但已经不能再等待了。“独自开”把强烈的内力释放出来!形式和内容要求在这里达到第一个高潮。“遥知不是雪，为有暗香来”，这几字很有个性，活灵活现地把此诗的神韵点缀出来了。犹如洛神凌波，仙子驾云般轻松浪漫而又随意。这两句在线条，笔划结字造形和走势上达到自然朴实，松动。“拙”和“涩”在此处形成局部亮点，频添了作品的魅力，是全书的精华。文学家会说，有种身心俱醉的震撼和征服。

　　“为”、“有”字在“力”的驱使下，形有些改变，通常这种改变会给人带来不安全感，但在此处，她呼应了“墙角”的“实”和“气”，意味上体现出放而不荡，纯而不静的怀春的情态。

　　此幅作品，书家在用笔上也颇费心机，结字以圆求方。取势上以静求动，行笔淋漓酣畅，线条豪放而弥漫张力。

　　“月落乌啼霜满天”，是脍炙人口的经典绝唱。徐洁的此作是一幅行草。行草在线条和节奏感观上似乎“慢”一些。狂草给人印象是运动性激进，但本质上仍是一种“慢”的积累。行草或许能较好地表现该诗的淡定、安然和详和。无论草书、行书均藏有浩然之气。孟子曰：养浩然之气。而“养”就要有点“纯粹”，就要远离俗味。徐洁近年从事对社会的书法教育，客观上她在自然地给自己创造了一个“纯”的艺术环境。

　　这篇作品恰似一首极其抒情的小夜曲。当然一幅书法不能完全等同一部音乐或文章，有故事，戏剧性和高低潮等。但它仍然可以在行笔、谋篇布局上求得丰富的变化，用音乐术语曰起承转合，用哲学文学术语曰对立统一。徐洁的这幅作品就蕴涵着其中的玄机。

　　第一句“月落乌啼”起得有情有意有力。一般起笔都这样叫风波乍起。第二句“江枫渔火对愁眠”，波浪落下。在这里，徐洁用细致的线条表达姑苏之夜的静谥，同时也控制住书写节奏。接下来高过第一波的“姑苏城外寒山寺”，张力开始显现，但不能更多地停留，也不须过分夸张，在一个统一的度内很得体。最后一句“夜半钟声到客船”，从容淡定落下，一气呵成。此作可认为是徐洁作品的佳作，内容形式高度契合，行云流水，抑扬有致。书法线条的形质上也透出书家性别的甜美，圆润玲珑而剔透，如淙淙泉水，流向远方。

　　徐洁的草书能自主高标，独树一帜，且不丑不怪而美，是极不容易的。我问她为什么痴迷于草书。她说：草书是在墨池中的渲泄，是一种美好希望的诞生，或是一个美好希望的破灭。不可思议。我想书法家这种内心，或许就叫状态吧。“天风浪浪，海山苍苍，其力弥满，万象在旁”。读徐洁的草书，便有独步此景之感。

　　边成军

　　2009-01-06

Appreciation on Xu Jie’ s Cursive Script

　　January 06, 2009

　　Author: Bian Chengjun

　　(I)

　　Xu Jie, a female calligrapher, was born in Jinhua, Zhejiang, Xu Yuguo, Mr Xu’s father, learned from Master Wang Dachan, Jinhua is commonly known as Guwu, and Wu Drama is well know across China, I heard ‘Qiu Jin’, a Wu Drama full of sadly moving and intensely touching style, is soul-stirring. I’m fortunate that I ever appreciated painting and calligraphy works of Mr Xu and Atlas of Clothes for Wu Drama, which was painted by him in the 1960s and under his collections for over 40 years, such work casts royal nobility and brilliant folk customs, is extraordinary fine, Atlas of Clothes for Wu Drama was elected one of first intangible cultural heritages in 2006 and it was shown to masses in Shenzhen Cultural Fair in 2007 for the first time, being recognized by aboard and domestic experts.

　　Mr Xu is cultured, learned, modest,. kind, easing going and respectful, and his outstanding genes in moral and skill sides are inherited to his daughter Xu Jie.

