1934年11月生，天津市武清县人。现为中国书法家协会理事、天津市书法家协会副主席。师承王学仲、孙其峰诸名家。潜心翰墨至今六十年有余，曾习唐楷，后专师北魏石刻。

       孙伯翔自幼学书，临池不辍。曾得王学仲、孙其峰指导。崇尚碑学，倾心北派，兼涉隶、篆、行、草、书作雄强古拙，形散神聚，气质不凡。现为中国书协理事、中国书协创作评审委员会委员、中国书法进修学院教授、天津市文联委员、天津市书协副主席。出版有《孙伯翔书法集》等。现为中国书法家协会理事。师承王学仲、孙其峰诸名家。潜心翰墨至今六十年有余，曾习唐楷，后专师北魏石刻。

 孙伯翔作品入选全国第二、三、四届书法篆刻展览，全国第一、二届中青年书法篆刻展览，中日书法交流展，中国.新加坡书法联展等，被收入多种作品专集或被多处美术馆、博物馆收藏。曾为中央广播电视大学主讲《书法教学》（北碑部分），获全国电教奖。与人合作出版《书法艺术》一书。曾获天津市“鲁迅文学奖”。现为中国书法家协会理事，中国书法家协会创作评审委员会委员，天津书法家协会副主席，天津市文联委员。

2014年3月19日，中国文联在京举行第11届造型表演艺术成就奖颁奖典礼，孙伯翔获造型艺术奖。

 学书

书艺之道，当勤奋为主，然勤奋当以酷爱为前提，没有酷爱，就不会勤奋。圣哲云：“学而不思则罔，思而不学则殆。”读书如此，学字亦如此。学书当学法，学法当从古入，这个道理似乎都承认是源流之理，毋庸置疑。从古开始，就强调以名碑、名帖来作为法则深学，不是任何一种都可作为法源，比如无名的或以刀代笔的小墓志、小造像、刑徒砖以及竹简、木简，一般的写经等等。只能取意，悟其天趣，不能做法。学隶书的只取汉简为法，不临礼器、曹全、张迁诸名碑；学魏碑的只把重点放在以刀代笔的小石刻，不以张猛龙、始平公、张黑女、郑文公、论经书诗为宗，虽是学古，却是歧途。

学书多源流之分，当以学源为主，先人的流可以兼取，但不能本末倒置。就碑学而论，清代中叶，碑学大兴，造就了如邓石如、张裕钊、赵之谦、康有为等诸多巨匠，他们的成功目标是经源头而取，辟成自己的流派，各自成宗。当从源头起，有为之士再辟流，如果学魏碑只取赵之谦或康有为，学隶书的以邓石如为法，舍其源，学其流不是上乘之见。

学书当有主见，但不是固执，学书更要广泛请教征求意见。其两者并不相悖。欲请教别人，须知自己的欠缺处。学书也好，作书也罢，始终保持一种沉静的心态最为重要，不为名所左，不为利所右，特别是现今的年轻人千万不要为参加某个大展入选或获奖而喜，不要为落选而懊恨，更不要逐追时风。此生无所求，只为爱此道足矣。

书法艺术

书艺之妙，皆在于思，线多了字要着眼于点，点多了的字要着眼于线。执笔于手，巧悟于心。

一幅好字是多因素而生的。笔法、结构、章法、行气、俯仰、疾徐、刚柔、虚实、延伸跌宕、疏密等等，简言之，即矛盾、和谐、统一的关系，永远掌握言语的哲理，书家应有能力挑起矛盾，而后再有能力平和矛盾。知其阴，必晓其阳，天覆地载，万殊一象。形质为躯壳，性情是灵魂。无形质莫论性情，形质由古取，性情应时生。

