何应辉：探古今意蕴无际 会神思尽收笔底

何应辉幼承家学，浸润书香，心契翰墨，手摹古帖，心追妙笔。外祖母循循善导，习字从容，时日既久，笔法渐成。少年时即能于纸上纵横挥洒，气象初见。岁月流转，入名师门下，得施孝长、陈子庄指点，于二王、欧颜之法细研精进。后追汉魏碑碣，米芾行草、孙过庭草书，皆心领神会，碑帖交融，心手俱得。

其书隶行草间，笔意俊雅而气势宏阔，与谢无量、刘孟伉、于右任遗风暗合。然其笔下，既非纯袭古意，亦非轻易逐流，自有一派风骨。凡艺道深者，必得岁月磨砺，环境熏陶，而才性与学养尤为根本。何应辉以勤勉治学，涵养既深，书风文雅，自成高致。静观其作，文胜质雅，涵古意而不拘古法，苍劲中见清秀，朴实中隐华采，卓然成家，至今未有倦怠。

何应辉少习汉碑，精研《石门》、《张迁》、《史晨》诸碑，隶书法度由此奠基，笔势浑厚沉稳，气象苍茫，笔底刚健，意蕴深藏。行草之道，初以二王为宗，渐涉宋元明名家，融古通今，笔法精妙，气韵自成。其字结体舒展，墨色润泽，温煦宁静。笔意挥洒间，如花落无声，云卷云舒，恬淡中蕴含深意，令人忆陶渊明悠然之境，菊花篱下，南山近在。

何氏早岁，十载知青，耕读于西昌山野，饱览天地之雄奇，历磨难之艰辛。山川壮美，风霜砥砺，心性愈见刚毅，书风愈趋厚重质朴。其崇尚碑书之力，追求雄强苍浑，正如其《临池》自言：“洗心驱俗，渴冀奇雄，夜雨潇潇，临池正浓。”碑学之道，于此得深妙。八十年代初，时境渐变，何氏得以广览博涉，涵养日深。其时精神追求益趋质朴与文雅并重。儒道之精义，贯通于心，碑书之雄厚，与帖书之潇洒交融，尽显于腕下。其创作间，摒弃门户之见，碑帖互补，质文并施，追求独出机杼之境，笔墨变化，常出常新，不拘常规。

何应辉精研书道，数十载孜孜不倦。所涉诸家广远，然不逐流俗，不囿形迹。碑帖隶篆，古今贯通，时中生拙，静中藏动，书势或如秋风卷叶，或似清泉映月。其字间墨气沉稳，纵逸自如，神韵悠远。意游万象，气定神清，碑帖并举，妙悟其中。

何氏一生治学，常言广涉不偏，心游艺海，笔下藏锋。取法乎古，而不拘泥;探法于今，亦不浮华。常于碑帖中察本体，虽学古人，然不囿其迹。其书作小字行书，敦煌残纸为基，古韵沉稳，行笔间隐现碑刻之厚，帖学之润，朴中见灵，拙中藏妙。字里行间，意远神凝，淡然天成，如松风携幽，寂静中自有磅礴。

书道非止技艺，实乃心境之修。人言何应辉之书，如立庙堂之高，行江湖之外，独有大师心鉴，然世人难信，故遭声讨，名曰“丑书”。然何氏坦然自处，芸芸众声未扰其志。其心常言：“心在远方，天地自异。”此心境如磐，追求不改，书风独立。

何应辉常述，书法为中华之珍，东方艺林之瑰。其于书道承继，历代相传，授业传艺，绵延不绝。今世承书之道者渐众，习书者日增，斯为盛事。何氏从事书道半世，书法已为生命所系，精神所依。书者、道者，皆应担承历史之责，修身立德，增进艺养，力求精品出于笔端，使书艺得以于今世复兴，于后世光大。

书之真谛，在于心手相应，文化素养尤为根基。何应辉自视，守艺不懈，期望书艺于新时代中传承光大，艺道不绝。其心无所挠，笔随心行，艺随时展。此中志向，乃成其毕生之大愿，纵有风波，亦不改其道。

He Yinghui: Exploring the Boundless Essence of Ancient and Modern, Capturing Every Thought with His Brush

He Yinghui grew up immersed in a scholarly family, nurtured by the fragrance of books, and his heart was always connected to calligraphy. Under the guidance of his grandmother, he practiced with ease, and over time, his skills became refined. As a youth, his calligraphy already showed promise. As the years passed, he became a disciple of renowned masters, receiving guidance from Shi Xiaochang and Chen Zizhuang. He diligently studied the calligraphy of the two Wangs, Ouyang Xun, and Yan Zhenqing. Later, he explored the stone carvings of the Han and Wei dynasties, and delved into the cursive scripts of Mi Fu and Sun Guoting, mastering both stele and manuscript styles.

