功夫在书外

学书法的人都听过功夫在书外的看法。这句话，其实出自南宋的陆游，原诗是这样的：
“我初学诗日，但欲工藻绘，中年始少悟，渐若窥宏大。怪奇亦间出，如石漱湍濑。数仞李杜墙，常恨欠领会。元白才倚门，温李真自郐。正令笔扛鼎，亦未造三昧。诗为六艺一，岂用资狡狯？汝果欲学诗，功夫在诗外。”

书法界把‘功夫在诗外’改为‘功夫在书外’，是说学习书法，除了熟练碑帖，参观书法展品之外，还须学习多种知识，融会贯通，以提高技术水平，进行创作。

字外功主要是讲书法和学识的关系。书法与学识，原本是两回事。一般上，我们不会为了书法而求学识，或因有了学识而兼擅书法。可是，如果专攻书法，不求学识，总觉得艺虽精熟，终欠文质。猶人之具衣冠，开口便知雅俗。

学识乃学问与经验之总和也。学问可按计划而修读，经验则须经时间的洗礼。学问还可加深经验的领悟和归纳。

人有没有学识，可以表现于个人的言行举止之间，这就是人品的显现。这也就是为什么历来书法理论喜欢把书法与人品并提了。劉熙載著《藝概》云：「書如也，如其字、如其才、如其志，總之曰如其人而已。」

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Liu Shi-Zai in his “The Concept of Art” said, “Chinese calligraphy resembles one’s personality, talent, and will. It resembles oneself.” He also said, “The calligraphy of the sages look warm and pure; the calligraphy of the handsome and masculine people look calm and willful; the calligraphy of the skillful hermits look sharp and direct; the calligraphy of the talented look elegant and wise.” He further said, “The way to elevate one’s spirit starts from the holding the brush; the mind will be enlightened if the operation of the brush is correct. If one’s heart is upright, his calligraphy will inherit the personalities and spirits of the ancient masters and sages. If he practices calligraphy diligently, the spirits of ancient calligraphers will be in the core of the brush with beautiful writings flowing underneath. Then his calligraphy will be remembered.”