文、圖本刊實習(xí)記者 楊陽 Yang Yang 譯曹宇光Cao Yuguang

有著你方寫罷我方登場的競相比賽意味，也有著一方揮毫?xí)鴮憰r另一方小朋友幫其整理紙張、墨盤的互助溫暖時刻……這些場景均發(fā)生在第33屆成田山全國競書大會中日友好青少年書法交流活動上。應(yīng)中國書協(xié)邀請，由日本成田山全國競書大會副會長、成田山新勝寺寺務(wù)長岸田照泰率領(lǐng)的第33屆成田山全國競書大會中日友好少年少女書法交流團(tuán)一行46人于8月4日至8月7日來華交流訪問，8月5日在北京舉行了中日青少年書法交流筆會。

成田山全國競書大會成立于1985年，每年在日本舉辦一次全國性的書法競賽，征集全國中小學(xué)生及幼兒學(xué)生的書法作品，由日本著名書法家對征集書法作品進(jìn)行評選。33年來，共約有70萬青少年參加書法競賽活動，約300余萬件作品應(yīng)征，成為日本國內(nèi)最具影響的青少年書法競賽活動。成田山全國競書大會每年組織競賽獲獎青少年訪華交流。

榮獲中國書協(xié)頒發(fā)“蘭亭新星”獎的高中三年級學(xué)生大田千尋也在此次日方參加交流筆會的14名學(xué)生中，交流團(tuán)其他成員實力也不容小覷，均是2017年日本全國書法競賽的優(yōu)勝者。中方參加交流的14名學(xué)生來自北京市朝陽、海淀、東城等區(qū)的小學(xué)、初中、高中的學(xué)生，最小的僅11歲，都有著扎實的習(xí)書功底。

中國書協(xié)副主席何奇耶徒表示：“書法藝術(shù)是人類的非物質(zhì)文化遺產(chǎn)。保護(hù)、傳承、弘揚(yáng)這一人類非物質(zhì)文化遺產(chǎn)是世界書法界的共同責(zé)任。組織青少年書法比賽，廣泛深入開展國際青少年書法交流，是弘揚(yáng)書法藝術(shù)的一條重要舉措。我們衷心希望中日青少年書法交流活動長期開展，生生不息，代代相傳?！?/p>

中日青少年學(xué)生當(dāng)場同臺揮毫潑墨，開展筆會交流。先是日方學(xué)生進(jìn)行書寫，之后中方學(xué)生進(jìn)行書寫，最后雙方共同書寫。在這樣的書寫安排中，你方寫罷，我方登場，每一位小作者分別即興創(chuàng)作一幅書法作品，競寫意味濃厚。雙方學(xué)生在書寫過程中，不時進(jìn)行交流，相互幫助整理紙張、墨盤等，體現(xiàn)了雙方學(xué)生的友好與熱情，也表達(dá)了此次交流筆會的主旨目的。

日本書道同中國書法一樣，在習(xí)書過程中都繞不開“書圣”王羲之。在六朝時期王羲之書法便被引入日本，經(jīng)過千百年的演進(jìn)，今日日本書道與中國書法面貌已全然不同，形成了花開兩朵、各表一枝的局面。在你來我往的筆鋒碰撞中，可窺見日方作品所呈現(xiàn)面貌已與中國學(xué)生作品大為不同。

就用筆而言，中方學(xué)生在一點一畫之間，筆法更為豐富。藏鋒與斜切入筆相間、變化豐富，落筆之后，筆尖徐行澀勢，是中方學(xué)生習(xí)字之態(tài)；日方學(xué)生落筆干脆、利落，走筆如行云流水，酣暢淋漓。在中日雙方學(xué)生的作品中，更為明顯的不同是雙方對于作品布局的處理?！巴?，寫得真有氣勢！”中方學(xué)生王新源在看到日方的金良健之介的現(xiàn)場作品《筆魂海邦》之后驚嘆。相比于中國書者在寫作品時會“上留天，下留地”，更會留出落款之地相比，日方書法作品是將整個篇幅填充飽滿，氣勢為先，給人以強(qiáng)烈的視覺沖擊。

中日雙方書法同出王羲之一路，如今卻呈現(xiàn)出完全不同的風(fēng)格，這是兩國發(fā)展書法的立足點不同的緣故：中國書法向來“以古為尊”，千百年來一直將“學(xué)習(xí)先人，立足傳統(tǒng)”作為書學(xué)要義，屬于傳統(tǒng)之派。而日本方面，在發(fā)展書學(xué)的過程中，學(xué)古而不止于古，將現(xiàn)代之氣融入書道中，開啟了書法的現(xiàn)代之風(fēng)。此次筆會交流，讓傳統(tǒng)之派和現(xiàn)代之風(fēng)進(jìn)行了一次實實在在的碰撞，在這樣的交流碰撞之后，相信雙方在今后的書法學(xué)習(xí)中會進(jìn)行更多的思考。

