内容提要
　　序
阎晓宏
谢云老，浙江苍南人，1929年生，现为中国书法家协会顾问。谢云6岁始随父学习书法，吟诵古诗，年少时书法专临柳公权、颜真卿二人，后又临魏碑。在吕章中先生主编的《中国国家博物馆捐赠系列丛书---谢云书画艺术》一书中，我意外地见到了一幅谢云老于1946年上中学时的楷书作品，乃见颜、柳之韵，灵动而又合于章法，逸气过人，一时无法与他现在的鸟虫篆书法联系起来。
鸟虫篆由“秦书八体”中虫篆演化而来。汉许慎《说文解字•叙》云：“自尔秦书有八体：一曰大篆；二曰小篆；三曰刻符；四曰虫书；五曰摹印；六曰署书；七曰殳书；八曰隶书。”其实，“秦书八体”中大篆、小篆、虫书、隶书可以称之为“体”，而其他四体：刻符是刻在符节之上，摹印是刻在印材之上，署书是题在匾额之上（现称榜书），殳书是铸在兵器之上，这四体严格上称不得字体。据考，虫篆源于春秋而流行于战国。战国时期，吴、越、楚、徐等南方诸国盛行该体，各国兵戈相交为虫篆创先河之功。北方也有流传。1978年在河北平山县战国中山王墓出土的“中山王方壶”上铭刻的字体修长、具抽象美品格的金文虫篆，乃是例证。鸟虫篆在当时用途广泛：在军队的旗帜或符节、泥封上，鼎、秦砖、瓦当、兵器、编钟乃至一般器皿、饰物上，都普遍运用，甚至是研习书法之必须。唐代书法理论家孙过庭所著《书谱》曰：“⋯⋯博究始终之理，镕铸虫篆，陶均草隶，⋯⋯象八音之迭起，感会无方。”
谢云老钟情鸟虫篆几十年，有偶然亦有必然。谢云老本质上是个诗人，他对于诗歌的痴爱，远胜于书法。在他上初中时便在当地有名的《瓯海日报》上发表了《我已长大》的新诗。由对诗的痴爱转至对鸟虫篆的钟情，似是在特定历史环境之下，于冥冥中之安排。1958年，谢云老被错定为“右派”，由文化部下属的北京幻灯制片厂下放到广西电台，为了避开创作诗歌而可能殃及自身的文字之祸，而又能抒发胸中郁闷或情怀，谢云老在历史与现实、偶然与必然的漩涡中，进入了魂系其终身的鸟虫篆书法艺术。
谢云老倾心于专研鸟虫篆长达半个世纪。他徜徉于古代与现实之中，以天人合一的哲学精神，格物致知、格物穷理，追寻着西周以来鸟虫篆产生渊源及其历史嬗变之痕迹，以诗人之审美观念和情怀，探古寻幽，不懈探寻鸟篆、虫篆到鸟虫篆，由具象到抽象的线条与韵律。
南北朝时期，谢赫提出“气韵生动，骨法用笔”等书画“六法”。“六法”不是并列关系，其“气韵生动”居于“六法”之首，这恰与谢云老内心激情与外在表达所合。谢云老秉承书法之妙道，神采为上，贯气于心，内外交融，天人感应，追求内在的理性把握和外在的感性、激情表达，注重线条、布局，也注重节奏、韵律。谢云老书写的鸟虫篆，样态优雅、摇曳动人，既具抽象的曲线美，又充盈着澄怀味象的人文精神。他在诗作中表达出来的激情、浪漫、真诚、怀旧，与鸟虫篆中返璞归真、不拘技法、自古出新、天真烂漫、丑中见美，相互交融。经过漫长人生岁月的磨难，于20世纪90年代，他在长诗《笔潮》中抒发了对鸟虫篆梦一般的追寻：
线的流动，形的飞扬
智慧、深邃、简洁、生动
真真是美的⋯⋯
宇宙万物，无穷的阔大
五行、人伦、美像归于线
殷的文字，远古的梦
是那么遥远，又多么亲近⋯⋯
纸已焦黄墨已淡
天机造化
挥毫高崖悬
群山齐鼓掌⋯⋯
先人赐予的字迹
字迹里储存的密码
你能鉴赏吗?
