陳美麗(米粒) | Meilih Chen
書法健身
都是居家悶疫的禍，使我有太多的時間在腦海裡思前想後文思衝浪。世紀的異常天災人禍，絮亂了人間生活，令人難以招架，無所是從，無期所盼，人人朦襲着鬱悴焦慮，各種防禦解禦的招術貼文網播紛紛，各取所需療慰的方藥，只要保得住防疫，身心康健，這閉門返璞的日子不一定是壞事, 該是宇宙主宰的警示給人類的考驗! 讓人重新審查回顧自巳的人生，評估自已的生活義意和價值，也許是個靈修洗塵走向一個省悟創新的前途。我個人是感到這是一個恩賜的機會，難得有等閒享受無所事事，清悠悠的生活，讓人關心親人，修補養生，整理身心內外的垃圾和雜亂的文書家襠，是個自我省思和重建自己的良機！
安居樂逸，終於每天有時間有心思作愛作為事，每天靜心寫字練書法，平靜煩躁的心，使我想起我曾在華府台美人長樂會(TASS)演講介紹談論書法的藝術，鼓吹銀髮族人以練書法去健身養心，真不知有多少人受益聽進去應用了。
感謝TASS給我機會作演講，讓我用心作功課整理資料，拜現代網站的發達，不出門也可見師，覽閱各種書法報導與論著,資料豊富學不盡，溫故知新，給我自已受益良多，尤其對台灣現代書藝的認識驚喜萬分，促使我更有傳播「書法健身」的熱心。趁此無聊閒空時間重新將那演講簡修成文來與大家分享，但願能開啟更多人的新興趣來欣賞書法，來拿筆作休閒運動，消遣窩居浮燥的日子。
書法是藝術，任何藝術都是以欣賞為起發點，如果有無聊時，以好玩平常心嚐試去欣賞，提筆練書法為一項輕鬆休閒活動，不作學問、不求成果，單純開心為養生修心運動即是好的開始，好的筆緣。揀選自已喜愛的帖本，拿起筆隨意的臨寫，先不必去計較好壞美醜，對或不對，持以有恆，自在安祥, 必能樂在其中，甚至心應而著迷。只要有開始，親身接觸了書法，浸入練習，才會體會許多書法之精華，這是我對銀髪族的說法，如真要入書法境界與真功，那需要的修行和鑽研是另一套深奥嚴謹的學問可不在此話下囉。
寫字不等於書法，寫字通常只在選字表達用意，寫時用腦組合寫的意義文字而已，没有筆劃運作的考量。書法着重於筆劃運作，用心靈和手腕的氣韻操作筆的線條和點撇，依潛在或呈現的漢字結構的規律，表現出不同面貌和情趣的美感文字美學。
寫字是天生俱來之能，每人各有特色，寫書法的發揮、欣賞和享受卻是像藝術教育一樣是需要求學求知的琢磨而成器。藝術無「論價」，好壞和喜惡的感觀和評論只是個人的美學教養和品味，各評論都是主觀無可厚非，自己喜愛能享受行樂最重要，能與人賞識共鳴更高超樂趣，不僅可談風論雅一番，也能添增一份生活情趣呢。
書法從史記和各書家論述資料的綜合說;書法自古即與繪畫、篆刻、舞蹈、音樂等為「四藝」，有，君子必需具備的才藝，視為個人載道學養的外在表現。故中國史上的官吏，都是飽學之士，而其書藝都卓越。中國書法有豐富、完整、一脈相承的理論體系，自從秦漢各個朝代，就有相當多的書法作品被創造和被珍藏而留傳於今。
漢字書法為漢族所創的表現藝術，被譽為：無言的詩，無行的舞；無圖的畫，無聲的樂。書法的美感，來自漢字結構的幾何、數學原理，和運筆之際的力道變化的神妙精微，而變化多釆與文化特性息息相關。當代對實踐書法的定義為「一種輔予符號，有和諧協調、富表情、孰練靈巧風格的藝術」。歷代許多詩人、畫家、文學家、藝術家和一些政治家都集於多才多藝深具書法造詣。
書法歷史悠遠，世界各民族，自古從有人類時期也就有他們的文字和書法留下的刻圖字跡，各有其獨特歷史文化的風格和根源。各國文字傳統也普遍，至今仍持有手寫書法的講究和應用。中國確實是書法歷史最悠久，文字留跡、進展演變和記述留存最豊富的地方，也因為漢字結構繁雜多端，更富藝術創造的多變和美妙而被喜愛。漢字書法受賞識和尊重的風盛歷代不衰，使之持續在藝術領域上佔有獨特的地位。
台灣書法受到早期清朝科舉文風，文人也興學書法，日據時代，因日本人愛書道，而容漢學詩文結集成書法帖，使之有些台藉文人的書法家促進。日據晚期從日本傳入碑學書法，為台灣的行草書風注入新意。1949年國民政府遷台，許多在大陸已有極高成就的各界人士大舉入台，其中有相當成就的書家和學者，但因言語及文化的不同，又因當時台灣經濟情況不佳，人民生活困苦，加上政治的因素，組織社團受制，使得書法發展並無多大的成果。這段時期雖然書法並未有全面性的發展，但因那些大陸書家，藉其地位和愛好，為台灣書法的發展發揮了相當的影響力。當代許多有成就的書家也都曾盡力於書法的推展，對台灣的書法的延續甚有貢獻，可見於當時50-60年代的中、小學生都要用毛筆寫週記呢！
於70年代後，台灣經濟已見成長，各種文化藝術也開始活動起來，書法也不例外，比較明顯的像台省美展中的書法項目，很受到大家的重視，許多希望在書法有所發揮的人，也都極力想從各種管道去獲得肯定，尤其是許多原本在日據時代已有相當基礎的台籍書家，與渡台書家有相融的互動,於是各種書法展相繼舉行，書法團體也在嚴格的法令漸有鬆綁下，以聯誼性質逐漸設法成立，尤其是教導書法的老師增多，各所領導的書會在國際交流和跨海交流的活動都逐漸呈蓬勃。
台灣的書法創作發展受到時代背景、社會環境、外來文化的影響，和近代自由思想的啟發，應對現代人生活方式的改變、而至一些審美觀念和表達與應用有別於傳統書法。書法脫離實用的束縛和審美自由的範疇，鄉土和創新意識萌生，台灣現代書法的轉變以特殊感性的形式和創新呈現，出現某些運用繪畫思想和手法，從而達到純粹性的書畫欣賞藝術，強調視覺上的整體效果和新穎創作意識，此為新潮流創建的「台灣現代書藝」。當代書法藝術趨向多元，立求表現其當代精神的創作，台湾名書法家徐永進認為書法藝術：「應該反映當代生活環境的人文與社會關懷，融合自然新思維與新知覺為藝術創作，與時代脈動結合，活化傳統且落實現代。」
書法在日常生活的應用與審美，古今有不同進展，過往書法基本上是以實用為主，功能首先是記事，以文釆為主，古代文人拿毛筆書寫是日常生活中的一部份。從流傳下來的字帖，碑帖大多都是文人之間的書信往來，為抒發自身情感之雜記手札並不對待為藝術作品。各種碑刻、墓誌銘、匾額等等作品彰顯的主要也是以記事、經文和箴銘用途為主，重內容於其形式藝術。
眼望環境的各建築物、紀念碑、商品、商號標記、大小匾額、藝術工藝品等等都須求表現美感和意涵，而其主要美學藝術的設計配檔就是書法。儘管電腦方便實用電郵的時代，但各種帖函，書信、公告、紀念文獻、傳統對聯等等仍須用書法書寫來美化其重要性和美觀。電影電視宣傳圖版和海報等也無不是應用名人書法的創作廣告來引人吸睛注意。日常個人的簽字也是書法的實用，家書、情書何不是都從心裡感性刻印出來的書法藝術！書法文字和生活是息息相關，多釆多姿美學應用無盡。
