1981－1987年间，任上海《青年一代》杂志记者、副主编；获有两个大学专业文凭。1987年秋赴美留学，1990年获得纽约州立大学社会学硕士学位。 1994年7月4日，他在美国中西部丹佛市创办了中文周报《中美邮报》。1998年6月，在美国和北京中国美术馆，分别举办了“屠新时旅美十年书法展”,同时由岭南美术出版社出版《书法与中国大智慧》一书。1999 年12月在上海图书馆由上海海外交流协会、上海市书法家协会等主办的「跨越千年—屠新时旅美书法展」和系列中西文化演讲活动，上海教育电视台还拍摄了《亦中亦西穿梭人》电视专题片,

1997年秋季起，先后在美国两所大学开创《经典中国书法与文化》课程，将书法艺术与文化哲学相结合，成为一门正式选修课，受到美国学生的欢迎和大学校长的称赞。他的书法作为给美国总统的礼品送进了白宫。 1997年荣获美国名人研究学会 (ABI) 颁发的「国际文化成就奖」。丹佛市艺术博物馆内中国馆从1999年起永久收藏并展出屠新时两幅书法作品至今。新世纪以来，他在美国和中国的大学校举办了十数次中国书法艺术讲习会,参加文化艺术及传媒学术会议, 致力于中国书法走向世界的交流传播与教学实践。

屠新时书法作品

 书法之美

中国书法之美最具本质意义的特征，还应该是人的生命激情的诗意挥洒。中国书法——是有生命意味的艺术书写形式。

愈是深入的研究书法艺术的整体结构，愈清楚地发现：艺术结构与生命结构的相似之处，它的系列化、整体化正在不断地被充实、丰富和发展。艺术与生命的连接，在本质上显现人的主体生命的对象化，在书法中，就是生命的笔墨化。在笔墨之中，隐喻和暗示着人的肉体力量和精神力量。

正是人的生命之流和内心情感的挥洒，才使中国的笔墨在书写文字时，在笔墨的起倒仰伏之间，唤醒自己真正的生命。人的心灵情感之流，使这些单独的字形成艺术的连贯，成为“有意味的形式“。在中国2000多年的书法历史发展中，书法美的历史流程由象形为主的造型艺术，逐渐转换到以转达情性为主的表情艺术。

动静相宜

最后的作品可能是一幅静止的平面，而它却是毛笔在时间的运程中，

三维空间（上下，前后，左右，提按，顿挫）中的运动轨迹的留驻。它追求展现的是一种瞬间的动态平衡，刚柔相济的弹性之美，骨健肤润的温文华美，又是运动组合的造型之美。它由动而静，静中寓动, 在简洁凝练的创作过程中，描绘一段彼时彼地的生命状态。

黑白交乳

当黑墨随着毛笔的跳荡在白宣上占据分隔，原来的白已不是先前的白、无意义的白；而是和黑有机相连、彼此依存的白；这种空间和意义的互动转化，这种最单一却又极为丰富的色彩形态的瞬间之变， 正是“易经”中传达的世界的本原与本质：万物在于变，生命在于动；虚实有无，是相互依存转化的统一体。

形神一如

书法的线条、结构、点画顾盼之间，活脱脱地展现着人的肢体和神态之美

。但又没有一点一画是直接描摹复印着人的五官和四肢。这就是艺术的魅力：它源于自然，高于自然；不可不似，又不可全似；简化，净化，再造。

 2007-07-02 来源: 吉林日报

虽然研究过中国思想史和美学，但我对《周易》和书法懂得很少很少。它们都是非常高深非常专门的学问。下面只能谈点感想。

《周易》和书法是中国文化的独特瑰宝，是中国文化最具代表性的精神符号。它们似乎是那么神秘，然而又那么现实。你看，那八八六十四卦，囊括了天地、人生、自然、社会，它们藏往知来，预卜命运，帮助人们趋吉避凶，作出判断，那气象万千未可穷尽的推移变化，“既济”之后却是“未济”，永远没有完成。

