我们注意到中国书法其实是漂亮地写美丽的中文。所以自汉代以来，构成中国书法的两个主要元素从未改变，那是完全不令人惊奇的。这两个主要元素就是：中文的结字与笔法。
我们也注意到，中国文字是书法的第一形式。所以，书法家对中文结字所能做的改变是有限的。
然而，用笔是中国艺术的特点。所以对笔法的重视就不足为奇了。
笔画给了中国书法节奏感与美感，它们表达书家的内外品质。同时，它们显现了书法家本身的个性与风格。
只有那些掌握了毛笔的运作与原则的秘密的人才可以被当作出色的书法家。
元代赵孟頫曾说：‘学书在玩味古人法帖，悉之用笔之意，乃为有益。’他还说：‘书法以用笔为上，而结字亦需用工，盖结字因时相传，用笔千古不易。’
自钟繇与王羲之以来，不管中文的结字如何改变与新书体如何创新，钟王所设下的规范并大多没有被违背。要创造一种新的书体并不容易。它需要艺术的洞察力与灵感。书体的创造和毛笔、空间及节奏的运用与情感是有密切关系的。
所以，书法家穷其一生来研究笔法，那时完全可以理解的。
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We have noted that the essence of Chinese calligraphy is actually to write the beautiful Chinese character beautifully. It is therefore not surprised that two key elements of Chinese calligraphy have not changed much since Han dynasty. The two keys are: the structure of the Chinese character and the techniques of using the brush.
We have also noted that the Chinese character is the first form of Chinese calligraphy. Therefore, there is a limit that calligraphers can do to change the structure of Chinese characters.
However, the use of brush is unique in the Chinese art. It is not surprising that the brush techniques are so much emphasized.
The brush strokes give Chinese calligraphy rhythm and beauty and they depict the subject's outward and inner qualities. At the same time, they reveal the individuality and style of the calligrapher himself.
Only those who master the secrets of operating a brush and principles of structuring a character can be considered to be outstanding calligraphers.
Zhao Mengfu of the Yuan Dynasty once said, ‘In learning Chinese calligraphy, one must chew on and study the ancient masterpieces and comprehend the operating principles of brushes of ancient calligraphers so as to benefit from them.’ He also said, ‘Chinese calligraphy should focus on operating brushwork as well as character structures. The character structures may change over time but the principles of operating brushes never change.’
Since Zhong Yao and Wang Xizhi, no matter how the structure of Chinese characters changed and new styles of writing were invented, the norms set by Zhong and Wang were not violated in most cases. To create a new style of writing is not an easy task. It requires artistic insights and inspirations. The style of writing is also closely related to operation and disposition of strokes, spacing, rhythm, and etc.
It is no wonder that calligraphers would spend their life time to master the techniques of operating the brush.
我们也注意到，中国文字是书法的第一形式。所以，书法家对中文结字所能做的改变是有限的。
然而，用笔是中国艺术的特点。所以对笔法的重视就不足为奇了。
笔画给了中国书法节奏感与美感，它们表达书家的内外品质。同时，它们显现了书法家本身的个性与风格。
只有那些掌握了毛笔的运作与原则的秘密的人才可以被当作出色的书法家。
元代赵孟頫曾说：‘学书在玩味古人法帖，悉之用笔之意，乃为有益。’他还说：‘书法以用笔为上，而结字亦需用工，盖结字因时相传，用笔千古不易。’
自钟繇与王羲之以来，不管中文的结字如何改变与新书体如何创新，钟王所设下的规范并大多没有被违背。要创造一种新的书体并不容易。它需要艺术的洞察力与灵感。书体的创造和毛笔、空间及节奏的运用与情感是有密切关系的。
所以，书法家穷其一生来研究笔法，那时完全可以理解的。
.
We have noted that the essence of Chinese calligraphy is actually to write the beautiful Chinese character beautifully. It is therefore not surprised that two key elements of Chinese calligraphy have not changed much since Han dynasty. The two keys are: the structure of the Chinese character and the techniques of using the brush.
We have also noted that the Chinese character is the first form of Chinese calligraphy. Therefore, there is a limit that calligraphers can do to change the structure of Chinese characters.
However, the use of brush is unique in the Chinese art. It is not surprising that the brush techniques are so much emphasized.
The brush strokes give Chinese calligraphy rhythm and beauty and they depict the subject's outward and inner qualities. At the same time, they reveal the individuality and style of the calligrapher himself.
Only those who master the secrets of operating a brush and principles of structuring a character can be considered to be outstanding calligraphers.
Zhao Mengfu of the Yuan Dynasty once said, ‘In learning Chinese calligraphy, one must chew on and study the ancient masterpieces and comprehend the operating principles of brushes of ancient calligraphers so as to benefit from them.’ He also said, ‘Chinese calligraphy should focus on operating brushwork as well as character structures. The character structures may change over time but the principles of operating brushes never change.’
Since Zhong Yao and Wang Xizhi, no matter how the structure of Chinese characters changed and new styles of writing were invented, the norms set by Zhong and Wang were not violated in most cases. To create a new style of writing is not an easy task. It requires artistic insights and inspirations. The style of writing is also closely related to operation and disposition of strokes, spacing, rhythm, and etc.
It is no wonder that calligraphers would spend their life time to master the techniques of operating the brush.
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