　　Xu Jie inherited family instructions during her childhood, and she was affected by her father. She was unconsciously influenced by surroundings. Traditional culture impressively casted the brand in her mind. Ms Xu attended China Academy of Art in the 1990s, learning from Wang Donglin, Jin JIancai, Jin Zheng and other masters. Currently, she is an important backbone of Shenzhen Calligraphers' Association and Guangdong Calligraphers' Association, and she actively behaved in the calligraphy circle of Shenzhen, traveled extensively and organized activities relating to the calligraphy, imposing significant influence in the society. She is one of most active figures in a calligraphy & painting art salon in Shenzhen. Sun zhenhua, Liu Zijian, Chen Jialin, Pao Chuanjiang and Zhang Zhixian are elites of that salon, they touched the whole China.

　　Currently, Xu Jie is completely dedicated to the education and training of children. There are a wide range of lovers of the calligraphy in model metropolis like Shenzhen, and quite a few followers of Ms Xu are foreigners. It is worth of respecting insistently such cause beyond the system. As regards literary conclusion on Xu Jie, it is appropriate and significant to describe wordings of Ya Xue, a Taiwanese poet: Namely the nose smelling the sense of the literature, mouth singing the poetries of the Tang Dynasty and eyes gazing the calligraphy, and Xu Jie is provide with gentle nature and pleasing charm, delicately pretty hills and rivers in Jiangsu and Zhejiang is worthy of genuinely fertile soil breeding brilliant talents and nice females.

　　(II)

　　The difference in profession makes significant gap. I loved the calligraphy during my childhood, but I just remained in the appreciation. Fortunately, I was increasingly immersed myself in the calligraphy, and I had my sensation to teach fish to swim.

　　It is read in the preface of the Poems of Cursive Script Knack that “The works of Zhangxu, cursive script grandmaster, is hard to grasp, unstained cursive script originates from the writing.”. Xu Jie merely loved the cursive script, and her inner world was reachable. I found a poem of Qiu Jin at the home of my respected teacher: “”Yi Qiang Re Xue Qin Zhen Zhong, Sa Qu You Neng Hua Bi Tao” (pronounced in Pinyin), which was completed in cursive script by a calligrapher. How grand and heroic the verses are, and how respectful and admirable master is. I would have my eye sockets full of tears when I read them loudly even through decades of years past. I remembered the “unstained cursive script originates from the writing” from the Poems of Cursive Script Knack because of bearing the poems of Qiu Jin in my mind. “Unstrained Illustration” and “Vigorous passion” integrate into the wholeness and directly reach the peak. I believe the calligraphy is the embodiment of the enthusiasm and the passion, and it expresses the ambition and aspiration of the hero.

　　As a dedicate female. Xu Jie merely and sentimentally attached to the cursive script for decades, being described to be “No addiction, no apprehension; No apprehension, no addiction”. Tracing back of past days,, she brandished Longquan Sword, the sword spirit of the king of Yue State possesses the body of the female from Zhejiang. It is incredibly. Currently, there are a great many female calligraphers majoring in the cursive script, that is recognized there will be great fruits in the circle of grand cursive script.

　　I literally traced back Dajiangdongqu Painting to appreciate the cursive script of Xu Jie. Where crazy, jazzy, grand and magnificent ambition is reflected, and I believe that the nature of cursive script should be expressed in this way, and it should be driven on the prairie like a steed. Zhang Xu, Hua Su, Xu Wei and other cursive script masters in ancient China rode on romantic wing with the literature and poems to highly fly. The cursive script, in some sense, best reflects the spirit of Chinese traditional culture, being the yearnings of Chinese traditional literati’s minds on the deity in extremely narrow but real space. Viewed from this point, the nature of the cursive script is similar to the character of traditional scholars in ancient China. It is exactly for this reason that the cursive script created by Chinese scholars in ancient China shines strike the heaven and hell and god & ghost moved art charm. The masters carried the cursive script art forward historic summit, leaving unparallel background.

　　“Everything worldly created is reflected in the cursive script”. Xu Jie claimed that it was rather hard to inherit the cursive script, let along the advancement in the cursive script. Hence she believed that what modern calligraphers could do is to express exemplary conduct, noble personality and broad feeling of traditional literati in ancient China with the aim of religiously communicating with the greatness and loftiness by spanning the time and the space.

