DIGITAL EXHIBITIONS2
導讀
INTERPRETATION
本展覽導讀的內容，均由「詒耕書學社」學員提供。張焯槐先生於1989年創立「詒耕書學社」，學員皆為其學生，在此研習書法及篆刻，多年來深受張老師熏陶。藉此展覽，學員共同撰寫此導讀內容，透過闡釋與解讀作品，讓觀眾認識中國書法，以及張焯槐先生對書法篆刻的熱誠與精神，亦藉此機會緬懷老師的教誨。
The content of this exhibition guide has been contributed by the students of the Yi Geng Shu Xue She. Founded in 1989 by Mr. Cheung Cheuk Wai, the Society comprises his students, who study calligraphy and seal carving under his guidance and have been deeply influenced by him over the years. For this exhibition, the students have collectively written the content of this guide. Through their explanations and interpretations of the works, they seek to introduce Chinese calligraphy to visitors and to convey Mr. Cheung's his passion for and spirit of calligraphy and seal carving. This exhibition also serves as an opportunity to commemorate their teacher's teachings.
走進書法篆刻的世界
An Exploration of Calligraphy and Seal-carving
摘自：
《張焯槐師生書法篆刻聯展》，1990年8月
Excerpt from:
An “Exploration of Calligraphy & Seal-carving”
by Cheung Cheuk-Wai and students, August 1990
(Translated by CHAN Yuen-bing)
張焯槐先生
Mr. Cheung Cheuk Wai
（1935–2022）
中國文字結構奇特，所以數千年來除實用外，在藝術領域中也佔一重要席位，隨着社會的進步，書法之道已由實用價值轉變而為一門獨特的藝術。一幅布白巧妙，線條變化無窮的書法作品，能與音樂、舞蹈的美妙旋律、優美姿態比擬，令人陶醉而回味無窮。
少時習書，每遇俗事不能去懷的時候，便埋首臨池，頓覺一片澄明，心曠神怡，後受業於馮師康侯門下，始驚嘆書法篆刻之道，浩如煙海，雖窮畢生之力，也難究其梗概，此後工餘閒暇，即習此未嘗或輟。
後加入官立中文夜學院工作，講授書法與篆刻課程。才知道熱衷於此的年青人很多。但他們都遇上相同的困難，練習的時間少，或更受到居住環境的限制。因此我嘗試指導他們儘量利用有限的時間、空間去達到預期的理想。
首先，我要求他們做好橫直線條，這比臨摹碑帖方便，隨時可利用零碎的時間不斷練習。線條是唯一的構圖基礎，開始時，我必向同學們解說柔中寓剛、綿裏藏針的道理。又告訴他們藝術書法不是通常的書法，更忌用拙力。而是要拋掉通常的書法和拙力才能培植藝術的智慧。要把柔和的氣力灌注在線條上。運筆時先把柔力從脚跟帶到腰部，腰部就承着這股力帶動肩臂，再配合腕和指的徐徐運轉，自然可把全身的柔和氣力轉注於紙上。這樣，不但可使線條在柔和中顯得渾厚，更可增強它的含蓄感，使人百看不厭。若達此多練，控制得宜，做到心手合一，自能揮灑自如。所以我再三提醒初學者，切忌急功近利，多貪臨池，若不能書出旋律優美，富於變化而有立體感的線條，就只能成為一個善於描摹的書匠而已。
學習的第二階段是要多讀多臨碑，讀是簡易練習的妙法，要能悉心領會其中的神味，才可為章法增進意境。其次，我贊成同學們習字應始自篆隸，沿着文字的演進習書，不但對文字的結構加深認識，對於掌握字體的筆法，也有幫助。
第三個階段是創作，這是學習書法的人最困難的一段路。藝術以情動人，書法也不例外，線條是感情變化的具體表現，線條的節奏感有賴於書者本身的主觀條件與客觀因素。唐李陽冰曾說：「于天地山川，日月星辰，雲霞草木，文物衣冠，皆有所得。」由此可見，凡潛心學書的人，隨時隨地都會受外界影響有所悟。此外，作品中除了披露作者喜、怒、哀、樂等感情外，本身的氣質與學養，也會直接影響書者的審美趣味與理想。古人多以學習書法來陶冶性情，變化氣質和培養高尚的情操，就是這個道理。其實，當書者注入感情凝神創作時，自會心神合一，萬緣放下，達到書家夢寐以求的物我兩忘的靜定境界。故藝藝不獨是一種智德合一的藝術，更是調劑緊張生活緩和精神壓力的妙方。
至於篆刻也要多讀多摹多刻，摹印也宜自漢印秦璽始，多寫篆書外更宜臨隸書、行書、楷書，汲取其中用筆、結體、行氣、布局的方法以拓展眼界。另一方面，不但能使刀筆相依，還可以了解文字的演變過程，就不會輕率地把字體錯誤入印，貽笑大方。
我只是把模索得來的經驗獻給同學們，希望可以替他們找到一學習書法和篆刻正確的路向，將來無論臨摹任何碑銘或篆刻任何書體都可以創出他的個人風格和面貌，這是我所希望達到的理想。
張焯槐
寫於1988年
The speciality of the structure of Chinese characters enables Chinese calligraphy to not only serve its practical functions but also play an important part in the realm of artistic creation. In the course of social progress, the significance of Chinese calligraphy has changed from that of practicality to that of being a unique form of art. A piece of Chinese calligraphy with ingenious composition of positive and negative space and strokes of limitless variety is comparable to a beautiful melody in music or elegant movements in a dance. The effect it creates evokes deep impression which is worth contemplating.
During my pursuit of calligraphy at youth, I used to indulge myself in copying ancient writings whenever I came upon some trivialities which burdened me. Once I started writing, I became spiritually free and my peace of mind was regained. Later, I studied calligraphy and seal-carving under the guidance of the late Mr. Fung Hong-hou, a renowned artist, and was astounded by the broadness and depth of the arts. I realized that even with the efforts of one’s life span, one might not even succeed in having a rough grasp of the art. Since then, I have been practising the art at my leisure with persistent efforts.