In his clerical and cursive scripts, He Yinghui's brushwork exudes both elegance and grandeur, resonating with the styles of Xie Wuliang, Liu Mengkuang, and Yu Youren. Yet, his work does not merely replicate ancient forms, nor does it conform to transient trends; instead, it carries a unique strength. Those deeply invested in the art must undergo the tempering of time and the nurturing of their environment, with innate talent and scholarly cultivation being fundamental. He Yinghui’s diligent study has resulted in a refined calligraphic style that marries ancient traditions with modern interpretations, characterized by vigorous yet graceful strokes. His works, though strong and bold, possess a hidden clarity and sophistication, allowing him to establish a unique style that endures to this day.

In his early years, He Yinghui focused on Han dynasty steles, meticulously studying works like Shimen Song, Zhang Qian Stele, and Shi Chen Stele. His clerical script was thus firmly grounded, with his strokes growing strong and stable, evoking a vast and solemn atmosphere. His cursive script began with the two Wangs as its foundation, later expanding to incorporate the styles of Song, Yuan, and Ming masters, blending ancient and modern techniques. His brushwork is elegant, and the ink spreads smoothly, creating a warm, tranquil effect. As his brush moves across the paper, it evokes a peaceful sense, reminiscent of Tao Yuanming’s longing for rural life, “Plucking chrysanthemums by the eastern fence, I gaze at the southern mountains.”

In his youth, He Yinghui spent a decade as a sent-down youth in the rural mountains of Xichang, where he witnessed the awe-inspiring majesty of nature and endured hardships. The rugged landscapes and the trials he faced honed his resolve, and his calligraphy became increasingly bold and unadorned. He admired the strength of stele inscriptions, seeking to imbue his work with their robust and ancient energy. As he wrote in his Linchi poem: "Cleansing my heart, casting aside the vulgar; thirsting for strength and grandeur. In the cool night rain, my mind is sharp as I practice." In the early 1980s, with changing times, He broadened his knowledge and deepened his cultivation, increasingly balancing simplicity with elegance. The principles of Confucianism and Daoism were ingrained in his heart, and the strength of steles combined seamlessly with the ease of manuscripts in his work. His creations transcend traditional boundaries, harmonizing the essence of both stele and manuscript, with each brushstroke revealing fresh ingenuity.

He Yinghui has tirelessly studied the art of calligraphy for decades, exploring the techniques of many masters, but never following trends or adhering strictly to established forms. His work combines the styles of both stele and manuscript, clerical and seal scripts, spanning the ancient and the modern. His strokes sometimes appear simple and unadorned, yet within that simplicity lies motion and life. His brushwork may evoke the graceful falling of autumn leaves or the reflection of moonlight on a clear spring. The ink flows steadily and naturally, creating a deep and lasting resonance. His thoughts travel across the cosmos, his spirit at peace, as he harmonizes the stele and manuscript traditions with profound understanding.

Throughout his life, He Yinghui has upheld the philosophy of broad learning without bias, traversing the vast sea of art with a brush that hides its sharpness. He draws from the ancients without being confined by them, and embraces modernity without succumbing to superficiality. In studying both stele and manuscript traditions, he grasps their underlying principles, always learning from the past yet never bound by it. His small cursive script, inspired by the tones of the Dunhuang fragments, displays an ancient, steady rhythm. Within each stroke, the strength of stele carving and the fluid grace of manuscript calligraphy subtly emerge, blending simplicity with spirit, and roughness with delicacy. The meaning behind each character is profound, the naturalness of his work akin to the wind through pine trees—silent yet grand.

Calligraphy is not merely a technique, but a reflection of one’s inner state. Some say that He Yinghui’s calligraphy stands high in the halls of the temple yet walks freely outside the realms of convention. It is admired by the masters, yet misunderstood by the masses, earning the label of “ugly calligraphy.” Nevertheless, He remains unfazed by criticism, his resolve unshaken. He often reflects, “With the heart set on distant goals, the world itself changes.” His inner state is as firm as a rock, his pursuit unwavering, and his style uniquely his own.

He Yinghui often states that calligraphy is a treasure of Chinese culture and a gem of Eastern art. For him, the transmission of calligraphy has been passed down through the generations, with teachers passing their knowledge on to students without end. Today, more and more people are embracing the path of calligraphy, a sign of great fortune for the art. Having practiced calligraphy for half a century, it has become an integral part of He’s life, his spiritual anchor. He believes that both calligraphers and those who practice the art bear the historical responsibility to cultivate themselves, enhance their artistic skills, and produce works of excellence, so that calligraphy can continue to flourish in this era and shine in future generations.

The true essence of calligraphy lies in the harmony between mind and hand, with cultural literacy being its foundation. He Yinghui sees himself as a steadfast guardian of the art, unwavering in his dedication. He hopes that calligraphy will be passed down and flourish in the new era, ensuring that the path of this ancient art will never be broken. His heart remains firm, his brush moves with his spirit, and his art evolves with the times. This lifelong aspiration is his great wish, unshaken by any storm, and his path remains unchanged.

责任编辑：苗君