　　(III)

　　There is the habit of apprehending the truth of Chinese calligraphy. I noticed quite a few calligraphers displaying their vitalities and apply their energies when they made writings, and it is exclusive mental state of oriental culture. Previously, our teacher summed that a great deal of “Qi” was comprehensive when Chinese traditional philosophy was taught. The “Qi” plays miraculous role in the calligraphy, but Xu Jie doesn’t attach great importance to metaphysical “Qi”, which is the source of all creations in the universe, physical Qi is the scene of specific substance and life. The alleged mental aura is in this sense. She is able to harmonize all inorganic matters, organic matters, inactive stuff, active stuff, self-availability, alien-availability, anatman and ego into the substance similar to the “deity”. The concept of “deity” in China doesn’t mean the “God” in western world. The “deity” in China firstly signifies the “immortal” in fairyland, and then means the realm of the harmony between the heaven and human, the concept of “mental aura” is profoundly comprehended in the creations of Xu Jie. She explained specifically that “The Qi follows traces of strokes, and the implication exists prior the availability of the form”, it is necessary that a work is of characteristics. Concrete techniques and details are keys to go further, which are treated as shortcuts of modern calligraphers to secure their writing styles. The ego, appreciation and the “state” in real life are sources qualified to be made use of. These climb up the summit of the spirit under the driving of the “mental aura”, and then the writing of the calligraphy is targeted. At that moment the content of the handwriting is secondary, and it has ascended to be metaphysical form of beauty-appreciation.

　　The composition of handwriting beauty of the handwriting must be sophisticated, and it is the abstract from the concrete. The appreciator extracts the concrete from the similarity and compares the concrete from the similarity. The preface of the work is unveiled. It fiercely and violently behaves like the atmosphere of royal court, scholars’ style and other similar characters described. For individual experience of Xu Jie, who practiced the broadsword, spear, stick, sword and boxing techniques during her childhood, and I experienced there were more or less beauty of sword performance from lines of her cursive script, and the overall vigor was great except that I feel there were less virtual techniques.

　　I always want to find out the flavor available for pondering. But I have blank sense while wandering subtle state. I’m confused and don’t know where to move forward in that twisting and snarling crowds of lines. I just appreciate the “skeleton”, that is overall atmosphere or exactly the forest rather than single glass or tree, of the cursive script.

　　Most details of Xu Jie’ s handwritings are poems from Tang Dynasty and poetries from Song Dynasty, like “Xiyu Shiyi Kanbujian, Xianhua Luodi Tingwushen” (Pinyin of Chinese characters), “At a wall corner some plum trees grow, Alone against cold white blossoms blow”. Classical Chinese poems and poetries are essences of Chinese literature, combining the content and the form, being true emotion and affection, and the rhythm is rhythmic, while these characteristics are just basic substances and spiritual connotation required in a handwriting work. In this connotation, only the form of handwriting (especially for the cursive script) is expressed independently can it become the content of beauty appreciation.

　　Modern professional and amateur calligraphers trend to lay emphasis on formal beauty of the handwriting, I believe the handwritings of Chinese ancient integrate the content, temperament, hobby and expression, only this type of handwriting is perfect pursuit of the calligrapher.

　　However, the fashion of the times alters, and the handwriting is the pattern of the “form”. I think handwriting performers like Xu Jie are unwilling to lag behind the times, and maybe their pursuits further coincide the meaning of the following poem: A herdsman has to ride the horse and leave with the most precious stuff to take a long way.

　　(Ⅳ)

　　“Qiangjiao Shuzhimei, Linhan, Duzi Kai, Yaozhi Bushixue, Weiyou Anxianglai” (Pinyin of Chinese characters”