这不神秘吗？但是，卦辞、爻辞和系辞，又确乎包藏着丰富而复杂的历史经验、远古传说和人生哲理，凭此即可指导人们的行动和观念，这不又很现实吗？同样，你看中国书法，那是净化了的、纯粹的线的艺术，它也包罗万象、无不皆备，“天地万物之变，可喜可愕，一表于书”（韩愈）。我曾说它“不是一般图案花纹的形式美、装饰美，而是真正意义上的‘有意味的形式’（Significant form）”，“它是活生生的、流动的、富有生命暗示和表现力量的美”，“每一字、每一篇、每一幅，都可以有创作、有变革，甚至有个性”（均见拙作《美的历程》）。这不有些神奇吗？

但尽管若行云流水、天马追风，如此玄妙高超，通过对笔墨的轻重、疾涩、虚实、强弱和转折顿挫的把握和欣赏，你仍然可以清晰地获得某种可喜可愕可惊可叹的审美感受、领悟和快乐。这不又很现实吗？

我曾认为，中国文化和哲学的物质，与西方传统相比较，恰好是反形而上学、反本质主义和反二分法的。它重过程轻实体，重生长轻存在，重身心一体而非灵肉二分。在这里，主客体之分根本不明甚至是不存在的。中国诗文、绘画讲情景交融，中国哲学、医学讲天人合一。在书法，更是如此。人的个性情感与自然韵律、节奏的同构合拍，就呈现在这纸上舞蹈和无声音乐的永久进行中。无怪乎人们把书法与气功也联系了起来。中国传统评论常用人体的骨、肉、血、气这些感性生命的话语来讨论、描述艺术作品的精神状态、风格品德。所有这些，都显现出中国文化、哲学、周易、书法强调身心一体的生命力量的根本特点。

屠新时先生在“文化大革命”大动乱时期而能潜心书法，很不简单；在美国10年不去赚钱而仍致力于此，研究比较中西文化，更非容易。也许正因为如此，他的字使人感到某种脱俗的味道。不求妩媚于人，但求自我表达。即使婉转缠绵，也仍柔中有刚，骨力内在，正像他写的那句“众里寻他千百度，蓦然回首，那人却在灯火阑珊处”的稼轩词一样。屠君喜写中国诗词，也许以此更可寄托自己的故国之思，同时也给有中国文化背景的欣赏者增添了不少乡土情意。从书法说，这里涉及一个重要问题。书法既是纯粹的线条艺术，它在今天就很容易变成现代抽象绘画，而不再是书法。好些青年书法家写的，就很难说是汉字，因为没人能认得出。那么书法和绘画还有没有或要不要有区别呢？我以为，这成了一个问题，在这个问题上，我是保守派，不赞成把中国书法搞成抽象绘画。因为这样，以写汉字为特征的中国书法也可以完全取消了。我以为，今天中国书法一方面固然应该是具有现代气息、现代风貌的线条艺术，另一方面它又仍然可以从文化心理积淀层面，来促使人们去欣赏书法线条自身的美。为什么宋、元以来的中国绘画常以诗文相配而极为成功，恐怕也包含了这个原因在内。

屠君致力于通过书法来进行中西方交流，这又是一个大问题。我也曾说过，由于近代历史的原因，现代中国对西方的了解远远超过西方对中国的了解。从而要使西方一般读者、观众真正了解和感兴趣于中国传统文化，我以为，恐怕是一百年以后的事情。理由何在，这里不说。总之，今天致力于西方传播中国文化，是一件非常艰难而孤独的工作。我就从不敢以此自许。但千里之行，始于足下，屠君今日努力工作，又在美国大学教授中国书法与中国文化，举办各类讲座、演示和展览，不仅已有成果，而且我想在不久的将来，特别是更远的将来，一定会得到越来越广泛、越来越热烈的反响和回报，来肯定他这种筚路蓝缕的开拓志向和奋斗精神，谨以此为颂为祝。(李泽厚)

 Tu Xinshi, alias Tuhao, spread. He is currently the president, editor-in-chief, guest professor of Chinese painting and calligraphy at Naropa University and Colorado College, president of Rocky Mountain Chinese Calligraphy Research Association, Dean of Denver Chinese Culture Research Institute, director of American Chinese Character Calligraphy Teaching Society, director of Chinese Yanhuang Culture Research Association, and director of Shanghai Association for Foreign Cultural Exchange. Member of the Council, Governor of Cote State and member of the Senator's Asia-Pacific Advisory Committee.