At present, I teach calligraphy and seal-carving in the Evening School of Higher Chinese Studies. I always ask my students to practise writing horizontal and vertical strokes carefully and properly as strokes are basic and essential in a calligraphic composition. I try to explain to them the theory of using and maintaining “strength within lightness” when painting a stroke. My students are asked to bear in mind that the art of calligraphy is different from daily writing and the use of force in painting the strokes should be strictly forbidden if artistic wisdom in calligraphy is to be cultivated. As one writes, one should exert a natural strength into the strokes. Before putting the brush into action, it is necessary to summon the strength from the heels to the waist and further bring it to the shoulders and arms, and through synchronized movements of the wrist and the fingers, it is possible to transfer the gentle strength of the whole body onto the paper. In this way, it allows the stroke to become gentle but full in dimension and this further enhances the subtlety it conveys, allowing lovers of the art the pleasure of reading with increasing interest. It is not too difficult to acquire the skill so long as one practises regularly to gain appropriate control and co-ordination of the mind and hands. I have also frequently reminded my students not to be pragmatic. They should be able to create strokes with rhythm, varieties and dimension after they have practised copying a lot of ancient writings, otherwise they will be considered to be mere craftsmen and not artists.
Greater exposure to and more practice on ancient writings are important in the second stage of learning. Through careful studies and analysis of scripts of ancient writings, students’ understanding of the art and their presentation of calligraphic composition will be improved. Then, I would advise them to proceed with practising the writings of seal script and clerical script. In practising these scripts which reflect the development of Chinese characters, one can, not only develop a further understanding of the structure of Chinese characters, but also acquire a better mastery of the expression of the strokes.
The third stage of learning is creativeness which is most difficult to be achieved by a learner of Chinese calligraphy. Calligraphy, as an art, arouses the feeling of people with its expression. Strokes in calligraphy are, in fact, expressions of the writer’s mood and emotion. As for the rhythm of the strokes, it is governed by the personal qualities and objective factors which the writer is subjected to. Li Yang-bing of Tang dynasty once said that people could be inspired by the sky and earth, sun, moon and stars, clouds, haze and plants and even apparel and the like. Thus, a person who is devoted to the art of calligraphy is bound to be affected at all times by external stimuli which may help him to gain an insight into life. Furthermore, a piece of art reveals not only the writer’s feelings, let it be joy or grief, anger or happiness, but also his disposition and academic qualities which directly affect the development of his aesthetic interest and ideals. Hence many scholars foster their temperament through practising calligraphy as an emotional outlet. In fact, when one practises the art whole-heartedly, his body and soul become one and he can cast off all troubles and reaches a realm of total serenity which is void of ego and objects. So calligraphy, as an art, is a combination of wisdom and perfection and, as a means of relaxation, can relieve the tension and pressure of life.
As for seal-carving, it is advisable to study, imitate and practise as much as one can. One should start by copying seals of the Qin dynasty and Han dynasty. Besides practising the writing of seal script, one should learn to write the clerical script, running script and regular script. This helps to widen one’s horizon in relation to the use of the brush and the structure, spatial arrangement and lineage in resonance of calligraphy. With adequate knowledge of the evolution of Chinese characters, wrong choice of scripts for a seal could be avoided.
I earnestly dedicate my experience gained through years’ of exploration in this field to my students, hoping that some light could be shed on the proper channel in learning calligraphy and seal-carving. It is also my wish that one day my students could succeed in creating their own style and characteristics from types of ancient writings or seal-carvings they prefer to model after.
CHEUNG Cheuk-wai
1988
隸書集東漢褒斜道刻石字五言聯
Couplet in Clerical Script after the Style of Bao-xie-dao-ke-shi of the Eastern Han Dynasty
治茂太平世
功顯中書君
Good governance flourishes in this age of great peace;
Its achievements are made manifest by the Lord of the Secretariat.
135.8 x 36 cm
HKU.Ca.2026.2790
開通褒斜道刻石是現存摩崖刻石中之最早者。最早於宋代被發現，但之後又被埋沒了六百年，至清朝再度被發現。清代楊守敬稱之為神品。 馮康侯老師多年前（1972年）有一褒斜刻字集聯，其中題款：「褒斜道刻石與楊淮表紀、石門殘刻、裴岑紀功等碑皆以篆筆作隸，其挺勁秀連處頗有相合，余常愛臨，獨惜字數無多，集句殊感不易也。」欣賞此碑首先要懂得篆書筆法，因這刻石以圓筆為主要筆法，但字形已演變為隸體，而其天然古秀猶如其刻於摩崖的石紋一般，深受近代書家喜愛。
The “Baoxie Road Inscription” is the earliest extant cliff inscription. First discovered during the Song dynasty, it was subsequently lost to obscurity for six centuries before being rediscovered in the Qing dynasty. The Qing scholar Yang Shoujing hailed it as a “divine masterpiece.” Master Feng Kanghou (Cheung Cheuk Wai’s’ teacher) commented in 1972: “‘The Baoxie Road Inscription’—along with the ‘Yang Huai Biao Ji,’ the ‘Shimen’ fragments, and the ‘Pei Cen Ji Gong’ stele—all employ seal-script brushwork to form Clerical script characters. Their vigorous yet graceful flow shares a common aesthetic quality. I have long enjoyed practicing them, though the limited number of characters makes compiling a couplet particularly challenging.” To appreciate this stele, one must first understand how the brush techniques of Seal script have evolved into the Clerical script style, while the primary technique remains rounded strokes. It’s natural, archaic elegance—harmonising with the texture of the cliff face itself—has made it a favourite among modern calligraphers.
楷書節臨北魏石門銘
Regular Script after the Style of Shi-men-ming of the Northern Wei Dynasty
西帶汧隴
東控樊襄
河山雖險
憑德是強
To the west, girded by Qian and Long;
to the east, commanding Fan and Xiang.
Though its rivers and mountains are perilous and strong,
true strength rest on virtue.