古代人練書法即為一種修心養性之道，近代人風流防老健身，隨之氣功、太極．靜坐等健身運動盛行，以至許多書畫家(台灣書法家郭群峯一例.) 領悟太極拳等運氣功能與書法運筆有密切關係而相繼推崇，論說書法的基本開始也如氧功等以鬆入靜，以靜而入定在氣、逸、道這方面的追求，可養氣陶冶性情，可調心培養耐心，可鬆身紓壓。
寫書法需要高度的專心，定靜生慧浸在獨我的奧妙境界裡寫字，可體會流淌在筆墨之中靈活氣韻，反應着內心狀態，顕現其個性、性格、修養和情緒，而將內心感懷的喜怒哀傷滙在筆下流露出來，讓情緒在書法的潤澤成為生活中之一靜塵的享受。最近醫療研究報導顯示書法多一項好處可防治老年癡呆症。
特别舉例一下這熟悉創意的「TAIWAN」一字，是2001年徐永進為觀光局所設計的台灣觀光標誌，就是以粗獷的書法寫出TAIWAN六個英文字。線條中有蘊含野柳女王頭的「T」，而「A」是一個人坐在女王頭下盛情邀約觀光客，「I」則是觀光客正在欣賞女王頭的風光，「W」則取男女兩人把酒言歡青春活力的設計，代表台灣人的熱情好客，「A」則是一位小弟弟面對着「N」，「N」則是阿嬤喜樂抱著孫仔。字字洋溢台灣的風土民情及生命力，這六個英文字，已成為觀光局行銷世界各地最鮮明的台灣圖騰。狂野的筆觸，字字是畫，獨特的文字造型，象徵著台灣鮮活的生命力，也代表著台灣的永續活力。(圖文取自徐永進部落格，徐永進為著名台灣現代書藝家，有超然獨特的創作和感人的身歷人生故事，建議上他的部落格和各書法綱站去尋查更多資料。)
結語:願大家興起趣味，欣賞書法，拿筆運動！快樂百歲！
(上述知訊綜合自「台灣書法」的各網站，新聞和訪問報導，書家的發表言論等)
(2018 10-2 TASS演講文摘)
Calligraphy for Wellness
The burdens of isolation during the pandemic have left me with too much time to surf through my thoughts, reflecting on the past and future. The unprecedented natural and man-made disasters of this century have disrupted daily life, leaving people overwhelmed, directionless, and hopeless. Anxiety weighs heavily on everyone, while various defensive strategies and remedies circulate across media platforms, offering solace in different ways. As long as we can maintain pandemic precautions and stay physically and mentally healthy, these days of retreat and reflection may not be entirely bad—they might even be a test from the universe, a warning to humanity! This period has encouraged us to reassess our lives, evaluate our sense of purpose and values, and perhaps embark on a spiritual cleansing that leads to newfound insight and innovation. Personally, I see it as a rare opportunity, a gift—a chance to appreciate the luxury of idleness, to reconnect with loved ones, to nurture both body and mind, and to organize the clutter of our lives, both physically and spiritually. This is a golden opportunity for self-reflection and rebuilding.
Living in peace and leisure, I finally have the time and state of mind to engage in meaningful and creative activities. Every day, I immerse myself in calligraphy, calming my restless heart. This reminds me of a time when I gave a lecture at the Taiwanese American Senior Society (TASS) in Washington, D.C., discussing the art of calligraphy. I encouraged senior citizens to practice calligraphy as a way to enhance both physical and mental well-being. I wonder how many took that message to heart and found it beneficial.