艺术本身是矛盾的，需要人从心灵来摆平，搞艺术的人也是矛盾的，相互有褒、贬。褒贬是客观存在，但要尊敬人格，不要乱扒，乱抬，要知道好的艺术是扒不下来的，反之，也是抬不起来的。没有厚积，难得妙得，没有长年，难有瞬间。孙伯翔是写北碑的，在临写龙门造像和云峰山下了多年的笨功夫，尤其是在方笔龙门更多一些。因此对刀与笔多了些肤浅的认识，在这方面争议颇多。古人有论，今人有论。刀笔各半，甚至说方笔的形成纯为刻工所为。传世的方笔魏碑有其明显的镌刀斫起成分，不可泯除，但其形神主要是当时书家所为，欲得方，必得厚，方能积雄，形态易得，质感难求，刻工只能得其表，无法得其质，无法得其厚，无法得其神。

无名的小造像、小墓志却是以刀代笔，不能作为法来学习，但是它们当中有—种自然的天趣，给人们一种朴实无为的美感，不能作法，但可取意。

不好得的经典最难得到，愈要取，好得的“样板”无须取。

笔毫分软硬，捉管有高低，古也谈，今也谈，都说自己最正确，因人而异，以己为主，艺术效果是答案。

现今影印技术非常发达，各地书局影印各种碑帖范本，其质量优劣不一，要择优而取。但是我有这样的认识，影印本不如以前珂罗版，珂罗版不如拓本，拓本不如全拓片，拓片不如原石，可是我们没那么好的条件。

书法技巧

孙伯翔认为将来书种、书风之变很可能在碑帖结合上。书法艺术无疑要在字内功下大力气，同时要多读有用的书，更要捕捉大自然的万物之象。书画的点线其质如钢筋（带锈），或如木棒，或如铁块，或如石块，千万不要似棉团，似麻披，更不要像稻草。丰腴的字最难写，清人刘墉字品位很高。每人写字快慢程度不同，写快也对，写慢也对，关键看他“节奏”、“音符”掌握的准不准，美不美。

 潜心翰墨至今六十年有余，曾习唐楷，后专师北魏石刻。

早年书法筑基于《龙门二十品》，六朝摩崖、墓志，其中尤钟情于《始平公造像》、《杨大眼造像》、《魏灵藏造像》。取法高古，得其神髓，为当代书坛所称道。近些年多有变法，碑中寓帖，方峻挺拔中含清新灵动。其用笔方中寓圆，刚柔相济，中侧兼施；结体开合有变，天然成趣，雄浑博大；通篇血脉畅达，精神飞扬。其书重法度，讲情性，主革新。作品曾参加全国第二、第三届书法篆刻展览，国际书法展，中国新加坡第二次联展等。日本《现代临书大系》收录了其临碑之作，《中国书法》、《书法》均发表专论，评介其书法成就。作品收入《中日书法作品集》、《中新书法联展作品集》、《中国当代百家墨迹作品集》。中央广播电视大学特约其任书法课讲师。

 他临写的一些作品，给人的印象是：乍一看，很像原碑；但和原碑相比较，又有相当的距离；回过头来再细细品味，却发现更加像原碑。他对原碑的形态、神韵已经烂熟于心，这些碑刻的风格特征已经融化在他的大脑中，并自觉能动地在他的笔下表现了出来。孙伯翔自己也谈到，自己练字用过的纸一卡车也拉不走。他反复地临习、揣摩，对魏碑的各种风格、形态、神韵进行观察、体味、比较、融合。

他多次告诫学生，写方笔魏碑的时候，要注意到它圆浑的一面，惟有圆，方能厚，惟有圆，方能活，惟有圆，方能内蕴丰富；写圆笔魏碑的时候，要注意到它方雄的一面，要靠方雄体现出魏碑的力度和神采。其实，孙伯翔所谓的方中有圆、圆中有方，并不一定是原碑刻的点画特点，也不一定是北魏书家所具有的驾驭能力，更不一定是刻工有意的修饰，而大多是他个人对魏碑的创造性理解，是他数十年临池、研究的甘苦之言。他临写的魏碑作品，不是对原碑的刻意模仿，不是对原碑的简单复制，而是融入了自己的理解，体现着自己的创造。同原碑相比，他的作品点画更峻厚，内涵更丰富，变化更多样，风格更鲜明。这是孙伯翔对传统的开拓和发展。