138 x 29 cm
HKU.Ca.2024.2675
《石門銘》是北魏著名的摩崖刻石。此刻石蒼勁凝煉，筆法含篆、隸之意，康有為曾評此銘：「飛逸奇恣，不易掌握，後世寡能傳之。」 焯槐老師醉心臨摹漢碑，日久有成。此作品盡顯其功力。
據悉，原於溫哥華展覽的一幅展品早已為當地某名家所收藏，今展出者，應為其後於乙酉年再度創作的作品，然不減其風采。 此外，老師仍有一卷全個石門銘刻石的橫披手卷，亦曾於2019年的《詒耕書影》展覽會中展出。
The “Shimen Ming” is a renowned cliff inscription from the Northern Wei dynasty. Characterised by a vigorous and concise style, the calligraphy blends elements of both Seal script and Clerical script. Kang Youwei praised the inscription for its soaring, unrestrained, extraordinary flair—qualities difficult to master and rarely emulated successfully by later generations.
When Cheung Cheuk Wai’s original piece was exhibited in Vancouver, a prominent local collector immediately acquired it. The work currently on display is a later version created in the “Yiyou” year, yet it retains all, if not more, of the original’s elegance and spirit. Additionally, the instructor possesses a horizontal handscroll featuring the complete text of the “Shimen Ming”, previously exhibited at the 2019 Yigeng Shuying (Cultivating Calligraphy) Exhibition.
小篆論語陽貨句
“Yang Huo” Chapter of The Analects of Confucius in Small Seal Script
子張問仁於孔子
孔子曰能行五者於天下為仁矣
請問之曰
恭寬信敏惠
恭則不侮
寬則得眾
信則人任焉
敏則有功
惠則足以使人
Zizhang asked Confucius about ren.
Confucius said, “One who is able to practice five things everywhere under heaven has achieved ren.”
Zizhang asked what they were.
Confucius said, “Reverence, magnanimity, trustworthiness, diligence, and kindness.
Reverent, and one is not treated with insult;
magnanimous, and one wins the multitude;
trustworthy, and others will place their trust in you;
diligent, and one achieves results;
kind, and one is able to employ others.”
133 x 42.5 cm
HKU.Ca.2024.2688
欣賞這幅作品時最關鍵者在於觀察每字的張力，以老師的教法而言，就是看每字能否寫出立體感，然後才看每行橫豎是否絲絲入扣，互相呼應。雖然這道理施於其他書體皆準，然就書法源流而論，學書者若能把握好篆體，其後學習隸、楷、行、草等其他書體，都能迎刃而解。因為基本功就如同建築於穩固地基之上。
張老師篆書造詣雖高，但作品數量不多，原因是他主張學生由篆書入手，所以在師生展中往往自己展覽其他書體，騰出空間，讓同學（尤其是初學者）也都有展覽機會。可謂用心良苦，令人敬佩。
When appreciating this piece, the key lies in observing the tension within each character—specifically, whether the character possesses a sense of three-dimensionality—before examining how the vertical and horizontal lines of each column interlock and harmonise. While this principle applies to all calligraphic styles, mastering Seal script first provides a solid foundation—akin to building on bedrock—that makes learning subsequent styles like “Clerical,” “Regular,” “Semi-Cursive,” and “Cursive” far easier.
Although Mr. Cheung is a master of Seal script, his output in this style is limited. This is because he insists that students begin their training with Seal script; during joint exhibitions, he often chooses to display works in other styles to make room for his students—especially beginners—to showcase their own work. Such thoughtful dedication is truly admirable.
行草短文
Verse in Running Script
似僧有髮
似俗無塵
作夢中夢見身外身
Like a monk, yet with hair;
like a layman, yet free of worldly dust.
Dreaming a dream within a dream, seeing a self beyond the self.
179 x 49 cm
HKU.Ca.2024.2680
老師在這幅作品中選用草書來表達黃山谷的詩的禪意及哲理，以此詩入書，將讀者帶入一種超然空靈的心境。
他的用筆、節奏、頓錯，以及藤蔓盤繞的線條，宛如抽象畫一般，而墨色的濃淡變化使整首詩的氣勢與玄妙都鮮活起來。
For this piece, the artist chose Cursive script to convey the Zen spirit and philosophical depth of Huang Shangu’s poetry. Through this medium, the work transports the reader into a transcendent, ethereal state of mind.
His brushwork—characterised by its rhythm, pauses, and lines that intertwine like twisting vines—resembles an abstract painting, while the interplay of ink tones brings to life the poem’s majestic momentum and profound mystery.
行書文章節錄
Essay Excerpt of Running Script
書法猶佛法
始于戒律精于定慧
證于心源
妙於了悟至其所極
非口手可傳焉
Calligraphy is like the Buddhist dharma:
it begins with the precepts, is refined through concentration and wisdom,
is verified at the source of the mind,
and becomes wondrous through awakening.
When it reaches its utmost limit, it can no longer be transmitted by mouth or by hand.
125 x 30 cm
HKU.Ca.2024.2670
此作品充分代表了老師對書法藝術的看法。老師創作時每用一字都會多番考究，作品選材中若有相同的字，也盡量選用不同的寫法。此作品中的「法」字即是如此。書寫時亦會細思行與行、字與字之間的佈局，務求盡善盡美。而老師教授書法、篆刻，除了講述文字結構、筆法及其他技術問題，亦以作品表達其思想。
This piece fully represents our teacher’s perspective on the beauty of calligraphy. When he creates, he first carefully researches every single word. When choosing materials, he tries to use different styles for the same word whenever possible. The character (法) in this piece is one example. He also thinks carefully about the layout between lines and characters, striving for perfection. And when teaching calligraphy and seal carving, he would sometimes draw on philosophical insights, beyond explaining character structure, brush techniques, and other technical matters, to convey his ideas.
隸書五言聯
Couplet in Clerical Script
是一原非一
無為便有為
What is one was never truly one
—non-action, and yet there is action.
