娱乐圈有凤姐，地球人都晓得;书法界有大侠，也有目共睹;但书法界有“凤侠”你晓得吗?该“凤侠”仍金华人氏，18岁闯荡红荔生南国的鹏城——深圳，与一帮道上的哥们打成一片，现如今北上京城继续埋头深造的徐洁。听说，她对北京宋庄的疯疯颠颠、虔虔诚诚的现代艺术家佩服得五体投地，她可能学不全他们，关上门，沏一杯茶，一天睡五六个小时，然后忘情忘我、不知不觉玩味挥洒十几小时的书象作品却是经常发生的事。她自言：“我已不太适应金华的慢节奏生活了，我在金华呆不长时间就想跑路。”她自语：“理性思考，非理性创作。抑或，反之。君子和而不同。我已经在草里，还往草里飞去，草得一塌糊涂。”

　　尽管前卫，她个展的开幕式依旧难以脱俗，王冬龄、马文汉、杨守春一些老师领导还是要站在红地毯上给她撑撑面子。她让我难忘的是开幕前一晚她请的3位外地同道同学(接近粉丝级的)，外添我和《书法》杂志社副主编孙稼阜共往重庆口味的路边小店吃宵夜，酒席毫无顾忌的一番谈论倒充满趣味和特色。其中从合肥乘私家车过来的、眼睛近视900多度的一位梁姓先生天语缠嘴，有些形容词的确说中了徐洁书法的要害：蚯蚓折骨，石中抽丝，宣纸呼吸，立锥成桩。几杯高度白酒下肚后提提蛤蟆眼镜框郑重地：“你的书写内容必须讲究，譬如可以写‘新娘原是纺织娘’、‘新娘原是待嫁娘’之类，你的笔触会对这些内容产生反应。”徐洁听了，果然来劲：“对对，我有时写得很投入，仿佛气若游丝，死了一样，大脑一片宁馨。书法细线条不是有细若游丝的说法吗?太不可思议了。”我和孙稼阜互相看看，若有所思。当传统书法家津津乐道二王书法、赵董书法如何妩媚的时候，现代型书法家思考深度(不仅用脑思考，还用身体感受思考)远远地推进了，是一个值得认真对待的现象。假如传统书法家多一些现代意义的文化考量，现代书法家多一些传统书法家坚坚硬硬的经典书写技巧，何愁当代书法出不了比肩先贤大家的书法巨匠呢!

　　男女双修，修成正果。宗教讲男女双修的歧解不妨看作是所有从艺者的自我身心修养，谁不修道悟道，谁就很难在艺术道路上走得远、走得好，古今中外莫不如是。从小练过武术的徐洁书法依我个人的陋见正是“凤侠”两字概括了她书法的基本精神——凤，女儿气暗香盈袖;侠，“捉刀不如挥剑，前者糙，后者雅而霸。”霸王花，凤侠也。

　　蔡树农 2012年10月6日

　　“Heroic Phoenix” Xu Jie

　　Cai Shunong, October 6, 2012

　　All worldlings know that there is a “Sister Phoenix” in the entertainment world; it’s also seen by all that there are “master swordsmen” in the calligraphy world; but do you know there is still a “Heroic Phoenix” in the calligraphy world? This “Heroic Phoenix” is Ms. Xu Jie, a native of Jinhua, who started her adventurous journey in the beautiful southern city Shenzhen when she was only 18 years old, and then worked hard together with a group of buddies in the same trade by identifying herself closely with them; and whohas gone northward to Beijing for her further arduous studies at present. People say that she admires passionately those insane and pious modern artists at Songzhuang, Beijing, maybe she can’t learn entirely from them, yet it’s a frequent occurrence for her to shut up the door, make a cup of tea; sleep 5 or 6 hours one day, then become unruffled by emotion, and oblivious of herself, further ponder calligraphic imagery works unawares and indulge in them for over 10 hours. She said to herself, “I have become somewhat estranged from the slow-paced life of Jinhua, and I will want to leave after only a short stay at Jinhua.” She talked to herself, “Rational thinking, irrational creation; or vice versa. Gentlemen seek harmony but not uniformity. I am already in the art of cursive script, and am still flying toward it, in a totally unrestrained manner in the art of cursive script.

　　Though she is avant-garde, the opening ceremony of her solo exhibition was still hardly free from vulgarity, some masters and leaders such as Wang Dongling, Ma Wenhan, Yang Shouchun and so forth would still stand on the red carpet to afford a support for her face. I was especially impressed by her inviting 3 nonlocal classmates (nearly her fans) of the same pursuit plus Mr. Sun Jiafu (the deputy editor of the Calligraphy Magazine agency) and me together to have a late-night snack at a street Chongqing-cuisine eatery on the eve of the opening ceremony, the unscrupulous discussion during the meal was really full of interest and character. A very nearsighted Mr. Liang, who came by his own car from Hefei, was very eloquent and talkative, uttered some descriptive words indeed hitting the crucial point of Xu Jie’s calligraphy, such as: “earthworms breaking bones”, “drawing fibers from rock”, “Xuan paper breathing”, and “erecting awls as pillars”. With several cups of hard liquor swallowed, he adjusted his flog-like glasses and said seriously, “You have to be particular about the contents of your handwriting, for example you can write ‘the bride turns out to a weaving girl’, ‘the bride turns out to a bride-to-be’ and so forth, and your strokes will react to these contents.” Having heard this, Xu Jie got in high spirits as expected, “It’s really right, I sometimes write very ardently as if my breath were a faint silk and I were dead with a complete tranquility of mind. Is there a saying that fine calligraphic lines are like gossamer? It’s really incredible.” Sun Jiafu and I looked at each other as if lost in a deep thought. While traditional calligraphers take great delight in talking about how the calligraphic styles of the master calligraphers Wang Xizhi, Wang Xianzhi, Zhao Mengfu, and Dong Qichang are graceful, modernistic calligraphers have far advanced their depth of thought (not only thinking with the brain, but also feeling the thinking with the body), and this is a phenomenon worth treating seriously. If traditional calligraphers take more cultural considerations of modern sense, and modern calligraphers’ have more of traditional calligraphers’ rigid classic handwriting skills, why should we worry about the non-emergence of great calligraphers in contemporary calligraphy, who can rival the great masters in ancient times!

　　The integration of yin (femininity) and yang (masculinity) leads to the desired result. As an extended interpretation, the integration of femininity and masculinity in religion may well be regarded as the bodily and mental self-cultivation of art professionals, those who don’t cultivate themselves according to the “way of truth” and realize it can hardly go far and well on the road of art, and the case is the same at all times and in all places of the world. As regards the calligraphy of Xu Jie, who used to practice wushu in her young age, the two words “Heroic Phoenix” exactly outline the basic spirit of her calligraphy according to my poor opinion – the “Phoenix” means the mysterious permeative aroma of femininity; and the “Heroic” means the boldness with grace.” The “Heroic Phoenix” is just “King Flower”.

作者：蔡树农