孙伯翔在书坛的地位和影响来自于他在魏碑笔法上所取得的突破，尤其在魏碑笔法上的突破完全是在没有前人可资借鉴的基础上，经过他十余年的反复实践、反复探索所取得的。他用一管柔软的长锋羊毫，敢于大胆地侧锋起笔，绞锋行笔，写出了魏碑斧劈刀削、斩钉截铁、钢打铁铸般的艺术效果，真正达到了形神兼备的艺术境界，再现了魏碑的那种大气磅礴、奇崛方雄的艺术风格。他的方笔魏碑是对笔法的一大创造。

孙伯翔不仅在魏碑的笔法上有自己独到的创造，而且在对魏碑的研究上也有自己独特的见解。在《怎样临习〈始平公造像记〉》一书中，处处闪烁着他思想的灵光。这都是他苦学、深思、顿悟的结果，是前人所没有谈到的。在书法界，孙伯翔的人格是有口皆碑的。他为人诚朴，正直善良。不论年龄大小，职务高低，他都一视同仁，以诚相待。他从来不妄自尊大、臧否他人，对传统、对前人总是怀着一种虔敬之情，虽已名满天下，但依然像一个辛勤的农夫，在砚田内默默地耕耘着、劳作着。他的书法虽然影响巨大，而且私淑者众，但他却经常告诫人们，要多向传统学习，不要直接以他为范本，要根据个人的性情爱好，发挥自己的创造性和主动性。他从来不想制造什么“轰动效应”，而只是“想在宣纸面前搞得明白一点”。他的心胸是博大的。尽管经历了那么多的曲折，忍受了那么多的苦难，但他依然乐观、豁达。他把绝大部分精力用在对书法艺术的探求和创新中，而不用在对名利权位的企盼和追逐上。这也可以说是孙伯翔取得令人钦慕成就的秘诀所在。

“偏工易就，尽善难求，专精小劣，博涉多优”。这16个字用在孙伯翔身上是再精当不过的了。

孙伯翔专攻魏碑，专攻到数十年如一日用成卡车的纸来临习造像、摩崖，这种专攻劲头，惶论当代，就是与古代的大家相比恐怕也有过之而无不及。正是这种专攻，使他的魏碑笔法和线条质量跟任何一个碑学大家相比，都不逊色。这样的深厚功力，使他从当代99%的那些追求短平快急功近利不下苦工夫的书法家中脱颖而出，具有了成为大师的第一个条件——功力。

同清代以来众多写碑的书家相比，孙伯翔的另一个过人之处是定位独到，定位时间早，这是需要大智慧的。他在很早的时候就确定自己迥异流俗的写碑路数，就是把魏碑的霸悍雄强推到极处，追求生、重、厚、硬、劲、拙，这种审美追求，使他同何绍基、赵之谦、康有为、于右任等人写碑的取向区别开来，也比当代无数今日写碑明日写帖、今日写隶明日写草、今日跟这风明日跟那风的书家坚定和深刻。

孙伯翔苦下的功夫不是死工夫，为了打造他雄强霸悍刚直朴茂的魏碑书法，他在苦临魏碑的同时，有意地增加和强调了线条和结体的夸张变形和对比，字与字之间的避让和行气的贯通，这些形式变化又不是凭空捏造，而是皆有所根本，有深度，看似现代、流行的招数，却是从古碑刻中得来，真是古不乖时，今不同弊，这一点，流行书风的一些径取今人的高手们是难以望其项背的。

孙伯翔做人的正直厚道，书法理论的精辟深刻，使得孙伯翔在近20年中立定而不倒，这不是机遇和取巧得来，而是真本事和功夫得来，实属不易，令人赞叹！

孙伯翔的致命弱点在他一贯孜孜以求的碑的草化上，正是这一点使他与于右任赵之谦相比具有相当的距离。于兼擅北碑和行草，碑中有行，草中有碑，相互融合，各具风貌。赵将雄强的北碑雅化，在碑的草化方面更有独造，碑体行草已经成熟和谐。孙尽管也对碑的草化进行了长期的探索，可惜的是他的这种探索至今没有找到转化的契机和纽带，没有成熟，还是楷草简单搅和的杂拌。