I am grateful to TASS for giving me the opportunity to speak, which prompted me to carefully organize my research and refine my knowledge. Thanks to the advancements of modern online platforms, one can access abundant calligraphy resources without even stepping out the door—learning from experts, reading analyses, and exploring literary discussions. The wealth of information is endless, and revisiting the past while discovering new insights has enriched me profoundly. In particular, I have been astounded by my newfound understanding of Taiwan’s contemporary calligraphy, which has further fueled my passion for promoting the idea of calligraphy as a form of fitness. Taking advantage of these unoccupied hours, I’ve revised my previous lecture into a written piece to share with others, hoping to spark interest in calligraphy, encouraging people to pick up a brush and engage in this mindful activity—an elegant way to pass the time and soothe the mind while confined indoors.
Calligraphy is an art, and all art begins with appreciation. If one finds oneself bored, why not embrace a lighthearted and playful approach to enjoying calligraphy? Practicing calligraphy can be a relaxing and leisurely pursuit, free of academic pressure or goals—simply for pleasure, as a form of wellness and mental exercise. Find a script you admire, pick up a brush, and start writing freely. There’s no need to worry about perfection, correctness, or aesthetic judgments. With persistence and a tranquil heart, one will find joy in the process and may even become deeply captivated. The essence of calligraphy unfolds through firsthand engagement and practice. While mastery of calligraphy requires deep dedication and rigorous study, those pursuits belong to another realm altogether.
Writing is not the same as calligraphy. Writing is primarily a tool for expression, where words are composed with meaning but lack consideration for brushstroke execution. Calligraphy, on the other hand, emphasizes the movement of the brush, utilizing the harmony between mind, wrist, and rhythm to create lines and marks that follow the inherent structure of Chinese characters. This results in a visual beauty that carries both form and emotion.
Writing is an innate skill—everyone has their own unique way of doing it. But the art, enjoyment, and appreciation of calligraphy require dedicated learning and practice, just as any artistic education does. Art is beyond valuation; opinions on beauty and quality are shaped by individual tastes and aesthetic sensibilities. Personal preference is understandable, but the ability to find joy in one’s practice is most important. If one can resonate with others in appreciation, the experience becomes even richer. Not only does it allow for discussions on elegance and artistic philosophy, but it also adds vibrancy to daily life.
