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序 阎晓宏 谢云老，浙江苍南人，1929年生，现为中国书法家协会顾问。谢云6岁始随父学习书法，吟诵古诗，年少时书法专临柳公权、颜真卿二人，后又临魏碑。在吕章中先生主编的《中国国家博物馆捐赠系列丛书---谢云书画艺术》一书中，我意外地见到了一幅谢云老于1946年上中学时的楷书作品，乃展开

序 阎晓宏 谢云老，浙江苍南人，1929年生，现为中国书法家协会顾问。谢云6岁始随父学习书法，吟诵古诗，年少时书法专临柳公权、颜真卿二人，后又临魏碑。在吕章中先生主编的《中国国家博物馆捐赠系列丛书---谢云书画艺术》一书中，我意外地见到了一幅谢云老于1946年上中学时的楷书作品，乃见颜、柳之韵，灵动而又合于章法，逸气过人，一时无法与他现在的鸟虫篆书法联系起来。 鸟虫篆由“秦书八体”中虫篆演化而来。汉许慎《说文解字•叙》云：“自尔秦书有八体：一曰大篆；二曰小篆；三曰刻符；四曰虫书；五曰摹印；六曰署书；七曰殳书；八曰隶书。”其实，“秦书八体”中大篆、小篆、虫书、隶书可以称之为“体”，而其他四体：刻符是刻在符节之上，摹印是刻在印材之上，署书是题在匾额之上（现称榜书），殳书是铸在兵器之上，这四体严格上称不得字体。据考，虫篆源于春秋而流行于战国。战国时期，吴、越、楚、徐等南方诸国盛行该体，各国兵戈相交为虫篆创先河之功。北方也有流传。1978年在河北平山县战国中山王墓出土的“中山王方壶”上铭刻的字体修长、具抽象美品格的金文虫篆，乃是例证。鸟虫篆在当时用途广泛：在军队的旗帜或符节、泥封上，鼎、秦砖、瓦当、兵器、编钟乃至一般器皿、饰物上，都普遍运用，甚至是研习书法之必须。唐代书法理论家孙过庭所著《书谱》曰：“⋯⋯博究始终之理，镕铸虫篆，陶均草隶，⋯⋯象八音之迭起，感会无方。” 谢云老钟情鸟虫篆几十年，有偶然亦有必然。谢云老本质上是个诗人，他对于诗歌的痴爱，远胜于书法。在他上初中时便在当地有名的《瓯海日报》上发表了《我已长大》的新诗。由对诗的痴爱转至对鸟虫篆的钟情，似是在特定历史环境之下，于冥冥中之安排。1958年，谢云老被错定为“右派”，由文化部下属的北京幻灯制片厂下放到广西电台，为了避开创作诗歌而可能殃及自身的文字之祸，而又能抒发胸中郁闷或情怀，谢云老在历史与现实、偶然与必然的漩涡中，进入了魂系其终身的鸟虫篆书法艺术。 谢云老倾心于专研鸟虫篆长达半个世纪。他徜徉于古代与现实之中，以天人合一的哲学精神，格物致知、格物穷理，追寻着西周以来鸟虫篆产生渊源及其历史嬗变之痕迹，以诗人之审美观念和情怀，探古寻幽，不懈探寻鸟篆、虫篆到鸟虫篆，由具象到抽象的线条与韵律。 南北朝时期，谢赫提出“气韵生动，骨法用笔”等书画“六法”。“六法”不是并列关系，其“气韵生动”居于“六法”之首，这恰与谢云老内心激情与外在表达所合。谢云老秉承书法之妙道，神采为上，贯气于心，内外交融，天人感应，追求内在的理性把握和外在的感性、激情表达，注重线条、布局，也注重节奏、韵律。谢云老书写的鸟虫篆，样态优雅、摇曳动人，既具抽象的曲线美，又充盈着澄怀味象的人文精神。他在诗作中表达出来的激情、浪漫、真诚、怀旧，与鸟虫篆中返璞归真、不拘技法、自古出新、天真烂漫、丑中见美，相互交融。经过漫长人生岁月的磨难，于20世纪90年代，他在长诗《笔潮》中抒发了对鸟虫篆梦一般的追寻： 线的流动，形的飞扬 智慧、深邃、简洁、生动 真真是美的⋯⋯ 宇宙万物，无穷的阔大 五行、人伦、美像归于线 殷的文字，远古的梦 是那么遥远，又多么亲近⋯⋯ 纸已焦黄墨已淡 天机造化 挥毫高崖悬 群山齐鼓掌⋯⋯ 先人赐予的字迹 字迹里储存的密码 你能鉴赏吗? 他的诗中有书，书中有诗，二者浑然一体。就此而论，人罕能及。刘海粟大师题诗为评:“出古方师古，俊难丑更难，黄山添妙境，碧月映寒潭”，并称赞他的鸟虫篆书法“奇而不奇，不奇而奇，放逸可观”。海粟老人以其百年人生经历及艺术大师的卓越见地，对谢云老鸟虫篆书法于古今之间、守旧与创新之间、美丑之间做出精当的评点。 你能鉴赏吗？这是谢云老对自身抑或是对现今的追问。 是为序。 作者系国家新闻出版总署副署长 Preface Yan Xiaohong Mr. Xie Yun，born in Cangnan County of Zhejiang Province in 1929，is now a consultant of China Calligraphers Association. Since six years old，Xie Yun has been learning calligraphy and poetry from his father. When he was young，he concentrated on learning calligraphy in Liu Gongquan and Yan Zhenqing ，and then he learned the style of Northern Wei stone tablets. In the book Donation Series for China National Museum-Painting and Calligraphy Art of Xie Yun compiled by Mr. Lv Zhangzhong，I found by chance his work of Kai calligraphy in 1946 when he was in the middle school，typical of Yan and Liu styles，complying with the art of writing but with more freedom，which cannot be associated with his current bird-insect calligraphy. Bird-insect calligraphy develops from insect script，one of the eight ancient calligraphic styles in the Qin Dynasty. As is said in Shuo Wen Jie Zi: Xu written by Xu Shen in the Han Dynasty，“In the Qin Dynasty there were eight calligraphic styles thriving by then，which were large seal script，mini-seal script，inscribed symbols，insect script，imperial seal script，script on horizontal inscribed boards over the gate，script on weapons and official script.” As a matter of fact，large seal script，mini-seal script，insect script and official script are good to be called “styles”，and the other four are actually inscriptions on different objects-tallies，imperial seals，weapons and horizontal inscribed boards over the gate，therefore the latter four kinds of inscriptions can not be called calligraphic styles in the strict sense. It’s said that insect script was derived from the Spring and Autumn Period and became popular in the Warring States Period. Insect script was widely used in the states of Wu， Yue，Chu and Xu at that time，the fights among whom contributed to the appearance and wide use of insect script. It was also put into use in the north. In 1978，a sample of insect script was discovered in the tomb of the King of Zhongshan in the Warring States Period in Pingshan County of Hebei Province; a quadrangular bronze jar belonging to the King of Zhongshan was unearthed from the tomb and insect script in slender lines with abstract beauty was inscribed on it. Bird-insect script was widely used then on the flags，tallies and lute in the military army，as well as in tripod caldrons，bricks in the Qin Dynasty，eaves tiles，weapons，serial bells，household containers and jewelry and even it is essential for learning calligraphy. As was said in Manuscript of Treatise on Calligraphy written by Sun Guoting，a