孙伯翔在碑的草化方面之所以十几年难以成功，主要原因一是孙伯翔的楷书的刚厚生硬与行草的连绵灵动本来就是天生难以协调嫁接的，驴唇不对马嘴，非要吻在一起，再聪明的人恐怕也难以作为。原因之二是孙偏工的局限，除楷书和稍微草化一点但也没有实质变化的魏碑书法作品外，几乎见不到孙二王系列的行草、篆隶，取法的单一必然影响他的眼界和视野，影响他进一步的成就。原因之三是他学养的欠缺。孙谈论书法是有深刻见地的，但书法的高妙光对书法有透彻的认识还不够，还要有书卷气的滋养。

简言之，孙伯翔书法，其价值在楷书上，而不是在魏碑的草化上。其魏碑达到的高度在当代无疑是数一数二的水平，对古人，可以与清道人曾农髯有一拼，但比之赵之谦、何绍基、于右任等还有相当的距离。

 超越别人难，超越自己更难，因为这意味着对自己的否定，意味着对既有名利的舍弃，更为可怕的，是随时都有归于沉寂而被人遗忘的危险。因此，许多艺术家一旦确定了自己的风格和面目，就不再想变，而且也不敢变。大多数的欣赏者、收藏家也往往不希望他们求变。一旦变了，人们往往不予承认，作品的价码就会因而大打折扣。但孙伯翔没有被名利所左右。他在不断地否定着自己，超越着自己。他在创作的时候，往往会毁弃许多别人看来已经足够成功的作品，直到自己满意为止。在见到自己以前的作品时，他也很少持欣赏、肯定的态度。

尽管在探索中不免要走些弯路，但毫无功利目的的探索使孙伯翔加深了对魏碑的理解，并实现了新的突破。孙伯翔今天的书法，已经不完全是纯粹意义上的魏碑书法，而是寓雄强于飘逸、寓险绝于平正的艺术佳作，是继承与创新的统一，是功力与性情的结晶。他的书法创作，已突破了固定的格式，或如清风朗月，或如黄钟大吕，或如高山峻岭，或如小桥流水……已经接近了碑帖交融的美妙境界。

 Brief Introduction to Characters

 

Born in November 1934, Wuqing County, Tianjin. Now he is the director of the Chinese Calligrapher Association and the vice-chairman of Tianjin Calligrapher Association. He was taught by Wang Xuezhong and Sun Qifeng. He has devoted more than sixty years to calligraphy. He has studied regular scripts of Tang Dynasty and later specialised in stone carvings of Northern Wei Dynasty.

 

Sun Boxiang has been learning books since he was a child. He was instructed by Wang Xuezhong and Sun Qifeng. He advocates stele theory and devotes himself to the North school. He also deals with Li, seal, Xing, Cao, and books, which are strong, ancient and clumsy, scattered in shape and gathered in spirit, and of extraordinary temperament. He is currently the director of the Chinese Calligraphy Association, the member of the Creation Review Committee of the Chinese Calligraphy Association, the professor of the Chinese Calligraphy Institute for Advanced Studies, the member of the Tianjin Literary Union and the vice-chairman of the Tianjin Calligraphy Association. Published "Sun Boxiang Calligraphy Collection" and so on. Now he is the director of the Chinese Calligrapher Association. He was taught by Wang Xuezhong and Sun Qifeng. He has devoted more than sixty years to calligraphy. He has studied regular scripts of Tang Dynasty and later specialised in stone carvings of Northern Wei Dynasty.

 

Achievement and Honor

 

Sun Boxiang's works were selected in the 2nd, 3rd and 4th National Calligraphy Seal Carving Exhibition, the 1st and 2nd National Young and Middle-aged Calligraphy Seal Carving Exhibition, the Sino-Japanese Calligraphy Exchange Exhibition, the China-Singapore Calligraphy Joint Exhibition and so on. They have been collected in many art collections or museums. He once lectured Calligraphy Teaching for the Central Radio and Television University (part of Beibei), and won the National Audio-visual Education Award. Publishing Calligraphy Art in collaboration with others. He has won the Luxun Literature Award in Tianjin. He is currently the director of the Chinese Calligrapher's Association, the member of the Creation Review Committee of the Chinese Calligrapher's Association, the vice-chairman of the Tianjin Calligrapher's Association and the member of the Tianjin Municipal Literary Federation.

