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香港東方書畫院20260408期［院長梁君度］ 笑談當代書法展 DMSIXSEVEN / LIN JING DE /1973 主編供圖：香港DM德馬數字甲骨文集團 Hong kong-based DM Delmar Digital Oracle Group 
某日，鍾繇、王羲之、顏真卿等9位書法大家圍坐在一張老榆木畫案前，案上擺着幾本厚厚的當代書法展圖錄。窗外竹影婆娑，室內茶煙嫋嫋，大家一邊翻看、一邊聊開了。 王羲之率先開口，他指着圖錄裏一張巨大的作品，輕輕搖頭：「我寫《蘭亭》的時候，不過是在暮春之初，天朗氣清，惠風和暢，跟朋友們喝了點酒，乘興寫的。那會兒哪想過什麼展覽不展覽？現在這字，寫得比門板還大，掛在大廳裏，倒是氣派。可我想問一句：寫的時候，心裏可曾有一絲『快然自足』？還是只惦記着『這尺寸夠不夠震撼』？」 米芾毒舌道：「豈止是大！滿紙塗抹歪扭，說是創新，我看是『創病』。我刷字是痛快淋漓，他們這是裝瘋賣傻，全是惡札。」 顏真卿神情嚴肅：「我寫《祭侄文稿》是血淚交迸，字字有魂。我看今天有些展覽，技術不可謂不精，形式不可謂不新，可就是缺了這口氣。字是冷的，心也是冷的。寫給別人看的，不是自己心裏非要吐出來的。」 柳公權點頭：「我重『心正筆正』。今之展覽像大集市，熱鬧一場，記住的只是形式，不見寫字之人，本末倒置。」 孫過庭翻出《書譜》：「書法有『五乖五合』。今人為湊數趕場，『五乖』佔全，縱使技法純熟，又怎能『達其情性 』？」 褚遂良輕嘆 ： 「年輕人確有靈氣，可惜多在模仿『展覽體』套路。學的不是古人精神，而是統一模板，審美疲勞。」 王鐸拍案 ： 「寫字得有那股勁兒！我漲墨淋漓是興之所至。如今卻是『精心策劃』的隨意，沒膽沒勢，創什麼新？」 趙孟頫溫和道：「既要入古，又要出新。今人作品或失法度成野狐禪，或失古意成無源之水。關鍵是拿起筆時，心裏裝的是什麼。」 鍾繇最後慢悠悠地說：「我當年寫字，心裏有感便寫，寫完自己舒坦。書者，散也。為展覽而寫、為人看而做作，便失了根本。與其滿世界展覽，不如先在書房裏把筆伺候好，字是寫給自己心看的。」 王羲之飄逸總結：「書法千年，變的都是形式。你拿起筆時，心裏有沒有那陣『惠風和暢』？有，怎麼寫都對；沒有，怎麼展覽都是空的。」 眾人點頭，相視一笑，各自品茶。 One day, nine great calligraphers—Zhong Yao, Wang Xizhi, Yan Z, and others—sat around an old elm wood painting table, upon which lay several thick catalogues of contemporary calligraphy exhibitions. Outside the window, bamboo shadows swayed gently;e, tea smoke curled softly. As they flipped through the catalogues, the conversation began. Wang Xizhi spoke first, pointing to a massive work in the catalogue and shaking his had slightly: "When I wrote the *Lanting Xu*, it was merely the beginning of late spring, with clear skies and a gentle breeze. I drank a little wine withds and wrote it in a fit of inspiration. At that time, who would have thought about exhibitions? Now, the characters are written bigger than door panels and hung in grand halls, lite imposing. But I must ask: when writing, did the artist have even a trace of 'joyful self-sufficiency' in his heart? Or was he onld on whether the size was 'shocking enough'?" Mi Fu, with his sharp tongue, retorted: "It's not just big! The whole page is smudgedand twisted. They call it innovation, but I see it as 'creating illness.' I write with abandon, but they are just pretending to be crazy and foolish; it's all badligraphy." Yan Zhenqing looked grave: "When I wrote the *Draft for a Memorial to My Nephew*, it was a mingling of blood and tearsry character possessing a soul. I see some exhibitions today where the technique is not unrefined and the form is not unoriginal, yet they lack that vital breath. The charactrs are cold, and the heart is cold. They are written for others to see, not for what the heart must pour out." Liu Gongquan nodded: "I emphasize 'pright mind, upright brush.' Today's exhibitions are like grand markets; after the commotion, only the form is remembered, not the person who wrote it. It's putting the carre the horse." Sun Guoting pulled out the *Shupu*: "Calligraphy has the 'Five Discordances and Five Harmonies.' Nowadays, people rush to meet deadlines, posing all the 'Five Discordances.' Even if their technique is pure, how can they 'express their true nature'?" Chu Suiliang sighed softly: "Young people do ined possess a certain spirit, but unfortunately, most are imitating the 'exhibition style' formula. They learn not the spirit of the ancients, but a unified template, leading etic fatigue." Wang Duo slammed his hand on the table: "Writing must have that spirit! My wet-ink technique is a result of inspiration. Nowadays, ia 'carefully planned' spontaneity—no courage, no momentum. What innovation is there?" Zhao Mengfu spoke gently: "One must both enter the past and emerge ith the new. Modern works either lose the rules and become wild Zen, or lose the ancient spirit and become water without a source. The key is what is in the heart when one up the brush." Zhong Yao finally spoke slowly: "When I wrote in the past, I wrote when I felt moved, and felt at ease after finishing. Calligraphy isout 'dispersing.' Writing for exhibitions and acting for others to see loses the essence. Instead of exhibiting all over the world, it is better to first serve the brush well i; characters are written for the heart to see." Wang Xizhi concluded with a graceful air: "For a thousand years of calligraphy, what changes is the fohen you pick up the brush, is there that 'gentle breeze' in your heart? If there is, whatever you write is right; if not, whatever you exhibit is emptyryone nodded, exchanged a smile, and sipped their tea. 
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 
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