137 x 35 cm
HKU.Ca.2026.2799
多年來，筆者一直十分欣賞老師這幅作品，但一直為其內容所「誤導」，以為老師寫的是《金剛經》。在籌備這本小冊子時，再慢慢細味這作品，才發覺自己大錯特錯。這根本是老師自己的字體。憑著他臨池多年的經驗，老師成功地用鬆弛，隨性及帶點童趣的筆法，詮釋了深奧的哲理，令人讚嘆。
這幅字不屬於嚴謹的唐代楷書，也不是工整的漢代碑刻隸書，而是吸取了戰國、秦漢簡牘、帛書的筆意。欣賞這幅字，要體會筆墨間流露出的「拙趣」與「禪意」, 感受創作者如何以高古筆法演繹深奧哲理。
For years I greatly admired this work by my teacher but was consistently “misled” by its content, assuming he was transcribing the Diamond Sutra. Only while preparing this guide—and taking the time to truly savour the piece—did I realise how mistaken I had been. In fact, the text was my teacher’s own composition. Drawing on years of calligraphic practice, he interpreted profound philosophical concepts in a style that is relaxed, spontaneous, and imbued with a touch of childlike playfulness—a truly remarkable achievement.
The calligraphy does not adhere to the rigorous standards of Tang dynasty regular script, nor does it follow the precise, formal style of Han dynasty stele inscriptions. Instead, it draws inspiration from the brushwork found in Warring States, Qin, and Han bamboo slips and silk manuscripts. To appreciate this work, one must perceive the “charm of artless simplicity” and the “Zen spirit” revealed in the brushstrokes, and experience how its creator employs an archaic, timeless style to interpret profound philosophical ideas.
隸書七言詩
Poem in Clerical Script
尚方作鏡真大好
上有僊人不知老
渴飲玉泉饑食棗
壽如金石佳且好
The imperial workshop made this mirror, truly a fine thing-
upon it are immortals who never grow old.
Thirsty, they drink from jade springs; hungry, they eat dates.
May your years last like metal and stone, long and virtuous.
137 x 38 cm
HKU.Ca.2026.2800
觀此作品，首先要看張老師的題款：「法於陰陽，和於術數，飲食起居有節，不妄作勞，故能與神俱，而盡終其天年，則玉泉仙棗於我何有哉？」
此作品書於2016年末，當時老師因健康問題，已多次出入醫院，難免對其日常生活造成不少麻煩。老師寫這作品，亦反映了其當時的心態。
筆者最初接觸此詩，是透過書法家伊秉綬（汀州）嘉慶年間的作品。汀州先生是清代著名書法家，他用篆書筆法來寫隸書，別具一格，尤其是他多用濃墨，佈局大膽生動，與當代書法家不同，自成一派。
今老師以多年臨摹漢碑的修為，用自己的筆法寫出內心世界，字勢活潑生動，別有一番風味。漢隸傳統上以嚴謹方正為入門綱領，如不熟悉其筆法特徵，又沒有多年創作經驗，又有誰能寫出如此瀟灑的作品呢？
To appreciate this work, one must first look at Master Cheung’s inscription: “Model oneself on ‘Yin’ and ‘Yang’; harmonise with the arts of longevity; maintain moderation in diet and daily routine; avoid reckless exertion. Thus, one may remain in unity with the spirit and live out one’s natural lifespan—rendering the ‘Jade Spring Immortal Jujube’ unnecessary.”
This piece was created in late 2016. At the time, Master Cheung had been in and out of the hospital, bringing a fair share of trouble to his daily life. This work reflects his state of mind during that period.
One first encounters this poem in a work by the renowned Qing dynasty calligrapher Yi Bingshou (also known as Tingzhou). He developed a unique style by employing Seal script brush techniques within Clerical script. He is distinguished by his frequent use of dense, rich ink and bold, dynamic compositions—setting him apart from his contemporaries and establishing a school of his own.
Here, drawing upon years of practice copying Han dynasty stele inscriptions, Master Cheung expressed his inner world through his own distinctive brushwork. The characters are lively and spirited, possessing a unique charm.
漢篆四言聯
Couplet in Seal Script of the Han Dynasty
其寧惟永
御氣以神
To acquire eternity with a peaceful mind.
To drive ingenious strokes with concentration.
138 x 35 cm
HKU.Ca.2024.2683 a&b
《漢祀三公山碑》著錄頗多，甚得書法家好評與喜愛。馮康侯老師謂此碑運筆沉勁，神態古茂，兼而有之，上溯權量，下及嵩嶽三闕，為繆篆之僅存者。篆隸相參，造型別緻而生動。張老師十分喜愛此碑，其生動筆意盡顯於作品中。
Han “Sangongshan Bei” is widely documented and highly acclaimed by calligraphers and enthusiasts alike. Master Feng Kanghou observed that the brushwork on this stele is powerful and vigorous, embodying an archaic spirit; he noted that it bridges the stylistic gap between the “standardised weights and measures” (Quan-Liang) inscriptions and the “Three Gate-Towers of Mountain Song” (Songyue Sanque), representing a rare surviving example of decorative Seal script (Miao Zhuan). The style blends elements of Seal and Clerical scripts, producing distinctive, lively forms. Master Cheung held this stele in high regard, and his own work fully reflects its vivid brushwork.
篆書集三國吳天璽紀功碑字六言聯
Couplet in Small Seal Script after the Style of Tian-xi-ji-gong-bei of the Wu Kingdom of the Three Kingdoms Period
書丹合就朗日
刻石更遣巧工
The cinnabar inscription was completed on a bright, clear day;
A skilled artisan further enabled the beautiful engraving.
137 x 29.3 cm
HKU.Ca.2024.2674 a&b
《吳天璽紀功碑》，又稱《吳天發神讖碑》（公元276年），嚴格來說不是一般的碑石，而是一塊圓長鐘形的石頭，字依石形之勢而刻。字體方嚴，十分有氣勢，雖為篆字，但與傳統篆書的圓轉、細勁十分不同，反而與後來的隸書相似。此作品的字體結構呈現頭重腳輕或左右錯落的「拙趣」，此外筆畫粗細變化極大，營造出強烈的視覺反差。
楊守敬《激素飛清閣平碑記》有如下評語：「篆兼隸體，時有怪異之筆，真奇作也。」然亦有書法家如翁方綱評此碑曰「非篆非隸」。無論學書法者側向那一方的看法，或許都能體會到，張老師這份作品多麼成功地表現出《天發神讖碑》的「奇」、「挺」與趣味性，亦可與本次展覽中另外三件篆隸相兼的書法作品——《東漢褒斜道刻石》（公元63年）、《漢祀三公山碑》（公元117年）及《吳禪國山碑》（公元276年）——一併觀賞比較。細細琢味後，或可窺見中國書法源流中的一個重要歷史時刻。
The “Tianxi Monument Commemorating Merits” (also known as the “Tianfa Shenchen Monument”) (276 AD) is not a conventional stele; it is a cylindrical, bell-shaped stone, with characters carved to conform to its unique form. The script is square and rigorous, exuding great power. Although classified as Seal script, it differs significantly from the rounded, slender, sinewy strokes and more closely resembles the later Clerical script. The characters’ structure displays an “artless charm”—characterised by a top-heavy appearance or staggered left-right alignment—while dramatic variations in stroke thickness create a striking visual contrast.