 

On March 19, 2014, the Chinese Federation of Literature held the 11th Plastic Performing Arts Achievement Award Ceremony in Beijing. Sun Boxiang won the Plastic Arts Award.

Personal Quotations

 

Learning books

 

The art of calligraphy should be based on diligence, but diligence should be based on love. Without love, diligence will not be achieved. Saint Zhe Yun: "Learning without thinking is a waste, thinking without learning is a waste." This is true of reading and learning words. There is no doubt that learning from books is the origin of learning from ancient times. Since ancient times, it has been emphasized that using famous steles and famous posts as the law for further study, not any of them can be used as the source of law, such as nameless or knife-substituted epitaphs, small statues, prison bricks, bamboo slips, wooden slips, general scriptures and so on. We can only take advantage of our wishes and realize their natural interests, but we can't do so. The study of Li script is based on Han bamboo slips, not on ritual vessels, Cao Quan and Zhang Qian's famous tablets. The study of Wei tablets focuses only on small stone carvings with knives instead of on Zhang Raptors, Shiping Gong, Zhang Heinu, Zheng Wengong and classical poems. Although it is an ancient study, it is a wrong way.

 

There are many sources and streams of learning. The main source should be learning. The flow of ancestors can take both sides, but the end can not be reversed. In terms of stele studies, in the middle of the Qing Dynasty, stele studies flourished, resulting in many great masters such as Deng Shiru, Zhang Yuzhao, Zhao Zhiqian, Kang Youwei and so on. Their success goal was to take them from the source, to create their own schools, and to form their own clans. When from the source, there are people who can do something about it, if they only learn from Zhao Zhiqian or Kang Youwei, and learn from Deng Shiru in Li Shu, they will give up their origins and learn from him is not the best idea.

 

Learning a book should be independent, but not stubborn. Learning a book should be consulted extensively for advice. The two do not contradict each other. If you want to consult others, you should know your shortcomings. It's most important to keep a calm mind whether you study or write a book. It's not to be left by name or right by profit. Especially today's young people should never be happy to participate in a big exhibition or win a prize. They should not be resentful for losing the election, let alone chasing the trend of the times. There is nothing to ask for in this life, but to love this way is enough.

 

The art of calligraphy

 

The magic of calligraphy lies in thinking. If you have more lines, you should focus on points. If you have more lines, you should focus on lines. Writing in hand, understanding in heart.

 

A good character comes from many factors. In short, the relationship between contradiction, harmony and unity should always grasp the philosophy of speech. The calligrapher should be able to provoke contradictions, and then have the ability to calm contradictions. Knowing its Yin, you will know its Yang, heaven and earth, all the same. Physical form is the body, temperament is the soul. Invisible matter is not about temperament, shape and quality are taken from ancient times, temperament should be born at the same time.

 

Art itself is contradictory and needs to be balanced from the soul. People engaged in art are also contradictory. They praise and disparage each other. Appreciation and derogation exist objectively, but we should respect our personality, do not pick up and carry up indiscriminately, and know that good art can not be picked up, on the contrary, it can not be lifted up. Without accumulation, it is rare and wonderful. Without years, it is difficult to have moments. Sun Boxiang wrote the Northern Stele. He spent many years in writing the statues of Longmen and Yunfeng Mountain, especially in the square pen Longmen. Therefore, there are many superficial understandings about knife and pen, and there are many controversies in this respect. Ancient people talked about it, while modern people talked about it. Even the formation of square pens is purely the work of engravers. The handed down tablet of Fangbi Wei has its obvious polonium component, which can not be eradicated, but its form and spirit are mainly what the calligraphers did at that time. If they want to get the right way, they must be thick, so they can accumulate strength, form is easy to get, and texture is difficult to obtain. The engraving work can only get the surface, not its quality, not its thick, not its god.