Brief Introduction to Characters

From 1981 to 1987, he was a journalist and deputy editor of Shanghai Youth Generation magazine, and obtained two university diplomas. In the fall of 1987, he went to the United States to study, and in 1990 he received a master's degree in sociology from New York State University. On July 4, 1994, he founded the Chinese Weekly Sino-American Post in Denver, the Midwest of the United States. In June 1998, in the United States and Beijing Museum of Chinese Art, the "Ten-Year Calligraphy Exhibition of Tuxinshi's Travel to the United States" was held, and the book Calligraphy and Great Wisdom of China was published by Lingnan Art Publishing House. In December 1999, Shanghai Library sponsored by Shanghai Overseas Exchange Association and Shanghai Calligrapher Association "Over the Millennium-Tuxinshi Calligraphy Exhibition in the United States" and a series of Chinese and Western cultural lectures. Shanghai Educational Television also produced a TV feature film "Yizhong Yixi Shuttler".

Since the autumn of 1997, classical Chinese Calligraphy and Culture has been established in two American universities. It combines the art of calligraphy with cultural philosophy and becomes a formal elective course. It is welcomed by American students and praised by University presidents. His calligraphy was sent to the White House as a gift to the President of the United States. In 1997, he was awarded the International Cultural Achievement Award by the American Academy of Celebrity Studies (ABI). The Chinese Museum of the Denver Museum of Art has permanently collected and exhibited Tu Xinshi's two calligraphy works since 1999. Since the beginning of the new century, he has held dozens of Chinese Calligraphy Art Seminars in American and Chinese universities, participated in academic conferences on culture, art and media, and devoted himself to the communication, communication and teaching practice of Chinese Calligraphy towards the world.

Understanding the Book Way

The Beauty of Calligraphy

The most essential feature of the beauty of Chinese calligraphy is the poetry of human life passion. Chinese Calligraphy is an artistic form of writing with the meaning of life.

The more in-depth study of the overall structure of the art of calligraphy, the clearer it is: the similarities between the structure of art and the structure of life, its serialization and integration are constantly being enriched, enriched and developed. The connection between art and life essentially shows the objectification of human subject's life. In calligraphy, it is the pen and ink of life. In the pen and ink, metaphor and implication of human physical strength and spiritual strength.

It is the flow of human life and the spread of inner feelings that make Chinese pen and ink wake up their real life in writing, between the ups and downs of pen and ink. The flow of human mind and emotion makes these individual words form artistic coherence and become "meaningful forms". In the development of Chinese calligraphy history for more than 2000 years, the historical process of the beauty of calligraphy has gradually changed from the plastic arts mainly based on Pictography to the expressive arts mainly based on expressing feelings.

Dynamic and Static Appropriateness

The final work may be a static plane, but it is a brush in the course of time.

The residence of trajectory in three-dimensional space (up and down, front and back, left and right, push and drop). It seeks to show a kind of instantaneous dynamic balance, the beauty of elasticity that combines rigidity and softness, the gentle and graceful beauty of bone health and skin moisturization, and the beauty of the shape of the combination of sports. It depicts a life state from time to time in the concise and concise process of creation.

Black-and-white lactation

When black ink is separated from white propaganda by the jumping of brushes, the original white is no longer the previous white and meaningless white, but the white which is organically connected with black and interdependent with each other. This interactive transformation of space and meaning, the most single but extremely rich instantaneous change of color form, is precisely the world conveyed in the Book of Changes. The origin and essence of boundaries: everything lies in change, life lies in motion; the existence of emptiness and reality is the unity of interdependence and transformation.

Similar in form and spirit

The beauty of human body and manner is vividly displayed between the lines, structures and dots of calligraphy.

。 But not a single painting directly depicts and reproduces the five senses and limbs of human beings. This is the charm of art: it comes from nature, higher than nature; it can not be unlike, but not all the same; simplify, purify, rebuild.

Understanding the Book of Changes

2007-07-02 Source: Jilin Daily

Although I have studied the history of Chinese thought and aesthetics, I know very little about Zhouyi and calligraphy. They are very advanced and specialized knowledge. Now I can only talk about some thoughts.

Zhouyi and calligraphy are unique treasures of Chinese culture and the most representative spiritual symbols of Chinese culture. They seem so mysterious, yet so realistic. You see, the Eighty-Eighty-Sixty-Four hexagrams cover the world, life, nature and society. They hide in the past, predict fate, help people to seek good fortune and avoid evil, and make judgments. The weather has never been exhausted. After "helping", it is "not helpful" and never finished.