Yang Shoujing remarked: “It combines Seal and Clerical styles and occasionally features unconventional strokes; truly a remarkable work.” Other calligraphers described the script as “neither Seal nor Clerical.” Regardless of which perspective one favours, one can appreciate how successfully Master Cheung captured the “upright vigour” and distinctive charm of the “Tianfa Shenchen” style. It may also be viewed and compared alongside three other calligraphic works in this exhibition that combine Seal and Clerical scripts: the “Baoxie Road Inscriptions”(63 AD) , the “Sangongshan Bei”(117 AD) and the “Wu State’s Guoshan Monument”(276 AD). A careful study of these works may offer insight into a pivotal moment in the evolution of Chinese calligraphy.
隸書八言聯
Couplet in Clerical Script
詒厥文犀薪傳八訣
耕於側理道契三倉
Flourishing a brush to pass down the eight secrets of calligraphy , generation after generation.
Writing on paper to elicit the three articles on the construction of words.
137 x 32 cm
HKU.Ca.2026.2790
此聯是羅忼烈教授特別為「詒耕書學社」2004年展覽所嵌的。張老師曾受業於羅教授，師生關係甚篤，數十年不變。每當敝社展覽，羅教授均照顧有加，無論是多次作序、擔任顧問，以至提供適時的資料，均使展覽內容更為豐富。例如此聯，即盛讚張老師創立書學社的精神及其造詣，兼有薪火相傳的意義。焯槐老師以其獨有的隸書筆意書此聯，文質彬彬，而趣味盎然，在漢隸古樸蒼勁之風中，卻不失活潑生動之態。
Professor Luo Hanglie composed this couplet for the Yigeng Calligraphy Society’s 2004 exhibition. Mr. Cheung studied under Professor Luo, and the two maintained a deep, enduring bond spanning decades. Professor Luo had consistently supported the society’s exhibitions—whether by writing prefaces, serving as an advisor, or creating materials that enriched content. This particular couplet pays tribute to Mr. Cheung’s spirit in founding the calligraphy society and his artistic mastery, while also highlighting the successful passing of the torch from teacher to student. Mr. Cheung Cheuk Wai executed this couplet in his distinctive Clerical script; the work is refined and elegant yet full of charm, with a lively, spirited quality that shines through the rustic, vigorous aesthetic typical of Han dynasty Clerical script.
篆刻
Square Seal with Five Incised Characters
and Side-colophons
守駿莫如跛
Nothing preserves swiftness like seeming lame.
12 x 12 cm
HKU.S.2026.2801
我書意造本無法
My calligraphy creates its meaning freely—it follows no fixed method.
這兩個巨印，是常宗豪教授請張老師為他刻的。張老師與常教授同為馮老師的學生，多年來互相切磋。常教授以書法為主，尤以書寫《金剛經》甚有心得。張老師則於書法與篆刻二者，在書壇上均甚有地位。香港著名紙筆墨總匯「文聯莊」的網站上，亦將張老師列於香港近代篆刻家之列。此印完成之後，常教授移居澳門，張老師屢訪不遇，其後亦未能聯絡，後來才得知他已仙遊。如今兩位書法家均已不在，大家唯有從印章上細味二人對書法篆刻的理念。
Professor Chang Zonghao commissioned these two large seals and Teacher Cheung carved them. Both Professor Chang and Teacher Cheung were students of Master Feng, and they exchanged ideas and practiced together for many years. Professor Chang focused on calligraphy, especially his interpretation of the Diamond Sutra, which he found particularly insightful. Meanwhile, Teacher Cheung held a prominent position in both calligraphy and seal carving. The website of the renowned Chinese Art Supplies company, Man Luen Choon, lists Teacher Cheung among Hong Kong’s most distinguished modern-day seal artists. After the seals were completed, Professor Chang moved to Macau, and despite repeated attempts to visit him, he could not be reached and was subsequently found to have passed away. Now, both calligraphers are no longer with us, and we can only savour their thoughts on calligraphy and seal carving through these seals.
隸書蘇軾詞五言聯
Couplet in Clerical Script Based on Su Dongpo’s Five-Character Regulated Verse
長謌白石澗
高臥香山雲
Singing long songs by the White Stone ravine;
at ease among the clouds of Fragrant Mountain.
90 x 25.5 cm
HKU.Ca.2024.2689 a&b
此隸書作品帶有濃厚的《張遷碑》意趣。《張遷碑》本身字體以方整著稱，拙朴淳厚、穩重、骨力雄健。老師以此碑書體為根基，刻意誇張或壓縮字體，大小對比明顯，再加上濃墨與輕筆的相互映襯，令其趣味大增，展現出「拙中見巧」的妙處。
筆者第一次看見這作品，便完全被它吸引住了，中國書法能有此震撼力，實在少見。
This work in Clerical script is deeply imbued with the spirit of the “Zhang Qian Stele.” The “Zhang Qian Stele” script is renowned for its square, orderly structure, rustic simplicity, stability, and vigorous, robust strokes. Taking this stele as a foundation, the artist deliberately exaggerates or compresses the characters to create striking contrasts in size; combined with the interplay of heavy and light ink application, the work gains immense character, revealing an aesthetic of “ingenuity found within rustic simplicity.” When I first saw this work, I was completely captivated. It is truly rare to see Chinese calligraphy with such a powerful impact.