The nameless small statues and epitaphs can not be learned by using knives instead of pens, but there is a kind of natural interest among them, which gives people a sense of beauty of simplicity and inaction, which can not be done, but is desirable.

 

Bad classics are the hardest to get. The more you take them, the better "model" you don't need.

 

Every pen is hard and soft. Everyone talks about it in the past and today. They all say that they are the most correct. They vary from person to person and give priority to themselves. The artistic effect is the answer.

 

Nowadays, Photocopying technology is very developed. The quality of various stele placard models photocopied by local bookstores is different, so we should choose the best one. But I have the understanding that the photocopy is not as good as the previous Cologne, the Cologne is not as good as the rubbing, the rubbing is not as good as the whole rubbing, the rubbing is not as good as the original stone, but we do not have such good conditions.

 

Calligraphy Skills

 

Sun Boxiang believes that the future changes in the types of books and style of writing are likely to be based on the combination of tablets and inscriptions. Undoubtedly, the art of calligraphy should devote great efforts to the work within the words, read more useful books, and capture the image of all things in nature. The dots and lines of calligraphy and painting are like steel bars (with rust), wooden sticks, iron blocks or stones. Never look like cotton balls, hemp mantles, or straw. Fengxiang's characters are the most difficult to write, and Liu Yong's characters in Qing Dynasty are of high quality. Each person's writing speed is different, writing speed is also right, writing slow is also right, the key depends on his "rhythm" and "notes" grasp of the accurate, beautiful.

Characteristics of Works

 

Some of his works give the impression that at first glance, they are very similar to the original tablet, but they are quite far away from the original tablet, and when we look back, we find that they are more like the original tablet. He is familiar with the form and charm of the original stele, and the style and characteristics of these steles have melted into his brain, and they are consciously and actively expressed in his writings. Sun Boxiang himself said that he could not pull away a truck of paper he had used for writing. He repeatedly studied and speculated, observing, tasting, comparing and merging various styles, forms and charms of Wei stele.

 

He warned students many times that when writing square-pen Wei tablets, they should pay attention to its rounded side, only round, thick, only round, can live, only round, can contain rich content; when writing round-pen Wei tablets, they should pay attention to its side, relying on Fang Xiong to reflect the strength and grace of Wei tablets. In fact, Sun Boxiang's so-called "square in circle" and "square in circle" are not necessarily the characteristics of the original inscription, nor the control ability of the Northern Wei Dynasty calligraphers, nor the deliberate decoration of the inscriptions, but mostly his personal creative understanding of the Wei stele, which is the bitter words of his decades of Linchi and research. His works on Wei tablets are not a deliberate imitation of the original tablet, nor a simple reproduction of the original tablet, but an integration of his own understanding, reflecting his own creation. Compared with the original monument, his works are more precise, richer in content, more varied and more distinct in style. This is Sun Boxiang's development of tradition.

 

Sun Boxiang's position and influence in the literary world comes from his breakthroughs in the writing of Wei steles, especially in the writing of Wei steles, which is based on his repeated practice and exploration for more than ten years without reference from predecessors. With a tube of soft long-edged sheep's hair, he dared to write boldly and sideways. He writes about the artistic effects of cutting with axes, cutting iron with nails and casting iron with steel. He really reaches the artistic realm of both form and spirit, and reproduces the magnificent and Fangxiong artistic style of the Wei stele. His Fangbi Weibei is a great creation of brushwork.

 

Sun Boxiang not only has his own unique creation in the writing style of Wei stele, but also has his own unique views on the study of Wei stele. In the book How to Practice the Statue of Shiping Gong, there is a glimmer of his thoughts everywhere. This is the result of his hard study, deep thinking and insight, which has not been mentioned by predecessors. In the field of calligraphy, Sun Boxiang's personality is well-known. He is honest, honest and kind. No matter his age or position, he treats each other equally and honestly. He has never been arrogant, self-esteem, praise others, and always cherishes a kind of pious feeling towards tradition and predecessors. Although he is well-known all over the world, he is still like a hard-working farmer, working silently in the inkstone field. Although his calligraphy has a great influence and many private ladies, he often warns people to learn more from tradition, not to take him as a model directly, but to develop their creativity and initiative according to their personal hobbies. He never wanted to create any "sensational effect", but just "want to make it clear in front of Xuan Paper". His mind is broad. Despite all the twists and turns and suffering, he is optimistic and open-minded. He devoted most of his energy to the exploration and innovation of the art of calligraphy, rather than to the pursuit of fame, wealth and power. This can also be said to be the secret of Sun Boxiang's admirable achievements.