他的诗中有书，书中有诗，二者浑然一体。就此而论，人罕能及。刘海粟大师题诗为评:“出古方师古，俊难丑更难，黄山添妙境，碧月映寒潭”，并称赞他的鸟虫篆书法“奇而不奇，不奇而奇，放逸可观”。海粟老人以其百年人生经历及艺术大师的卓越见地，对谢云老鸟虫篆书法于古今之间、守旧与创新之间、美丑之间做出精当的评点。
你能鉴赏吗？这是谢云老对自身抑或是对现今的追问。
是为序。
作者系国家新闻出版总署副署长
Preface
Yan Xiaohong
Mr. Xie Yun，born in Cangnan County of Zhejiang Province in 1929，is now a consultant of China Calligraphers Association. Since six years old，Xie Yun has been learning calligraphy and poetry from his father. When he was young，he concentrated on learning calligraphy in Liu Gongquan and Yan Zhenqing ，and then he learned the style of Northern Wei stone tablets. In the book Donation Series for China National Museum-Painting and Calligraphy Art of Xie Yun compiled by Mr. Lv Zhangzhong，I found by chance his work of Kai calligraphy in 1946 when he was in the middle school，typical of Yan and Liu styles，complying with the art of writing but with more freedom，which cannot be associated with his current bird-insect calligraphy.
Bird-insect calligraphy develops from insect script，one of the eight ancient calligraphic styles in the Qin Dynasty. As is said in Shuo Wen Jie Zi: Xu written by Xu Shen in the Han Dynasty，“In the Qin Dynasty there were eight calligraphic styles thriving by then，which were large seal script，mini-seal script，inscribed symbols，insect script，imperial seal script，script on horizontal inscribed boards over the gate，script on weapons and official script.” As a matter of fact，large seal script，mini-seal script，insect script and official script are good to be called “styles”，and the other four are actually inscriptions on different objects-tallies，imperial seals，weapons and horizontal inscribed boards over the gate，therefore the latter four kinds of inscriptions can not be called calligraphic styles in the strict sense. It’s said that insect script was derived from the Spring and Autumn Period and became popular in the Warring States Period. Insect script was widely used in the states of Wu， Yue，Chu and Xu at that time，the fights among whom contributed to the appearance and wide use of insect script. It was also put into use in the north. In 1978，a sample of insect script was discovered in the tomb of the King of Zhongshan in the Warring States Period in Pingshan County of Hebei Province; a quadrangular bronze jar belonging to the King of Zhongshan was unearthed from the tomb and insect script in slender lines with abstract beauty was inscribed on it. Bird-insect script was widely used then on the flags，tallies and lute in the military army，as well as in tripod caldrons，bricks in the Qin Dynasty，eaves tiles，weapons，serial bells，household containers and jewelry and even it is essential for learning calligraphy. As was said in Manuscript of Treatise on Calligraphy written by Sun Guoting，a calligraphy theorist in the Tang Dynasty，“…to exert every effort to learn how to begin and end in writing calligraphy，study the essence of insect script，the classic cursive script and official script…like to compose a melody with eight musical instruments，which will have listeners profoundly enjoy and think.”
Xie Yun has been a lover of bird-insect calligraphy for decades of years，which is both by chance and by destiny. Xie Yun is a poet by nature，and his love for poetry is far more than that for calligraphy. When in the middle school，he published a free verse “Grown Up” in the famous local Ouhai Daily. His love shifted from poetry to bird-insect calligraphy，and it seemed to be owing to the special historical environment. In 1958，he was mistakenly sentenced to be a Rightist，exiled from Beijing Slide Film Factory affiliated to the Ministry of Culture to Guangxi Radio Station. Drawn into the vortex of history and reality，Xie Yun had to protect himself from the possible literary persecution in writing poetry; by chance or by destiny，he began to approach the realm of bird-insect calligraphy to express his depression，which has turned out to be a life-long undertaking，preoccupying all his heart and soul.