草書句
Verse in Cursive Script
柳暗花明
Willows in shadow, flowers in bloom.
138 x 27 cm
HKU.Ca.2026.2794
此詩句出自南宋詩人陸游《遊山西村》中的名句。
筆勢連貫奔放，一氣呵成。「柳」字延伸的長豎，幾乎佔了畫面的一半，像柳枝垂落，視覺空間頓時拉開，令整幅字氣脈貫通。
This line is taken from the famous poem “Visiting Shanxi Village” by the Southern Song poet Lu You. The brushwork is fluid and vigorous, executed in a single, unbroken flow. The elongated vertical stroke of the character “willow” (柳) occupies nearly half the composition, resembling a drooping willow branch; this instantly expands the visual scope, allowing the energy of the entire piece to flow seamlessly.
䓍書黃山谷
Huang-shan-gu in Cursive Script
迢迢訪仙城
卅六曲水迴縈
一溪初入千花明
萬……
This poem by Li Bai is about meeting and parting at four different sites.
It is also known as, “Memory of Past Visits.”
136 x 33.5 cm [x 5]
HKU.Ca.2024.2676 a-e
老師要求學生學書法，首要是寫好橫直線，因線條是字形唯一的構圖基礎。第二階段是多讀碑、多臨碑，沿著書體演變的脈絡習書，不但能加深對文字結構的認識，也有助於掌握筆法。
老師所臨之作，頗有一氣呵成之勢。
Teacher requires students to first master horizontal and vertical lines when learning calligraphy, as lines form the foundation of character structure. The second stage involves reading and copying inscriptions from stone tablets, practicing calligraphy as the characters evolve. This not only deepens their understanding of character structure but also helps them master the characters’ brushstrokes.
This work by Teacher exhibits a seamless, fluid delivery, carrying the distinct mark of a single-take draft.
草書七言詩
Poem in Cursive Script
日照香爐生紫煙
遙看瀑布掛前川
飛流直下三千尺
疑是銀河落九天
Sunlight strikes Incense Burner Peak, kindling purple mist;
from afar, a waterfall hangs before the river.
Its torrent plunges three thousand feet—
I wonder if the Silver River is falling from the highest heaven?
102 x 53 cm
HKU.Ca.2026.2793
李白的詩以豪放飄逸見稱，因此老師亦以草書表達「遙看瀑布掛前川，飛流直下三千尺」的氣勢。此作品帶有「狂草」意趣，字與字之間「牽」絲相連，濃淡枯潤的墨色呼應了「瀑布」奔騰激盪的動態，亦契合了李白豪放不羈的「詩仙」氣質。
這幅草書是老師以最喜愛的高麗紙書寫，他說這紙吸墨良好，尺寸合適，書寫流暢自如。老師教書法，十分強調對紙、筆、墨等文房用具的講究。他特別喜歡用純羊毫習字，謂這會減少學書者過分依賴硬毫筆性，而無法發揮自身內力的問題。
Li Bai’s poetry is known for being wild and unrestrained, so Teacher also expressed the grandeur of “a waterfall hanging in front of the river, flowing three thousand feet” using Cursive script. The piece carries a sense of (wild cursive) style, with threads connecting the characters, and the varying ink tones echo the dynamic rush of the (waterfall), matching Li Bai’s free-spirited (poet-immortal) vibe.
Teacher wrote this Cursive script on his favorite Korean paper. He says that the paper absorbs ink well, is the right size, and allows smooth, effortless writing. Teacher emphasises paying attention to the paper, brush, ink, and other tools when teaching calligraphy. He especially likes using pure goat-hair brushes for practice, saying they help students rely less on the sturdiness of hard brushes and better use their own inner strength in writing.
楷書表報（鍾繇薦季直表）
Report in Regular Script
Zhong Yao petitions the new Emperor on behalf of Ji Zhi, a former official
臣繇言
臣自遭遇先帝
忝列腹心
爰自建安之初
王師破賊關東時
年荒穀貴
郡縣殘毀……
He begins by humbly acknowledging his own privileged position under the late Emperor. He then recounts how, during the Jian An period, the imperial army defeated rebels in Guan Dong despite severe famine and supply shortages. Thanks to the late Emperor’s wise appointments, even remote regions contributed food to the troops, boosting morale and terrifying the enemy, leading to a swift and complete victory within the planned time frame. Zhong Yao specifically credits Ji Zhi (then Governor of the Shan Yang District, later made Marquis of Guan Nei) as the mastermind behind that victory.
He describes Ji Zhi as honest, incorrupt, and never wealthy—now so impoverished that he depends on others for food. Zhong Yao respectfully requests that the current Emperor recognise Ji Zhi’s past merits, pity his old age and poverty, and grant him an administrative post in a province, as he remains capable of serving the people.
Zhong Yao concludes with a humble apology for his boldness, affirming that he speaks only out of loyalty and duty.
138 x 25 cm
HKU.Ca.2024.2682
老師主張學生臨摹楷書，必先從鍾繇或鄭道昭入手。鍾繇有「楷書鼻祖」之稱，《薦季直表》為早期楷書的極致。其字形雖已具楷書結構，但仍帶有濃厚的隸書橫扁之勢與蠶頭雁尾的遺意，結體寬博古樸，有稚拙之美。
Teacher insisted that the students practicing Regular script should start by copying works from Zhong Yao or Zheng Daozhao. Zhong Yao is known as the “Ancestor of Regular Script,” and his work ”Jian Ji Zhi Biao” represents the pinnacle of early Regular script. The characters follow the structure of Regular script but carry strong traces of Clerical script, with flat horizontal strokes and slanted ends, giving them a broad, ancient feel and a charming, somewhat naive beauty.
