張業(yè)法，戊子歲生于齊魯，自幼承家傳，兼修詩(shī)書禮樂(lè)，琴棋書畫，廣涉文藝，早年根基深厚。年方弱冠，博覽群書，學(xué)問(wèn)淵然，慕古人之道，志在博采。甲辰歲，應(yīng)征從戎，專任文宣，以書藝揚(yáng)名軍中。乙丑年，轉(zhuǎn)入齊魯，肩負(fù)書協(xié)重任，然筆耕不輟，勤研精思，求索不息。幼年臨帖，顏柳為基，鐘繇為韻。及壯，遍習(xí)碑版，研古而不泥，漸厚根基。二十弱冠，始悟行草，取法二王，晝夜不輟，凝神習(xí)之。古人云，習(xí)者眾，得者寡，遂屏絕塵俗，孤燈潛修，欲脫塵泥，鑄其風(fēng)骨。

書道如冶鐵，需百煉方成。張氏非唯臨摹，更廣參書論，探微入妙。草書尤鐘張懷，常伴《書譜》《十七帖》左右，心摹手追。草法之妙，氣脈通貫，斷而不斷，連而不連，數(shù)年之間，終有所得。世學(xué)二王者多，得其形而失其神，張氏參悟其中，自成一脈，古韻新風(fēng)，蒼茫自在。數(shù)十載光陰，張公行遍碑林，手不釋卷，二王法度潛研，碑帖精義默參。尤嗜明初《淳化閣帖》拓本，臨池不倦，心追手摹，筆法蕭散，胸藏丘壑，筆底煙云。作品清逸寬博，含而不露，神韻自然，若天籟自手心流溢，清幽渾厚，氣象渾然。

其筆致清勁，風(fēng)神朗逸，結(jié)體險(xiǎn)峻，章法森嚴(yán)。運(yùn)鋒游走，如行云流水;提按分明，若登山涉水。筆意縱橫，剛?cè)嵯酀?jì)，古意渾然，天機(jī)自顯?；蜻B或斷，似斷還連，欲留還走，意境深遠(yuǎn)。業(yè)法常言：“山川奇秀，自然無(wú)拘。書道如斯，守正而變，脫俗乃生?！庇诜ㄖ星箅U(xiǎn)，于險(xiǎn)中求穩(wěn)，神與物游，心與道契。大幅行草，氣勢(shì)如虹，奔放不羈，靜中有動(dòng)，動(dòng)中有靜。觀者或如臨江河浩蕩，或若登高遠(yuǎn)眺，心隨筆動(dòng)，神與境融。斯道妙境，欲傳難述，唯在靜觀默契，方得其真。

近歲，張業(yè)法靜研古帖，探筆墨之微，揣章法之妙，意在化古出新。其《般若波羅蜜多心經(jīng)》一卷，二百六十余字，筆勢(shì)縱橫，墨韻清和，鋒藏而氣斂，古意自生。運(yùn)筆提按有致，心手相應(yīng);線條遒勁而不失柔韌，筆斷而氣連，隨勢(shì)而變，時(shí)而鋒芒隱現(xiàn)，時(shí)而氣象雄放。行筆間，如巨鵬搏風(fēng)，意態(tài)逸然;換行之處，氣韻貫通，神形兼?zhèn)?。通篇沉厚古雅，意韻悠遠(yuǎn)，若清泉潺潺，若流云舒卷，意到氣至，古今交融，觀者莫不心折。

書道本于功、學(xué)、境，三者不可或缺。晉之逸少，唐之真卿，乃至今之沙、林、啟、魏，皆以苦學(xué)精研，方得其道。觀張業(yè)法筆墨，法度嚴(yán)謹(jǐn)，古意流轉(zhuǎn)。行草縱橫如風(fēng)，收筆穩(wěn)如泰山，起止有常，韻律分明。尤擅硬毫中鋒，筆走龍蛇，力透紙背。字形大小、敧正，隨情而變，不拘一格，飛白巧然，神采內(nèi)斂而氣勢(shì)奔放。疾行之筆，若奔雷掣電;舒展之筆，如松間清風(fēng)，快緩相濟(jì)，意態(tài)縱橫，雄渾而秀麗，端莊而飛揚(yáng)。此種氣象，源于心手雙暢，形神兼顧。功深而學(xué)厚，氣定而意和，情景自成。張業(yè)法行筆，若山川舒卷，似江海吞吐，變幻無(wú)窮，韻味難盡。斯境斯妙，非言可盡，唯有靜心觀悟，方得其神理。