calligraphy theorist in the Tang Dynasty，“…to exert every effort to learn how to begin and end in writing calligraphy，study the essence of insect script，the classic cursive script and official script…like to compose a melody with eight musical instruments，which will have listeners profoundly enjoy and think.” Xie Yun has been a lover of bird-insect calligraphy for decades of years，which is both by chance and by destiny. Xie Yun is a poet by nature，and his love for poetry is far more than that for calligraphy. When in the middle school，he published a free verse “Grown Up” in the famous local Ouhai Daily. His love shifted from poetry to bird-insect calligraphy，and it seemed to be owing to the special historical environment. In 1958，he was mistakenly sentenced to be a Rightist，exiled from Beijing Slide Film Factory affiliated to the Ministry of Culture to Guangxi Radio Station. Drawn into the vortex of history and reality，Xie Yun had to protect himself from the possible literary persecution in writing poetry; by chance or by destiny，he began to approach the realm of bird-insect calligraphy to express his depression，which has turned out to be a life-long undertaking，preoccupying all his heart and soul. Xie Yun has been focusing on studying bird-insect calligraphy for half a century. Adopting the philosophical thinking of “harmony between man and nature”，Xie Yun pursues the very nature of things in studying the origin of bird-insect calligraphy since the Western Zhou Dynasty and its historical development. With the poetic aesthetic feelings，he perseveringly explores the development from bird script to insect script and finally to bird-insect calligraphy and the lines and rhythms from concrete to abstract，in the hope of making some new discovery. In the Southern and Northern Dynasties，Xie He put forward six principles of painting and calligraphy，namely“rhythmic vitality，flexible lines…” The six principles are not equally important，and “rhythmic vitality” comes the first as it just strikes a chord with Xie Yun’s inner passion and outward expression. Adhering to the essence of calligraphy，emphasizing its elegance，with energy and spirit in one’s heart，to reach a state of unity of one’s internal and external world and the interaction between nature and man，he strives for rational understanding and dynamic expression，attaching importance on lines，layout and rhythm. Bird-insect calligraphy written by Xie Yun is elegant and charming with abstract lines of beauty，and he hopes to demonstrate the pure and innocent spirit of mankind. Passion，romance，sincerity and nostalgia in his poetry are blended with innocent nature，free style，innovation，naivety and unique beauty. In the 1990s，he expressed his dreamlike pursuit of bird-insect calligraphy in the long poem “Bi Chao” after ups and downs in the life: The flowing of lines Wise，deep，concise，dynamic， More than beautiful … How vase the universe is! The Five Elements，human relations and beautiful images are all embodied well in these lines， Words of the Yin Dynasty，the ancient dream， So faraway，so intimate … The paper has become yellow with age; the ink has become lighter， The secret nature， Writing with strength is like standing by a cliff， All the mountains are clapping， … The words bestowed by our ancestors， The mystic information hidden in them， Can you appreciate? His poem contains the beauty of calligraphy，and his calligraphy embodies the features of poem，which merge harmoniously with each other. Very few people can reach this height. The master Liu Haisu comments with his poem，“Learn from but go beyond the masters; it’s more difficult to write the ugly than the beautiful; if we want to add to the charm of the Yellow Mountain，clear swath of moonlight on the cool pool may help here”，and praised Xie’s bird-insect calligraphy as “sometimes odd，sometimes common，clear and passionate enough to be enjoyed”. Haisu，of with his rich life experiences，gives a very excellent comment on the bird-insect calligraphy of Xie Yun，as Xie merges tradition with modernity，conservative with innovation，the ugly with the beautiful. Can you appreciate? This is a question raised by Xie Yun for himself or the modern world. Above is my preface. (The author is the Deputy Director of General Administration of Press and Publication) 收起