Isn't that mysterious? However, hexagrams, rituals and rhetoric do contain rich and complex historical experience, ancient legends and philosophy of life, which can guide people's actions and concepts. Isn't it realistic? Similarly, when you look at Chinese calligraphy, it is a purified and pure line art. It is also all-embracing and all-inclusive. "The change of heaven and earth is delightful and astonishing. It is shown in books" (Han Yu). I once said that it "is not the formal beauty and decorative beauty of general patterns, but the real meaning of the"significant form","it is a living, flowing, full of life implications and expressive power of beauty","every word, every article, every picture, can have creation, change, even. To have individuality (see my poem The Course of Beauty). Isn't that magical?

But even if you are so superb, you can still clearly get some pleasant and amazing aesthetic feeling, comprehension and joy by grasping and appreciating the importance, astringency, emptiness and reality, strength and turning setbacks of the brush and ink. Isn't that realistic?

I used to think that the substance of Chinese culture and philosophy is exactly anti-metaphysics, anti-essentialism and anti-dichotomy compared with Western tradition. It emphasizes process over substance, growth over existence, body and mind over spirit and flesh. Here, the distinction between subject and object is unknown or even non-existent. Chinese poetry, painting and scenario blend, Chinese philosophy and medicine emphasize the unity of man and nature. This is especially true in calligraphy. The isomorphic harmony of human personality and emotion with natural rhythm and rhythm is presented in the perpetual progress of dance and silent music on this paper. No wonder people also associate calligraphy with Qigong. In traditional Chinese criticism, the emotional life words of human body, such as bone, flesh, blood and qi, are often used to discuss and describe the spiritual state and style and moral character of artistic works. All of these show the fundamental characteristics of Chinese culture, philosophy, Zhouyi and calligraphy, which emphasize the life force of body and mind as one.

It's not easy for Tu Xinshi to concentrate on calligraphy during the "Cultural Revolution" turmoil; it's not easy to compare Chinese and Western cultures in the United States after 10 years of not making money. Perhaps because of this, his words make people feel a kind of refined taste. Do not seek charm, but seek self-expression. Even if tactfully entangled, there is still rigidity in softness and inner strength, just like the Jiaxuan words he wrote, "Look for him in the crowd for thousands of Baidu, suddenly look back, but the man is in the lamplight of the waning place". Tu Jun likes to write Chinese poems and lyrics. Perhaps this can be more a reflection of his homeland. At the same time, it also adds a lot of local feelings to those who have Chinese cultural background. From the point of view of calligraphy, there is an important issue involved here. Calligraphy is not only a pure line art, it is easy to become modern abstract painting today, rather than calligraphy. Many young calligraphers write, it is difficult to say Chinese characters, because no one can recognize. Is there any difference between calligraphy and painting? In my opinion, this has become a problem. On this issue, I am a conservative and disapprove of making Chinese calligraphy an abstract painting. Because of this, Chinese calligraphy characterized by writing Chinese characters can also be completely abolished. I think that today's Chinese calligraphy, on the one hand, should be a line art with modern flavor and modern style, on the other hand, it can still promote people to appreciate the beauty of calligraphy lines from the cultural and psychological accumulation level. The reason why Chinese paintings since the Song and Yuan Dynasties have been very successful in matching poetry and prose may also include this reason.

Tu Jun devoted himself to the communication between China and the West through calligraphy, which is another big problem. I have also said that for the reasons of modern history, modern China knows much more about the West than the West knows about China. In order to make Western readers and audience really understand and interested in Chinese traditional culture, I think it will be a hundred years later. Why not say here. In short, it is a very difficult and lonely job to devote ourselves to the dissemination of Chinese culture in the West today. I never dare to say so. However, Tu Jun's journey started with his hard work today. He also taught Chinese calligraphy and Chinese culture in American universities and held various lectures, demonstrations and exhibitions. Not only has he achieved results, but I think that in the near future, especially in the farther future, he will surely get more and more extensive and enthusiastic responses and responses. The newspaper, to affirm his pioneering ambition and spirit of struggle, would like to take this as a blessing. (Li Zehou)