　　The most important factors in this work of Xu Jie are the ‘strength’ and ‘motion’. The ‘motion’ can be described to be “momentum”. She thought that fluent artistic concept of the cursive script is interacted by the ‘strength’ and ‘motion’, the core of the strength’s action is the motion. The pattern of motion is significantly and fiercely moved from the perspective of artistic movement, and unconscious influence and edification can be thought. “Qiangjiao” (Pinyin of Chinese characters), two Chinese words indicates the solidity and ease, being a type of accumulation state of the strength. “Shuzhimei” lies in the layout of complicated and orderly internal structure, and this structure is also the assembly of the “movement”, but no further waiting is acceptable. “Duzikai” releases intense inner strength! The requirements on the content and form reach the first climax here. “Yaozhi Bushixue, Weiyou Anxianglai” (Pinyin of Chinese characters), these Chinese words are full of uniqueness, vividly adorning romantic charm of that poem. Just like Luohe River’s goddess takes trace walk and the fairy rides on the cloud, being easy, romantic and at will. These two verses reach natural, simple and realm in the line, stroke, word composition, shape and momentum. The “dullness” and “bitterness” form local spotlights here, frequently adding charm to the work, and being the essence of the whole handwriting. The litterateur will exclaim for an enchanting stroke and conquering in the hear and mind

　　The forms of “Wei” and “You” (Pinyin of Chinese characters) are slightly changed under the driving of the ‘Strength”, normally this alteration will cause the sense of insecurity. But here they echo the ‘solidity’ and ‘atmosphere” of the “a wall corner”, reflecting an emotional state bold but not jazzy, and pure but not dull connotation of love

　　The calligrapher spent substantial efforts on this work, the square form is sought from round pattern in word patterning, and the stillness is sought from the movement in momentum seeking, the stroke handling is stunning and smoothly, and the line is wild and bold and full of strain.

　　“Yueluo Wudi Shuangmantian” (Pinyin of Chinese characters) is well-known and popular classic master piece, the handwriting of this poem of Xu Jie is a running cursive script. The running cursive script seems to be slightly “slow” in the line and rhythm perception. The wild cursive script leaves the impression of movingly aggressive advancement, but naturally it is the accumulation of the ‘slowness’. The running cursive script maybe can properly show the calmness, ease and luckiness of that poem. Both the running script and cursive script are implied with the spirit of magnanimity. Meng-tze said the breeding of the spirit of magnanimity. While the word ‘Yang’ (Pinyin of Chinese character) seems to be a bit “pure”, and it is needed to stay far away from worldly temperament. Recent researches of Xu Jie on social calligraphy objectively create s “pure” artistic environment for herself.

　　This work is pretty similar to an extremely lyric serenade. Certainly, a handwriting work can’t be completely equal a composition of music or article, in which the story, theatricality, valley and peak, etc are available. But the handwriting work also may seek abundant alterations in the stroke drawing and composition layout, the music terms are used to take commencement and transition, the terms of theatricality and literature are used to have the unity of opposites. This work of Xu Jie implies mysterious secretes concerned.

　　The first semi-couplet Yueluo Wudi” (Pinyin of Chinese characters) is started affectedly, meaningfully and powerfully, normally the first stroke of the handwriting is called preliminary emerging of the stroke, “Jiangfeng Yuhuo Duichoumian”, the second semi-couplet has thr wave slump. Xu Jie expresses the quietness of Suzhou with exquisite lines and controls the writing rhythm. Subsequently, “Outside Suzhou Hanshan Temple is in sight” exceeded the first wave, the strain starts to appear, but it can’t be further lingered, and no extra exaggeration is required, it is appropriate to be within a unity degree. “Its ringing bells reach my boat at midnight”, the last semi-couplet calmly falls, making smooth reading. This work can be regarded as an excellent work of Xu Jie, the content greatly coincides with the form, posing smooth, rhythmic and orderly charm. The form quality of the handwriting’s line also reflects the sweetness, mellowness, exquisiteness and clearness, flowing towards the distance like running spring.

　　The cursive script is of Xu Jie is of dependent, highly standard and unique, it looks so beautiful without being ugliness and weirdness, and it is greatly extraordinary. I asked her for the reason why she was obsessed in the cursive script. She answered: “The cursive script is the vent of thoughts in the ink stone, and it is birth of wonderful promise or the elimination of great hope. Inconceivably, I think the inner mind of the calligrapher is called the state. “Tianfeng Langlang, haishan Cangcang, Qili Miman,Wangxiang Zaipang”, I will have the sense of lonely viewing that scenery while appreciating the cursive script of Xu Jie.

作者：边成军