時(shí)下書壇，風(fēng)格紛呈，有宗帖者，有崇碑者，亦有碑帖兼修者，各擅其長(zhǎng)。張公融古鑄新，碑帖并蓄，自成一派，雄逸神縱，清雅靈秀。其書風(fēng)儒雅自適，書卷氣濃，內(nèi)蘊(yùn)厚重，沉穩(wěn)中蘊(yùn)奇峭。數(shù)十年如一日，志堅(jiān)行篤，傳古開(kāi)新，為世所推重。

業(yè)法之道，不止于筆墨功力，更重學(xué)問(wèn)修養(yǎng)，品格涵養(yǎng)。其書作如其人，溫潤(rùn)含蓄，氣象清朗。數(shù)十載砥礪，凝聚心血智慧，筆墨間見(jiàn)浩然之氣，作品中含古今之意。心境與書境相合，藝道與人道相融，若云卷舒，若風(fēng)徐來(lái)，韻致悠遠(yuǎn)，直抵人心。

Zhang Yefa: Exploring the Finesse of Art, Attaining the Sublime in Calligraphy

Zhang Yefa was born in the Year of Wuzi in Qilu. From a young age, he inherited his family’s legacy, studying a wide range of subjects, including poetry, literature, music, calligraphy, chess, and painting, laying a solid cultural foundation. By the age of twenty, he had extensively read classical works and was deeply influenced by ancient masters, with a desire to learn from all traditions. In the Year of Jiachen, he enlisted in the military, serving as a cultural officer, gaining recognition for his calligraphy skills. In the Year of Yichou, he returned to Qilu, assuming a key role in the provincial calligraphers' association. Despite his official duties, he continued his calligraphic practice diligently, always in pursuit of the art’s deeper essence. As a young man, he studied Yan Zhenqing and Liu Gongquan for structure, and Zhong Yao for rhythm. With age, he expanded his studies to inscriptions and ancient scripts, refining his foundation. At twenty, he began to understand the essence of cursive script, following the tradition of the “Two Wangs,” practicing day and night, immersed in his art. As the ancients said, many study, but few attain mastery. He isolated himself from worldly distractions, burning the midnight oil, striving to transcend the mundane and forge his own style.

The art of calligraphy is like refining iron; it requires countless temperings to achieve mastery. Zhang did not merely copy ancient scripts; he delved deeply into calligraphy theories, exploring subtleties with great precision. He was especially fond of the cursive scripts of Zhang Xu and Huai Su, often accompanied by Calligraphy Manual and Shiqi Tie. The essence of cursive script lies in the flow of energy, where breaks are continuous and connections seem interrupted yet remain unbroken. Over several years, he gained deep insight. Many study the "Two Wangs" but grasp only the form without capturing the spirit. Zhang, however, found his own path, blending ancient charm with new vitality, achieving a natural grandeur. Over decades, Zhang traversed the inscription fields, never parting from his study of the “Two Wangs.” He particularly cherished the Ming dynasty’s early Chunhua Pavilion rubbings, tirelessly practicing, with a mind embracing mountains and rivers, and a brush infused with clouds and mist. His works exhibit a broad and elegant simplicity, understated yet rich with spirit, like the celestial music flowing from his fingertips, serene yet profound, embodying a harmonious atmosphere.

