我1938年二月生于辽宁生于辽宁省辽阳市。

1957年: 毕业于哈尔滨师范大学。现旅居新加坡。

自从1970年起，致力于书法的学习与创作， 曾经多次在书法活动中获奖，为中国辽宁省书法理论研究会会员。

我酷爱草书，对研习书谱，古诗四帖，十七帖， 淳化阁帖， 颇有心得。我愿把我四十时多年来学习书法的心得， 与热爱中国书法的各界朋友共同分享。 

传统古典诗词， 皆有一定规范，种类繁多。在创作中字要有大小，线条要有力感，粗细、长短、曲直的变化，墨色要有浓淡、干湿的区别，黑白分明。 字的结体也要有变化，充分体现矛盾统一的原则，使作品章法自然和谐。

卡尔.马克思在资本论中曾讲“要研究则要充分的占有资料”。研习书法也应如此，其最重要的一环即占有上好的碑帖、资料，作为自己研习书法的依据。

下面我以我学写“秋兴八首”为例，予以说明。

我年龄约40多岁时，开始接触。 当时所接触最早的是日本藏祝允明的“秋兴八首”。写了二、三年后，觉得其笔力甚弱，且结体和线条的使转上，常常有些小动作，呈现特有的形态。我不喜欢，但当时苦于自己临帖基础差，苦于无出路，便改学于佑任书， 又研习了三、二年，沉稳了些，但又觉得作品不够飞动、开张、抒情性差，又觅得王铎书八首，介于大小草之间，正合我意，遂以王书为基础，渗入自己的想法进行书写。或以大王小草为基础，或增加狂草之飞动、张扬进行创作，遂成我今日创作此组诗的风格。

在学习创作期间又参考张瑞图、林散之、沈鹏的创作，吸取他们好的作法，扬弃其不足。 兼受临习先贤张芝五帖、张旭古诗四首、怀素自序的熏陶，融入秋兴八首的创作之中，成今日之模样。 时间如箭，不觉40年过去了。

又为学习散式盘，当时没有理想的版本，我从新加坡国家图书馆藏书“两周金文图释”摘出。 经两次放大复印，自制一种A4大小的字帖使用， 甚觉得手， 如是等等。

邱振中讲，一个书家书法作品分四个层次，应酬作品、作品、较好作品、代表作品。敬业的书家，即便是应酬作品，也要精心去创作，拿出好的作品示人，贡献社会。而代表作，应经过长期的积累，才可出现，在书家的作品中，常百无二三。

我逐渐养成了创作习惯是不写则已，写则到写好为止。 严复翻译的赫胥黎《天演论》讲“学如建大屋焉，必立于不可撼之基， 客土虚浮不可任也，穿之凿凿务求实地。” 书法是一种技巧的把握，也可视为一种学问，它的基础是临帖、是有效的创作实践。从事者不可含煳、不可欺世盗名，必须有敬业精神。

前年我创作崔瑗“座右铭”时，写过10张，始产生初步满意的作品。

学习书法是掌握一种技巧为主的一种综合性的，不断学习实践的过程，不断的改进、不断地充实、提高自己文化修养和人格，不断的提高自己的审美情操。学习书法，是人磨墨，也是墨磨人的过程，逐渐做到人书俱老。学书法如纪昌学箭，卖油翁沥油 ；书法创作如庖公解牛，老斫轮斫轮，从一般技巧升华至入神境界，变为下意识的一种行为，得鱼忘筌是也。 为此，我尚需不懈努力，以期能逐渐提高自己的创作层次。

I was born in February 1938 in Liaoyang City, Liaoning Province, China. I graduated from Harbin Normal University in 1957 and now reside in Singapore.

Since 1970, I have devoted myself to the study and creation of calligraphy, and have won numerous awards in calligraphy events. I am a member of the Liaoning Provincial Calligraphy Theory Research Association. I have a great passion for cursive script and have gained a lot of insights from studying ancient calligraphy manuals, as well as the Four Treasures of the Study, the Seventeen Strokes, and the Chunhua Ge Tie.

Traditional classical poetry has specific rules and various types. In calligraphy, the size of the characters, the strength of the lines, the changes in thickness, length, curvature, and the contrast between dry and wet ink, as well as black and white, must all be considered. The structure of the characters should also vary, fully reflecting the principle of unity of opposites and creating a natural and harmonious composition.

As Karl Marx said in Capital, "To study, one must fully possess the data." This is also true for the study of calligraphy, where the most important thing is to have access to good steles and reference materials as the basis for learning.

To illustrate, I will use my experience in studying and writing "Eight Poems on Autumn". I first encountered this work when I was around 40 years old. The earliest version I saw was the one by Japanese calligrapher Shirushi Yuki, but I found his brushwork to be weak and the characters often had small movements that I didn't like. However, because my skills in copying were poor at the time, I felt trapped and turned to learning from Youren Shu for three or two years, which helped me to be more stable. However, I still felt that my works lacked fluidity, openness, and lyrical qualities, so I found Wang Duo's version of the Eight Poems, which was somewhere between the size of regular script and cursive script, and it suited my taste. I used Wang Duo's version as the basis and infused my own ideas into it. Sometimes I used large regular script and small cursive script as the basis, or added the dynamic and expressive features of wild cursive script in my creation. This became the style of my current work.

During the learning and creation process, I also referred to the works of Zhang Ruitu, Lin Sanzhi, and Shen Peng, and learned from their strengths while discarding their weaknesses. I was also influenced by the calligraphy of Zhang Zhiwu's Five Pieces, Zhang Xu's Four Poems, and Huai Su's Self-Introduction, which I incorporated into my work on the Eight Poems on Autumn. Forty years have passed without me realizing it.

In order to learn the Sanyi Pan style, there was no ideal version at the time, so I extracted it from the book "Liuzhou Jinwen Illustrated" in the Singapore National Library. After two enlargements and photocopies, I made my own A4-sized reference material and found it to be very helpful.

According to Qiu Zhenzhong, a calligrapher's works can be divided into four levels: casual works, regular works, better works, and representative works. A dedicated calligrapher should put effort into creating even casual works and strive to produce good works that can be shared with society. Representative works are the culmination of long-term accumulation and often stand out among the calligrapher's works.

I have gradually developed a habit of writing regularly and stopping only when I am satisfied with the work. As the translator Yan Fu put it in his translation of Herbert Spencer's "The Principles of Biology," "Learning is like building a great house, and it must be built on an unshakeable foundation. Those who are unfamiliar with the terrain are not reliable. They must be meticulous and strive for solid ground." Calligraphy is a skill that can be seen as a form of scholarship, and its foundation lies in copying classic texts and engaging in effective creative practice. Practitioners must be dedicated and refrain from fraudulently seeking fame.

Two years ago, when I was creating my version of the calligrapher Cui Yuan's "Maxim," I produced 10 pieces before finally arriving at a work that I was pleased with.

Learning calligraphy is a comprehensive and ongoing process that emphasizes the mastery of a skill. Through continuous study and practice, one must constantly improve, enrich oneself culturally, and develop one's character and aesthetic sensibility. Learning calligraphy is like the blacksmith sharpening a blade and the blade sharpening the blacksmith. Calligraphy creation is like the butcher disassembling an ox, with each stroke bringing one closer to a sublime state where calligraphy becomes a subconscious act. To forget the hook when catching the fish is the ultimate goal. Therefore, I still need to make unremitting efforts to gradually improve my own creative level.