Historically, calligraphy has been closely associated with painting, seal carving, dance, and music. It was considered one of the Four Arts—a fundamental skill that cultivated wisdom and character. In ancient China, government officials were expected to be highly educated, and many of them demonstrated exceptional calligraphy skills. Chinese calligraphy has developed a vast and systematic theoretical framework, and since the Qin and Han dynasties, numerous calligraphic works have been created, preserved, and passed down through generations.
Chinese calligraphy, originating from the Han people, is hailed as “silent poetry,” “motionless dance,” “abstract painting,” and “soundless music.” The aesthetic beauty of calligraphy emerges from the geometric and mathematical principles underlying Chinese characters, combined with the subtle intricacies of brushstroke dynamics. The interplay of variation and cultural significance makes calligraphy a profound art. Modern interpretations define calligraphy as “a form of symbolic representation—harmonized, expressive, skillfully refined, and artistically distinctive.” Throughout history, many poets, painters, writers, artists, and even politicians have been deeply skilled in calligraphy.
Calligraphy has endured across civilizations, with written scripts appearing throughout human history. Each culture has its own distinctive style, rooted in unique historical and cultural traditions. Handwritten calligraphy continues to be valued worldwide. China, in particular, boasts the most extensive calligraphy history, preserving rich textual evidence that chronicles its evolution. The complexity and versatility of Chinese characters enhance their artistic potential, earning calligraphy a respected place in the art world across generations.
The development of calligraphy in Taiwan has been influenced by historical contexts, social environments, and external cultural exchanges. In modern times, contemporary Taiwanese calligraphy has embraced creative expressions, blending traditional aesthetics with innovative artistic approaches. It has evolved into a refined visual art, integrating painting techniques to emphasize composition, uniqueness, and visual impact. Taiwanese calligraphy master Hsu Yung-Chin once said, “Calligraphy should reflect contemporary life, embodying cultural and social concerns while incorporating fresh perspectives, knowledge, and creative energy.”
As technology advances, calligraphy’s role in daily life has shifted. While it was once primarily functional—as a means for documentation—its significance has now expanded into artistic appreciation. Despite the prevalence of digital communication, calligraphy still holds an important place in commemorative writing, signage, media design, and cultural representation.
Calligraphy is not only a discipline but also a method of self-cultivation. Many artists have likened its practice to meditation and other mindfulness exercises, including Tai Chi and Qi Gong. Writing calligraphy requires intense focus, leading practitioners into a state of tranquility. Recent medical studies even suggest that calligraphy may help prevent cognitive decline in older adults.
Practicing calligraphy requires deep focus and a state of tranquility, allowing the mind to immerse itself in a world of artistic expression. As the brush glides across the paper, one can experience the fluid energy of ink and strokes, revealing inner emotions, personality, character, and cultivated refinement. Joy, sorrow, anger, and nostalgia—all can be channeled through calligraphy, transforming emotions into a quiet, meditative enjoyment in daily life. Recent medical studies have even suggested that calligraphy may help prevent dementia in older adults.
A notable example of creative calligraphy is the design of the “TAIWAN” tourism logo, created in 2001 by Hsu Yung-Chin for Taiwan’s Tourism Bureau. The logo features a bold, expressive calligraphic rendering of the six English letters in “TAIWAN,” each infused with symbolic meaning: The “T” resembles the famous Queen’s Head rock formation in Yehliu; the “A” depicts a seated figure warmly inviting tourists; the “I” represents a traveler admiring the Queen’s Head; the “W” illustrates two people joyfully toasting, symbolizing Taiwan’s welcoming hospitality; another “A” portrays a young boy facing “N,” which represents a grandmother holding her grandchild in happiness. Every stroke embodies Taiwan’s cultural richness and vitality, making this emblem a globally recognized symbol for tourism. The wild, expressive brushwork turns each letter into a piece of art, visually capturing the energy and resilience of Taiwan. (Source: Hsu Yung-Chin’s blog. Hsu is a renowned contemporary calligraphy artist in Taiwan, known for his exceptional creativity and inspiring life story. I recommend exploring his blog and other calligraphy sites for more insights.)
Conclusion: May everyone develop an appreciation for calligraphy—pick up a brush, let creativity flow, and embrace this artistic form of movement! Wishing you all a long and joyful life.
(The above information is compiled from various websites on “Taiwanese Calligraphy,” news articles, interviews, and statements from calligraphers.)
(2018 10-2 TASS Speech Collection)