去年以來，記者曾多次拜訪中國書法家協(xié)會副主席、浙江省書法家協(xié)會主席朱關(guān)田先生，聽他縱論中國書法藝術(shù)的一系列問題，現(xiàn)擇要整理如下：

1．您能簡要談?wù)劷?jīng)濟(jì)和文化的具體聯(lián)系嗎？

經(jīng)濟(jì)與文化的具體聯(lián)系，說白了就是要能夠把兩者結(jié)合在一起，文化是上層建筑，是靠經(jīng)濟(jì)的，經(jīng)濟(jì)能搞上去的話，文化肯定搞上去。問題是如何搞？我想導(dǎo)向十分重要，要引導(dǎo)，要重視和發(fā)揚(yáng)古老的優(yōu)良傳統(tǒng)。首先是繼承，要鑒別精華與糟粕，然后依據(jù)國情即人民大眾需求、愛好與之前瞻，吸取精華，棄去糟粕，譬如土葬文化是種糟粕，雖然所立碑版、所窆墓志有不少書法、繪畫藝術(shù)可以借鑒，但不宜以碑、志的形式再加以提倡。二是要扶持、扶植、發(fā)揚(yáng)優(yōu)秀傳統(tǒng)，特別是瀕臨消亡或面臨轉(zhuǎn)化的藝術(shù)品類，如文房用具特別是毛筆，目前都是旅游性毛筆，薄利多銷但不實(shí)用，更乏質(zhì)量上乘能書能畫的毛筆，諸多名牌毛筆因工藝陳舊，質(zhì)量不好而聲譽(yù)不再?，F(xiàn)今天氣變暖，狼、羊的生存環(huán)境與往昔不同，其毛質(zhì)地大不同于以往，故以狼、羊毛為基本原料的毛筆制作亟待改進(jìn)，工藝亟待提高。毛筆制作是手工勞動(dòng)，老手藝的傳承，新人才的培養(yǎng)，更不是立然可就的。這里有一個(gè)長期規(guī)則，有一個(gè)經(jīng)濟(jì)投入的問題，單靠市場運(yùn)作是不行的。

2．從整體看現(xiàn)代經(jīng)濟(jì)比較發(fā)達(dá)，但深層次的文化還是欠缺的，您覺得面對這個(gè)情況我們應(yīng)該怎么做？

這個(gè)很難說，整個(gè)中國經(jīng)濟(jì)應(yīng)該說還是不夠發(fā)達(dá)，而現(xiàn)在我看有些文化方面，學(xué)習(xí)西洋的東西有點(diǎn)過頭，另一方面過去我們的封建流毒比較深，影響比較大，這樣一來，西方文化的引進(jìn)勢必產(chǎn)生東西文化的對撞，如飲食文化上西餐與中餐的異同；醫(yī)療文化上西醫(yī)與中醫(yī)的差別，正因?yàn)闁|西文化不能替代，它只能在交流中融合，在融合中新生，這或許是時(shí)代前進(jìn)的一種過程，但整個(gè)發(fā)展比較緩慢，可以說現(xiàn)今還未影響到文化的深層次。

3．所謂現(xiàn)代書法到底是一種什么概念？

現(xiàn)代書法有兩種概念，一是現(xiàn)代人的書法，如唐宋書法是指唐宋人的書法一樣；一是近來新產(chǎn)生的未成流派的流派書法，是一種藝術(shù)探索，一種傳統(tǒng)書法走向現(xiàn)代、新舊交替過程中嘗試的書法?，F(xiàn)在說的后一種，因?yàn)樘剿髀纷硬灰?，嘗試手法有異，風(fēng)貌與筆墨盡不相同，甚至陰陽向背，各張一軍。的確，書法藝術(shù)發(fā)展至今，實(shí)用逐漸為藝術(shù)所替代，傳統(tǒng)手法正在現(xiàn)代意識指導(dǎo)下改進(jìn)或創(chuàng)新，多文化社會已不再滿足于傳統(tǒng)書法的表現(xiàn)手段，人們開始尋找一種非實(shí)用、純藝術(shù)，既可宣示個(gè)性、展玩筆墨，又有異于繪畫的書畫方法，這便是現(xiàn)代書法的產(chǎn)生背景。其實(shí)，傳統(tǒng)書法也不完全是實(shí)用的，其中草書，尤其大草、狂草，抒情寫意，亦如同繪畫只注重筆墨神采，很少留意文字形體，用繪畫原理或西方美學(xué)去理解也是可以的，現(xiàn)代書法高明的便是發(fā)揮了古人寫草書的手法，恣肆為之，面目一新?，F(xiàn)代書法是一種嘗試，萬般手法，諸多形式，尚待檢驗(yàn)，歷史的檢驗(yàn)，它有一個(gè)成熟過程，當(dāng)然社會對其也有一個(gè)認(rèn)識過程，擇優(yōu)汰劣，是自然規(guī)律。