"Easy to do, hard to find, skilled and poor, involving many excellent". These 16 words are perfect for Sun Boxiang.

 

Sun Boxiang specializes in Weibei tablets and in making statues and cliffs with truck-like paper for decades. This kind of specialization is even more powerful than that of ancient people in contemporary times. It is this specialty that makes his writing style and line quality of Wei stele comparable to that of any other stele scholar. This kind of deep skill makes him stand out from 99% of the contemporary calligraphers who pursue short-term, quick success and quick profits, and have the first condition of becoming a master - skill.

 

Compared with many calligraphers who have written monuments since the Qing Dynasty, Sun Boxiang's another outstanding feature is that he has a unique orientation, which requires great wisdom. At an early age, he decided on his different ways of writing steles, that is, to push the hegemony of Weibei to the extreme and pursue life, heavy, thick, hard, vigorous and clumsy. This aesthetic pursuit distinguished him from the orientation of He Shaoji, Zhao Zhiqian, Kang Youwei and Yu Youren in writing steles. It is also more clear than countless contemporary steles today. The calligraphers who write posts on the day and scribbles on the day and scribbles on the day and scribbles on the day and scribbles on the day and the wind on the day and the wind on the day are firm and profound.

 

Sun Boxiang's hard work is not dead work. In order to build his powerful and straightforward Wei stele calligraphy, while suffering from Wei stele, he intentionally increased and emphasized the exaggerated deformation and contrast of lines and knots, the avoidance between words and the penetration of mood. These forms of change are not fabricated from empty space, but are all there. Basically, there are deep, seemingly modern and popular tricks, but they are derived from the ancient stele inscriptions. It is really a bad time, and there are different disadvantages nowadays. This point, some of the masters of the popular book style can hardly be compared with them.

 

Sun Boxiang's honesty and honesty in life and his profound theory of calligraphy have made him stand firm in the past 20 years. This is not an opportunity or a coincidence, but a genuine skill and skill. It's not easy and amazing.

 

Sun Boxiang's fatal weakness lies in his persistent efforts to grasp the monument, which makes him quite distant from the right Zhao Zhiqian. Yu is good at both the Northern Stele and the Grass, the Stele in the Stele, the Grass in the Stele, and the integration of each other, each with its own style and features. Zhao refined the mighty Northern Stele and made it more original in the aspect of the stele's grassland. The stele's body has been mature and harmonious. Although Sun has also made a long-term exploration of the cursive monument, unfortunately, his exploration has not yet found the opportunity and link of transformation, not mature, or simple mixing of regular script.

 

The main reason why Sun Boxiang has been unable to succeed in cursive stele writing for more than ten years is that the rigidity and rigidity of Sun Boxiang's regular script and the continuity and dexterity of cursive writing are inherently difficult to coordinate and graft. The donkey's lips are not right for the horse's lips, so it is difficult for smart people to do so. The second reason is Sun Binggong's limitation. Except for regular scripts and Wei Bei calligraphy works which are slightly cursive but have not changed substantially, there are hardly any cursive and seal scripts in Sun Erwang's series. The single method of choosing will inevitably affect his vision and vision, and affect his further achievements. The third reason is his lack of education. Sun talks about calligraphy with profound insights, but the brilliant light of calligraphy is not enough to have a thorough understanding of calligraphy, but also to have the nourishment of book spirit.

 

In short, Sun Boxiang's calligraphy, its value in regular scripts, rather than in the cursive Wei stele. The height of the Wei stele is undoubtedly one of the highest in the contemporary era. For the ancients, it can compete with Zeng Nongmoustache, a Qingdao man, but it is still quite far from Zhao Zhiqian, He Shaoji and Yu Youren.