隸書節臨東漢夏承碑
Clerical Script after the Style of Xia-cheng-bei of the Eastern Han Dynasty
君諱承
字仲兖
東萊府君之孫
大尉掾之中子……
54 x 14 cm [x 5]
東漢《夏承碑》風格獨特，雖是隸書，卻參入小篆偏旁，結字橫畫纖細，撇捺粗重，對比強烈，突破了常規漢隸框架。字勢帶有一種動態美，是隸書發展至極致的「美術字」。此隸書，老師甚少教授，因不易掌握精髓，幸得見節臨五屏之作，於隸書研習中，可作參考。
The Xia Cheng Stele from the Eastern Han dynasty has a unique style. Although it is in Clerical script, it incorporates radicals from small Seal script. Its horizontal strokes are delicate, while the downward strokes are thick and heavy, creating a strong contrast. It breaks the usual framework of Han Clerical script and carries a sense of dynamic beauty, making it the ultimate “artistic script” in the development of clerical writing. Teachers rarely teach this particular style of Clerical script as its essence is difficult to master; fortunately, this five-panel excerpted study serves as a valuable reference for anyone practicing the script.
篆書五福
Five Blessings in Seal Script
五種字體福字
Five Blessings
128 x 16.5 cm
HKU.Ca.2026.2787
「福」字可簡單解作：一家人，有口飯吃，有田有地。這可能是每年各家各戶賀歲必貼的揮春。老師特別書寫了五個不同的小篆「福」字，喻意「五福臨門，新春大吉」。小篆字形修長，左右對稱，布白均勻，線條流暢圓潤。老師教導，一定要「中鋒用筆」，才是標準篆書。初習書法，老師必定要我們臨寫王福庵的《說文部首》。
The character (福) symbolises a family with enough food to eat and land to own. This is the spring couplet that nearly every Chinese household puts up to celebrate the New Year. Our teacher wrote five different small Seal script versions of the character (福), meaning “five blessings at the door, wishing great luck for the New Year.” Xiaozhuan characters are long and slender, with a symmetrical structure, evenly spaced, and smooth, rounded lines. Teacher taught us that we must use the “central stroke technique” to properly write standard Seal script. When we first started learning calligraphy, he had us practice Wang Fuan’s version of the Shuowen radicals.
集商卜文字六言聯
Couplet in Oracle-bone Script of the Shang Dynasty
華好月圓人壽
風和日麗年豐
Happiness will give a man a long life.
The fair wind and good sunshine will yield an abundant harvest.
128.2 x 28.2 cm
迎接新春，老師必書吉祥語句賀新歲。這幅作品用中國最早的文字「甲骨文」書成，其線條尖銳剛勁，充滿刀刻意味。這是庚午新春開筆賀語：「花好月圓人壽，風和日麗年豐。」由於寫在冷金大紅紙上，充滿喜慶氣氛。老師還教了一個小秘訣：因灑金箋比較難書寫，可先用紙巾在上面輕刷，揮筆時便較為順暢。
As the Lunar New Year approaches, Mr. Cheung writes auspicious phrases to celebrate the new year. This piece is written in China’s earliest script, “Oracle bone script,” with sharp, strong lines and a carved feel. This is for the New Year’s Gengwu celebration—“May the flowers bloom, the moon be full, people live long, and the wind gentle; the sun be bright, and the year be abundant.” Written on bright red, cold-pressed paper, it is full of festive vibes. He also shares a tip: writing on gold-sprinkled paper is tricky; first brush it lightly with a tissue to help it absorb ink more easily, for better brushstrokes.
篆書七言聯
Couplet in Seal Script
水清石出魚可數
月明星稀鵲自飛
Through the clear water by the rocks, fish can be seen and counted.
Under a bright moon when stars are few, birds fly around with ease.
138 x 35 cm
HKU.Ca.2024.2678 a&b
此《禪國山碑》碑型如鼓，其書體淳古秀茂，筆多圓轉，既保留了篆書的古樸，又擺脫了小篆的拘謹之態。張老師認為此碑是研究篆書的良好資料。上聯下方鈐有「剛柔並濟」一印，正是稱許此碑線條既有力道，又具韌性。筆畫非常靈動，多作圓轉，粗細有變化，字形有寬有窄，與方折突出的「吳」《天發神讖碑》各異其趣。
This Zen Mountain Stele is drum-shaped in form. Its calligraphy is simple, ancient, and elegant, with many rounded strokes. It retains the simplicity of Seal script while breaking free from its constraints. Teacher Zhang regards this stele as a good resource for studying Seal script. Teacher’s seal below the upper couplet reads “A Balance of Strength and Gentleness,” which praises the stele’s lines for being both powerful and graceful. The strokes are lively and rounded, with variations in thickness, and the character shapes vary between wide and narrow, giving a different feel from the angular, prominent style of the Wu period “Stele of Divine Inspiration.”
行草詩句
Verse in Running Script
紅荷一點清風
A little breeze touches the red lotus.
100 x 28 cm
此作品表現出行草的流動感。「清風」二字筆勢飄逸，線條舒展，呼應了清風輕揚之感。
老師喜以書法線條與文字意象互相配合：「∙」就是「一點」。老師曾教導學生，一幅作品也可有適度的留白，營造虛實相生的意境，無墨處也有妙境，予觀者更大的想像空間。
The artwork captures the fluid quality of Semi-Cursive script. The brushwork for “gentle breeze” (清風) is elegant and expansive, with free-flowing lines that evoke the sensation of a gently wafting breeze.
The artist enjoys harmonising calligraphic lines with the imagery of the characters: the dot symbol “.” represents the characters “single dot” (一點) mentioned in the verse. The slanting angle of the character “wind” (風) evokes a sense of motion. Students were once taught that a piece of work can also have empty spaces, creating a sense of interplay between fullness and emptiness. Where there is no ink, wonder can remain, leaving the viewer more room for imagination.
楷書詩句
Verse in Regular Script
留得枯荷聽雨聲
By keeping the dried lotus leaves, I could hear the sound of rain-drops.
27 x 101 cm
老師喜以作品表情達意，在選材與構圖上，均先下一番功夫才下筆。此作品筆法既揉合了隸意，又有行書的靈動；筆畫的粗細長短對比強烈，不僅是文字的書寫，更是文學、視覺與聽覺的多重結合。
Our teacher likes to use work to express his feelings, and puts great effort into selecting materials and composing before putting pen to paper. This piece combines the flowing style of Clerical script with the liveliness of Semi-Cursive script. The strong contrasts in stroke thickness and length make this more than character writing: it is a layered union of literature, visual form, and sound.