4．我們說書中有畫，畫中有書，兩者是相融的，肯定也是有區(qū)別的，那您覺得最大的區(qū)別在哪里？

區(qū)別是一個(gè)以文字為主，另一個(gè)則以形象為主，花的形象，山的形象。書法是以文字為主，如果不講文字就成了畫，畫如果變成文字也就是書法了，雖然用筆是一樣的。中國書法藝術(shù)歷史悠久，積淀深厚，傳統(tǒng)中有精華、有糟粕，要繼承其精華，棄取其糟粕，使之發(fā)揚(yáng)光大。發(fā)揚(yáng)光大即是一種改造、一種創(chuàng)新，怎么改造、怎么創(chuàng)新有諸多路子，現(xiàn)代書法不失為一種路子，但因其僅屬草創(chuàng)階段，純在形式與筆墨上下工夫，還有待于進(jìn)步與成熟。在理論上有的標(biāo)志西方美學(xué)，有的是老莊哲學(xué)，但作者真正能掌握的還是少數(shù)，大多是不甚理解，或以假作真，真?zhèn)尾槐?，更有甚者不?lián)系自身，口是心非。傅山說：“作字先作人，人奇字自古?！爆F(xiàn)代書法是一種藝術(shù)表現(xiàn)，較之傳統(tǒng)書法更追求效果，“書為心畫”，作者不“藝術(shù)”何以藝術(shù)，作者不“現(xiàn)代”何以現(xiàn)代？現(xiàn)代書法的發(fā)展全靠作者，作者的審美觀、人生觀是至關(guān)重要的。

5．您覺得中國書法在整個(gè)世界文化史上具有什么樣的地位？

它是一種藝術(shù)中的藝術(shù)，它是一種抽象的藝術(shù)，是一種辯證的畫，它體現(xiàn)自己的思想，體現(xiàn)自己的境界是無疑的。仁智不同，你的體會和我的體會是不一樣的，所以很抽象，不像畫那樣具象。繪畫如油畫、版畫、水粉畫各國都有，不是我國的本生畫種，我國本生畫是中國畫，或稱水墨畫，原理是一致的，只有書法，僅僅是漢文字國家所專有。作為書法母國，當(dāng)是至高無上的。

6．您覺得一個(gè)書法家要怎么樣才能練就一手好字而又有自己的風(fēng)格？

這就體現(xiàn)在兩方面，一方面是技術(shù)方面，另外一方面是藝術(shù)方面。

從技術(shù)方面來講，就要求多練，掌握技巧。如墨色、構(gòu)圖等等方面，要吸收姐妹藝術(shù)、外來文化的長處；藝術(shù)方面，書法要求寫神，體驗(yàn)自己的經(jīng)歷，檢驗(yàn)自己的審美觀，什么樣的人寫什么樣的字。至于書體最好正草并行，正書功夫所在，草書可以抒情寫意。還有一個(gè)自我認(rèn)識問題，特別是業(yè)余書家總要依據(jù)自身的秉性來學(xué)習(xí)，如順謹(jǐn)?shù)牟槐貙W(xué)大草、狂草，豪逸的不寫楷書也可以，一個(gè)雄壯好動(dòng)之人一定要他伏案寫蠅頭小楷，不是受罪嗎？學(xué)書法一定要舒適，是一種愛好，反其道而行之成為一種苦生活，或勉為其難是沒有必要的，也是學(xué)不好的。

7．現(xiàn)代社會上出現(xiàn)一些沽名釣譽(yù)和嘩眾取寵的人，還有些人字確實(shí)寫得很好，而沒有好的環(huán)境等等，您怎么看待這種情況？

從個(gè)人角度談，應(yīng)該把握好自身，不要被壞的風(fēng)氣所影響，把握好自己，走自己的路；從組織角度上看，要寬容。大浪淘沙么，肯定是有這樣的情況，古今中外都這樣，不可能全部都是黃金而沒泥沙?；蛘哒f大部分是泥沙，其中極少部分才是金。那金怎么淘出來呢？要大浪沖擊，千年磨洗。要相信歷史，相信大眾，相信社會。比如說我們紹興的沈定庵先生，隸書寫得很好，人也很低調(diào)。他一直堅(jiān)持走自己的路，別人歡迎也寫，不歡迎也寫，始終是自己的字，凸顯出自己的特色，后來他在北京的書展很轟動(dòng)。沈老的路也就是我們所要走的路，所以不要把名和利看得太重。