“田村茜同學(xué)的創(chuàng)作令我十分感動，她在書寫作品時將其指導(dǎo)老師的遺像放在了旁邊。在中日交流筆會這樣重大的現(xiàn)場，田村茜同學(xué)將導(dǎo)師的遺像帶過來，充分體現(xiàn)了其對老師的敬重、愛戴之情，也深深體現(xiàn)了學(xué)書者所應(yīng)具備的尊師重道之品質(zhì)?！敝袊鴷鴧f(xié)理事李一在點評作品時說。他還鼓勵兩國青少年通過交流，切磋技藝，相互學(xué)習(xí)，領(lǐng)悟書法的真諦，將來成為傳承書法藝術(shù)的棟梁。

筆會現(xiàn)場Scene of the Calligraphy Exchange

There was a fierce competition between every participant,and there was a warm moment when the rival kids helped one another with paper and ink preparation. Both took place in the China-Japan Friendship Teenager Calligraphy Exchange of the 33rdJapanese Naritasan National Calligraphy Competition (JNNCC). At the invitation of China Calligraphers Association (CCA),a 46-member Japan-China Friendship Teenager Calligraphy Exchange delegation, headed by Kishida Teruyasu,vice president of JNNCC and CEO of Shinshoji Temple, visited China for exchanges from August 4 till 7. On August 5, China-Japan Teenager Calligraphy Exchange was held in Beijing.

Initiated in 1985, JNNCC is an annual nationwide calligraphy competition in Japan that collects calligraphic works by pupils of primary and secondary schools and even kindergartens for final comments by renowned Japanese calligraphers. In the past 33 years, approximately 700000 teenagers have participated in this competition with some 3 million pieces of calligraphy, much so so that JNNCC has become the most influential teenager calligraphy competition in Japan. Every year, the organizing committee of JNNCC sends a delegation of award-winners to China for exchange.

Oota Chihiro, a student of grade three of high school who has won “Lanting New Star Award” by CCA, was one of the 14 delegates from Japan. As for others, they are all winners of nationwide calligraphy competitions in Japan in 2017 and thus proven as blessed with outstanding talents in calligraphy. As for Chinese side, the 14 attendees were all students of elementary and secondary schools from Chaoyang, Haidian and Dongcheng Districts of Beijing. Though the youngest was only at the age of eleven, they were invariably qualified with a solid foundation of calligraphy.

He Qiyetu, vice president of CCA, remarked at his speech, “As calligraphy is an intangible cultural heritage of mankind, it has become a common responsibility for the global calligraphy community to preserve, inherit and promote this art. It is indeed an important measure of promoting calligraphy as an art to organize teenagers’ calligraphy competition and conduct extensive exchanges on the international occasion. We sincerely expect that teenagers’ calligraphy exchange between China and Japan may witness constant development from generation to generation”.

It was an improvised calligraphy exchange on the same arena jointly by teenagers from China and Japan. As guests, Japanese delegates took the lead and then Chinese peers followed in the final co-production. Though such a situation was quite like a fierce competition between athletes, those young calligraphers talked with each other from time to time and helped each other with paper and ink preparation when ever necessary. Such good manners showcased friendship and enthusiasm between teenagers of the two countries and fulfilled the theme purpose of this exchange.

In Japanese calligraphy and Chinese calligraphy, WANG Xizhi, the Saint Master of Calligraphy, is a must-known sample to follow in the process of calligraphy practice. As early as in the 3rdcentury, WANG Xizhi’s calligraphy was introduced to Japan. Having undergone a significant evolution through centuries, today’s Japanese calligraphy has presented a totally different outlook from that in China. From those teenagers’improvised calligraphy, we can obviously see a sharp contrast between calligraphy development tendencies in China and Japan.

As to the style of calligraphy, Chinese side seemed to have more abundant variety in dots and strikes. Upon first touch of brush tip on paper, Chinese teenagers will choose varied movements in gradual intensification. By contrast, Japanese teenagers will never hesitate on the first touch and write with natural grace at a dash. Certainly, the obvious difference lied in the layout of their calligraphy works. “Wow, what an imposing manner!” WANG Xinyuan, a Chinese teenager acclaimed at the sight of the improvised calligraphy by Kinra Kennosuke from Japan. Compared with the elegant blank in the above and below margins of any calligraphy works in Chinese habit, Japanese calligraphers prefer to fill the whole scrip as much as possible and their momentum causes a strong visual impact.

Though out of the same origin as WANG Xizhi, Chinese and Japanese calligraphies have presented different styles at present, which is mainly attributed to their different positions in calligraphy development. With dominant respect for the ancient samples and traditions for thousands of years, Chinese calligraphy prefers tradition. In the Japanese process of calligraphy learning, they are never satisfied with mere copying and are courageous enough to integrate modernity into the new fashion of calligraphy.This exchange was indeed a collision between the school of tradition and the fashion of modernity, and it was believed that both sides would gain more by doing more thinking in the future calligraphy practice.

“I must mention Tamura Akane whose action moved me greatly. Before she started writing her works, she took out the frame photo of her tutor who had just passed away and respectfully placed it in front of her. Such a considerate act in this significant event of China-Japan calligraphy exchange fully embodied her adoration and love for her tutor,and deeply represented the basic quality of respecting the teacher and revering teachings for any calligraphers.” LI Yi, advisor of CCA, commented. He also encouraged teenagers of China and Japan to master the true essence of calligraphy by mutual learning and reference, and thus become the backbone for calligraphy inheritance.

筆會現(xiàn)場Scene of the Calligraphy Exchange