Xie Yun has been focusing on studying bird-insect calligraphy for half a century. Adopting the philosophical thinking of “harmony between man and nature”，Xie Yun pursues the very nature of things in studying the origin of bird-insect calligraphy since the Western Zhou Dynasty and its historical development. With the poetic aesthetic feelings，he perseveringly explores the development from bird script to insect script and finally to bird-insect calligraphy and the lines and rhythms from concrete to abstract，in the hope of making some new discovery.
In the Southern and Northern Dynasties，Xie He put forward six principles of painting and calligraphy，namely“rhythmic vitality，flexible lines…” The six principles are not equally important，and “rhythmic vitality” comes the first as it just strikes a chord with Xie Yun’s inner passion and outward expression. Adhering to the essence of calligraphy，emphasizing its elegance，with energy and spirit in one’s heart，to reach a state of unity of one’s internal and external world and the interaction between nature and man，he strives for rational understanding and dynamic expression，attaching importance on lines，layout and rhythm. Bird-insect calligraphy written by Xie Yun is elegant and charming with abstract lines of beauty，and he hopes to demonstrate the pure and innocent spirit of mankind. Passion，romance，sincerity and nostalgia in his poetry are blended with innocent nature，free style，innovation，naivety and unique beauty. In the 1990s，he expressed his dreamlike pursuit of bird-insect calligraphy in the long poem “Bi Chao” after ups and downs in the life:

The flowing of lines
Wise，deep，concise，dynamic，
More than beautiful
…
How vase the universe is!
The Five Elements，human relations and beautiful images are all embodied well in these lines，
Words of the Yin Dynasty，the ancient dream，
So faraway，so intimate
…
The paper has become yellow with age; the ink has become lighter，
The secret nature，
Writing with strength is like standing by a cliff，
All the mountains are clapping，
…
The words bestowed by our ancestors，
The mystic information hidden in them，
Can you appreciate?

His poem contains the beauty of calligraphy，and his calligraphy embodies the features of poem，which merge harmoniously with each other. Very few people can reach this height. The master Liu Haisu comments with his poem，“Learn from but go beyond the masters; it’s more difficult to write the ugly than the beautiful; if we want to add to the charm of the Yellow Mountain，clear swath of moonlight on the cool pool may help here”，and praised Xie’s bird-insect calligraphy as “sometimes odd，sometimes common，clear and passionate enough to be enjoyed”. Haisu，of with his rich life experiences，gives a very excellent comment on the bird-insect calligraphy of Xie Yun，as Xie merges tradition with modernity，conservative with innovation，the ugly with the beautiful.
Can you appreciate? This is a question raised by Xie Yun for himself or the modern world.
Above is my preface.