8．您對現(xiàn)代中青年書法家有何感言？

作為我們來講，只有提倡，提倡他們努力奮斗，腳踏實(shí)地地把書法搞好。至于什么方法，各人有各人的情況，也不好去強(qiáng)制。大眾能比較，市場能審視，比較、審視中可以使中青年書法家寫出更好的書法，比較中、審視中也可以教育廣大中青年書法家。這里涉及到多元化的問題?？梢栽试S有不同的做法，偶爾怪異，不合習(xí)俗性也是允許的，我們要懂得彼此寬容。

Calligrapher on Writing Art in Modern Society

Qian Rouyi， our staff reporter

Zhu Guantian， vice chairman of Chinese Calligraphers Association and chairman of Zhejiang Calligraphers Association， has talked with this writer about a series of issues concerning modern Chinese calligraphy on several occasions since 2006. The following is a summery of his main viewpoints.

In discussing the ties between culture and economy， Zhu observes that culture must synchronize its development with economy. A part of superstructure， culture depends on economy for prosperity. The problem is how to help culture progress in a right direction. The experienced calligrapher believes that it is imperative to carry forward the finest in the ancient Chinese tradition. It will be great if modern calligraphers can do so. We can absorb the best things of the western culture to help promote our culture.

In discussing the disparity between the flourishing economy and somewhat dragging cultural development， Zhu remarks that the situation is， on one hand， China”s economy is not yet well developed and the western culture has exerted an overwhelming influence on some aspects of our culture; on the other hand， the feudal ideology of the past is deeply rooted in our culture and its extensive influence persists doggedly. Consequently， we need to learn from the west to modify our cultural heritage， thus opening the door for the western culture to influence ours， which gives rise to the conflict between the two. This conflict may be part of our liberating experience， but the whole learning process has progressed only slowly and not yet touched the deepest core of our culture. In other words， our modern culture is one or two steps behind our modernizing progress.

Zhu does not go to great lengths to define modern calligraphy. In his eye， the status quo of Chinese calligraphy embodies a transition from the traditional to the modern， an art between the old and the new. Calligraphy in the past was not all for everyday use. It was an art that had various practical applications.

Talking about the future of Chinese calligraphy as an art， Zhu points out that the tradition needs reforming and there are many ways to accomplish the task. Doing the job from within the tradition is one way and learning from without is another way.

Turning to the topic of calligraphers， Zhu believes， for a calligrapher to write well in his own style， considerations should be given to both technique and art. Technically， a calligrapher should keep practicing until he masters all the skills. For example， a calligrapher should pay attention to tone and structure， and absorb other arts. Artistically， a calligrapher needs to externalize his inner world， personal experience and aesthetics. According to Zhu， one”s individual life defines one”s calligraphy.

Commenting on some calligraphers who go all out after fame and wealth as well as some calligraphers who are actually accomplished but little known， Zhu observes that a calligrapher should stick to his own path and never subjects to trends. On the other hand， the public should tolerate more liberally. Time is the final test of all arts. You can”t expect all the artists to be gold. Time sifts away large quantities of sands and only a few grains of gold remain. One needs to believe in history， people and society. Zhu takes Master Shen Ding’an for example. Also a native of Zhuji like Zhu himself， Mr. Shen is an accomplished yet little known master of official script， a calligraphic style first developed more than 2，000 years ago. Shen keeps a low profile as an artist. He has adhered to his own artistic belief despite all the odds. His calligraphy characterizes his distinct personality and style. He has held a solo exhibition in Beijing and it was a sensational success. Zhu emphasizes that Shen”s career should be a good example to all calligraphers: never put the pursuit of fame before the pursuit of art.

Any advice to young and middle-aged calligraphers? Zhu notes that all he can do is to call for hard work in a down-to-earth spirit. He does recommend that each artist explore his own way as each deals with his particular situation. The public has eyes for true art and market can well evaluate and compare. This kind of market scrutiny and public evaluation enable calligraphers to create and the choices of the public and market will serve as a signpost to calligraphers. This is an issue of multiple choices and the public tolerance is a key.

In talking about his home town Zhuji， a city rich with cultural heritage in Shaoxing， Zhu Guantian speaks highly of the calligraphic achievements accomplished by local artists but regrets that good calligraphers there are not well known to the outside world. Zhu thinks it is a good move that the local government promotes calligraphic achievements in Zhuji to help enhance the publicity of the city.

(Translated by David)