His brushwork is clear and vigorous, his style elegant and unrestrained, with compositions that are steep and rigorous in structure. The brush moves fluidly like clouds drifting across the sky; his pressing and lifting of the brush are distinct, as if climbing mountains and crossing waters. His strokes flow freely, blending strength and gentleness, with an inherent ancient spirit naturally revealed. Lines connect or break, seemingly disconnected yet subtly linked, creating a profound sense of space. Zhang often says, “The beauty of mountains and rivers lies in their boundless freedom. The way of calligraphy is the same: one must uphold tradition while seeking innovation, only then can one transcend the mundane.” He seeks challenge within the rules and stability within the challenge, letting spirit roam freely and mind unite with the Dao. His large-scale cursive works are as majestic as a rainbow, unrestrained and bold, with movement in stillness and stillness in movement. Viewers may feel as if they are standing by a vast river or looking out from a high peak, their hearts moving with the brush, their spirits merging with the scene. Such sublime states are hard to express in words; they can only be comprehended through quiet observation and mutual resonance.

In recent years, Zhang Yefa has quietly studied ancient calligraphy, probing the subtleties of brush and ink, contemplating the intricacies of composition, seeking to blend the ancient with the new. His transcription of the Heart Sutra, with over 260 characters, displays sweeping strokes and harmonious ink tones, with concealed sharpness and restrained energy, exuding a natural ancient charm. His brushwork is precise, aligning heart and hand; the lines are strong yet flexible, with interrupted strokes maintaining a connected energy, adapting naturally to the changing composition. Sometimes sharpness emerges, other times grandeur unfolds. His brush moves like a giant bird soaring in the wind, with an untroubled grace; even the transitions between lines are seamless, with spirit and form perfectly unified. The whole piece is dignified and elegant, with a deep and distant charm, like a clear spring flowing or drifting clouds unfolding, achieving an integration of ancient and modern. All who behold it are deeply moved.

The art of calligraphy is rooted in skill, knowledge, and insight; none can be lacking. From Wang Xizhi of the Jin dynasty to Yan Zhenqing of the Tang dynasty, and more recently, Sha Menghai, Lin Sanzhi, Qi Gong, and Wei Qihao, all achieved mastery through diligent study and practice. Observing Zhang Yefa’s brushwork, one sees strict adherence to principles and a seamless flow of ancient style. His cursive is swift and unbound like the wind, while his final strokes are as steady as Mount Tai. He starts and ends with consistency, with a distinct rhythm. Particularly adept with a hard-tipped brush, his strokes glide like dragons and snakes, with power penetrating the paper. His characters vary in size and tilt, adapting to the flow of emotion, unconfined by form, with skillful use of flying white, restrained spirit, and powerful momentum. Rapid strokes are like thunder and lightning; leisurely strokes are like the wind through pines. He balances speed and slowness, with a majestic and graceful presence, dignified yet soaring. Such an atmosphere arises from the smooth alignment of heart and hand, balancing form and spirit. Profound skill and extensive learning provide a stable foundation, allowing a harmonious integration of intent and expression, where emotion and scene naturally merge. Zhang’s brush moves like unfolding mountains and rivers or the ebb and flow of the sea, ever-changing and boundless in charm. Such a realm is beyond words and can only be grasped through quiet contemplation.

In the contemporary calligraphy world, diverse styles abound. Some adhere to model script, some revere steles, while others combine the two, each with their own strengths. Zhang Yefa merges the ancient with the new, integrating stele and script traditions, creating a unique style that is majestic yet unrestrained, elegant yet lively. His calligraphy exudes scholarly grace, rich with the spirit of literature, with a deeply rooted foundation and a balance of stability and innovation. For decades, he has remained steadfast and dedicated, both preserving tradition and pioneering new paths, earning widespread respect and admiration.

Zhang Yefa’s approach to calligraphy is not limited to technical skill; it emphasizes scholarly cultivation and moral refinement. His works, like his character, are gentle yet profound, with a clear and radiant presence. Decades of dedication have infused his brush with his heart and wisdom, revealing a righteous spirit in his strokes and a blend of ancient and contemporary sensibilities in his creations. His inner state aligns with his calligraphy; his artistic path merges with his personal one, like clouds drifting and unfolding, like a gentle breeze, with a far-reaching charm that touches the heart.

責(zé)任編輯：苗君