《中國(guó)文化經(jīng)典導(dǎo)讀系列：名家講中國(guó)書(shū)法（英文版）》精選《文史知識(shí)》歷年刊載過(guò)的名家講書(shū)法的文章，如沈尹默、費(fèi)新我、啟功、劉濤、歐陽(yáng)中石等知名書(shū)法大家，講述書(shū)法的由來(lái)、書(shū)法的特點(diǎn)、書(shū)法的練就過(guò)程及專(zhuān)業(yè)知識(shí)，并補(bǔ)充進(jìn)若干字帖、圖片等。
本書(shū)作者都是書(shū)法研究和書(shū)法教育名家。收在本書(shū)中的20多篇文章，多由中國(guó)書(shū)法史上的名家名作切入，也有文章側(cè)重某種書(shū)體或總集，以點(diǎn)帶面，讀者可由此了解中國(guó)書(shū)法史多方面的知識(shí)，并獲得審美愉悅。
《文史知識(shí)》編輯部，《文史知識(shí)》雜志自創(chuàng)刊以來(lái)，一直堅(jiān)持大專(zhuān)家寫(xiě)小文章，堅(jiān)持深入淺出地介紹和評(píng)述中國(guó)優(yōu)秀傳統(tǒng)文化，受到學(xué)術(shù)界的廣泛好評(píng)。其作者薈萃全國(guó)一流文史專(zhuān)家，內(nèi)容涵蓋中國(guó)傳統(tǒng)文化各個(gè)方面，文章知識(shí)性、趣味性、學(xué)術(shù)性兼?zhèn)�，深入淺出，雅俗共賞。
The Origin, Necessity and Importance of Calligraphy
Stele and Rubbing
How to Choose Steles and Rubbings to Learn
Scripture Transcription, Scripture Transcriber, and Calligraphy of Scripture Transcription
Calligraphy School and Doctors in Huizong Period
Su Shi and Calligraphy
Feibai Script
The Wildness of Wild Cursive Script
To Be Creative and Different —Wang Xizhi and His Calligraphic Art
Draft of a Requiem to My Nephew by Yan Zhenqing
A Letter Beginning with “Mid-autumn” by Wang Xianzhi
Stele Inscription in the Confucius Temple by Yu Shinan
Liu Gongquan and Calligraphy
A Brief Talk about the “Crazy” Zhang and “Drunk” Su
Mengying, an Eminent Monk Calligrapher
Infiltration of Zen in Calligraphic Style
-- On Huang Tingjian’s calligraphic style
Calligraphic Treasure Ru Tie
Ren Xun, a Calligrapher of Jin Dynasty
Zhao Mengfu and His Calligraphy in Zhao’s Style
On Seal Characters by Wu Changshuo
Thousand Character Essay and Historical Calligraphers
Zheng Banqiao’s Calligraphy in the Rubbing Prices for Art Work
Chinese Characters, the Chinese Language and Calligraphy
Stele and Rubbing
Qi Gong
At the outset, those who made the inscriptions on the stele were not necessarily celebrities, calligraphers, scholars or officials. All they needed to do was write clearly.
It can be terrible if nobody can identify their writings. That is why Chinese characters on the stele are all in a standard script. In the early Tang Dynasty (618-907),
Emperor Taizong of Tang (Li Shimin, ruling from 626 to 649) was so fond of calligraphy that he learned from Wang Xizhi. He wrote in xingshu (semi-cursive script).
Maybe he did not know how to write in kaishu (regular script) or was not good at it. He inscribed two steles, both in xingshu : one was Hot Spring Inscription and the other
Jin Ancestral Temple Inscription . His son Li Zhi also inscribed steles for many ministers in such writing style. It was from then on that xingshu began to appear on steles.Empress Wu Zetian (ruling from 690 to 705) erected a stele for her gigolo (sort of lover) Zhang Changzong and said that he was the reincarnation of Wang Zijin. She had
the tomb of Wang Zijin dug up in Dongshan but could not prove whether it was Wang Zijin or not. So she let people erect a stele there, known as Stele for the Ascended
Immortal Prince . The Chinese characters on the stele were all written in caoshu (cursive script), marking that caoshu began to appear on steles. Since then, people started to use caoshu to transcribe books, essays and Buddhist scriptures. For example, the Treatise of Calligraphy by Sun Guoting was written in caoshu , so were the phenomena and
individual theories of Yogacara (literally “yoga practice”). Such a trend surely influenced the writing styles in this era. However, kaishu was still dominant in stele inscription.Why? Xingshu or caoshu could not be identified by a majority of readers.
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