草書詩句
Verse in Cursive Script
此中別有天然趣
There exists natural charm.
115.2 x 18 cm
字即是畫，畫即是心境。乾枯的擦筆與濃郁的墨色形成強烈對比，恰好呼應了「天然之趣」。
Calligraphy is painting; painting is a state of mind. Cursive script is an abstract form of calligraphy that relies entirely on the writer’s feelings and emotions in the moment. Its layout and composition can be light or heavy, smooth or dry, with each character connected in one continuous flow that completes the piece. The dry, scratchy brushstrokes contrast sharply with the rich, dense ink, perfectly echoing that “natural charm.”
楷書句
Regular Script
斜風細雨不須歸
I’d fain go fishing careless of slanting wind and fine rain.
137.5 x 28.5 cm
老師巧以書法表達情境與意境。作品中的楷書字形，粗細變化，對比強烈。「風」字斜，「雨」字細，江南春水，煙雨濛濛，置身其中，便不須歸去。此為張志和《漁歌子》詞句，老師題款已寫有「以博方家一笑」。
The artist skilfully uses calligraphy to convey both scene and mood. This piece, written in Regular script, shows variations in stroke thickness and strong contrast. The “wind” is slanted, the “rain” is light, the spring waters of Jiangnan are misty and drizzling; in such a scene, there is no need to go home. This line is from Zhang Zhihe’s ci-poem “Fisherman’s Song,” and our teacher’s inscription on the work already reads, “offered for the amusement of the connoisseurs.”
行草五言詩
Poem in Running Script
一路經行處
莓苔見屐痕
白雲依靜渚
芳草閉閒門
遇雨看松色
隨山到水源
溪花與襌意
相對亦忘言
All along the path I walked,
moss and lichen held my sandal prints.
White clouds cling to the quiet shoal,
fragrant grass seals the idle gate.
After rain, I watch the colour of the pines,
following the mountain, I reach thewater’s source.
Stream-side blossoms and the mind of Zen
—facing them, I too forget all words.
131.5 x 31 cm
這幅行草作品線條空靈，勾勒出詩中意境，更帶幾分禪意。如末句「相對亦忘言」，流露出老師平和與豁達的心境。
The poem’s lines, rendered in Semi-Cursive script, have an ethereal quality that evokes its atmosphere and carries a touch of Zen-like serenity. The final line—“Facing each other, words are forgotten”—reflects the artist’s peaceful, open-minded state.
隸書集東漢石門頌字七言聯
Couplet in Clerical Script after the Style of Shi-men-song of the Eastern Han Dynasty
大海垂龍承曉日
平原勒騎數歸鴉
When the early-rising sun shone brightly on the sea,
I rode across the plain, counting homecoming crows.
137 x 33.7 cm
此碑書風豪邁，素有「隸中草書」之稱。
張老師指導學生要廣泛閱讀、多臨碑帖，並追溯五大書體：篆書、隸書、楷書、行書、草書。書寫隸書，既要掌握其精髓，同時也要融入篆書的特點，從而達到行筆緩慢而不滯，線條瘦勁挺直而不弱。此作品筆墨蒼勁，摩擦感強烈，時見飛白，充滿「野」性。老師視之為最得意、最有功力的作品之一。
The calligraphic style of this stele is bold and unrestrained, often described as the “Cursive script of the Clerical style.”
Mr. Cheung instructs students to study and practice stele rubbings extensively and to follow the lineage of the five major scripts—Seal, Clerical, Regular, Semi-Cursive, and Cursive. Writing in Clerical script requires grasping the essence while also incorporating features of Seal script, so that the strokes are slow but not stuck, and the lines are straight and strong without being weak. This piece has vigorous ink strokes with a strong sense of friction (flying white), full of a wild character, and is regarded by him as one of his proudest and most skillful works.
隸書六言聯
Couplet in Clerical Script
白馬秋風塞上
杏花春雨江南
In the north, white horses gallop against the autumn wind.
In the south, apricot blossoms flourish in the spring rain.
138 x 33 cm
老師這幅作品的字形，打破了傳統隸書扁平、四平八穩的結構，線條拙朴有趣，又充滿動感，甚至帶有行書筆意。這正是漢簡在日常書寫時，為了「求快」而展現的流暢之美。此外，為使作品「擬漢簡意」，老師更特意以茶染方法，令宣紙呈現「漢簡」的韻味。
The letterforms in this work break away from the flat, squat, evenly balanced structure of traditional Clerical script. Its lines are artless and charming, brimming with movement, and even carry a hint of Running script. This is precisely the fluent beauty that Han bamboo slip writing displayed in everyday use, when writers were “seeking speed.” As annotated in the couplet, “Embracing the Style of Han slips,” Master Cheung used tea-staining techniques to give the rice paper an ancient Han slip feel.
草書「龍」字
The Character “Dragon” in Cursive Script
龍
Dragon
30 x 140 cm
老師以草書的簡省筆畫，把「龍」的翻騰姿態，以一氣呵成的橫向線條表現出來，構圖極具畫面感。連續的飛白與波浪狀線條，看似「龍身」與「龍尾」的延伸。此作品曾於溫哥華展覽中展出，大獲好評。
Using the simplified strokes of Cursive script, our teacher renders the churning, twisting posture of the “dragon” (龍) in a single horizontal line drawn in one unbroken sweep, giving the composition a strongly pictorial quality. The continuous “flying white” and wave-like lines seem to extend into the dragon’s body and tail. This work was previously shown in an exhibition in Vancouver, where it was well received.
大篆「馬」字
The Character “Horse” in Large Seal Script
Eight different ways of writing the character “horse”
140 x 22.5 cm
老師每年均會配合生肖書寫作品。此《八駿圖》為1990年（馬年）作品，正好今年亦為馬年，大家可欣賞到大篆中「馬」字的各種形態。
Every year, Teacher creates artworks themed around the Chinese zodiac. This “Painting of Eight Horses” dates back to 1990 (Year of the Horse); as the current year is the Year of the Horse, it offers a wonderful opportunity to appreciate the diverse forms of the character written in Large Seal script.
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