(The author is the Deputy Director of General Administration of Press and Publication)

目录
目录
序
谢云简介
003 汉字万岁 宣纸 70厘米×136厘米 2005年
006 橘颂 宣纸 124厘米×244厘米×3
124厘米×98厘米 2011年
008 送孟浩然之广陵 宣纸 34厘米×87厘米 2011年
009 竹里馆 宣纸 122厘米×124厘米 2012年
011 念奴娇·赤壁怀古 宣纸 46厘米×137厘米 2011年
013 浪淘沙·突围行军纪事 宣纸 135厘米×70厘米 2012年@015 伊洛永嘉七言诗 宣纸 47厘米×136厘米 2011年
017 喜 宣纸 122厘米×70厘米 1999年
019 乐 宣纸 69厘米×72厘米 2011年
021 艺 宣纸 137厘米×70厘米 2012年
023 琴 宣纸 135厘米×70厘米 2012年
025 哭 宣纸 135厘米×70厘米 2012年
027 跑 宣纸 135厘米×70厘米 2012年
030 春江花月夜 宣纸 135厘米×70厘米×4 2011年
033 瓯江帆影 宣纸 35厘米×136厘米 2011年
035 无为 宣纸 136厘米×70厘米 2012年
037 山海 宣纸 38厘米×80厘米 2012年
039 海鸥 宣纸 67厘米×69厘米 2012年
041 听雨 宣纸 70厘米×46厘米 2012年
043 观海 宣纸 136厘米×70厘米 2006年
045 家空了 宣纸 71厘米×47厘米 2010年
047 烈马 宣纸 54厘米×70厘米 2011年
049 水暖香江 宣纸 135厘米×70厘米 2012年
052 将进酒 宣纸 135厘米×70厘米×4 2011年
055 受命于天 既寿永昌 宣纸
47厘米×244厘米 2011年
057 凤 宣纸 76厘米×76厘米 2012年
059 鸟虫篆文 宣纸 69厘米×57厘米 2011年
061 寿 宣纸 39厘米×23厘米 2011年
063 楚玉简鸟虫文 宣纸
101厘米×35厘米 2011年
065 楚 宣纸 84厘米×62厘米 2012年
067 摹勾践剑剑字 宣纸
84厘米×62厘米 2012年
069 勾践剑王字 宣纸
62厘米×84厘米 2012年
072 桃源行 宣纸
104厘米×70厘米×4 2012年
075 善出奇者，无穷如天地，不竭如江河
宣纸 22厘米×138厘米 2011年
077 置赏复寻真 宣纸
152厘米×90厘米 2012年
079 丙子论书 宣纸
152厘米×67厘米 2012年
081 上善若水 宣纸
39厘米×122厘米 2012年
083 敢问路在何方，路在脚下 宣纸
119厘米×48厘米 2012年
085 春风化雨 润物无声 宣纸
138厘米×71厘米 2012年
087 同一个世界 同一个梦想 宣纸
136厘米×68厘米 2008年
089 空山无人 水流花开 宣纸
83厘米×69厘米 2012年
091 龙 宣纸 138厘米×71厘米 2012年
092 汉字万岁—跋《谢云鸟虫篆书法艺术》^_^Contents
PREFACE
INTRODUCTION TO XIE YUN
003 LONG LIVE THE CHINESE CHARACTERS
Xuan Paper 70cm×136cm 2005
006 ODE TO THE TANGERINE BY QU YUAN IN THE WARRING STATES PERIOD
Xuan Paper 124cm×244cm×3 124cm×98cm 2011
008 SEEING MENG HAORAN OFF AT YELLOW CRANE TOWER BY LI BAI IN THE TANG DYNASTY
Xuan Paper 34cm×87cm 2011
009 SITTING IN A BAMBOO GROVE BY WANG WEI IN THE TANG DYNASTY
Xuan Paper 122cm×124cm 2012
011 REFLECTIONS AT THE RED CLIFF UPON ANCIENT HEROES— TO THE TUNE OF CHARM OF MAIDEN NIANNU BY SU SHI IN THE SONG DYNASTY
Xuan Paper 46cm×137cm 2011
013 SALLY OF THE ARMY— TO THE TUNE OF WAVES SIFT SAND (1935) BY CAI HUIWEN
Xuan Paper 135cm×70cm 2012
015 A POEM WITH SEVEN CHARACTERS TO EACH LINE WRITTEN BY THE RIVERS OF YI AND LUO IN THE YONGJIA COUNTY BY SUN YIYAN IN THE QING DYNASTY
Xuan Paper 47cm×136cm 2011
017 CHEERFUL
Xuan Paper 122cm×70cm 1999
019 HAPPY
Xuan Paper 69cm×72cm 2011
021 ART
Xuan Paper 137cm×70cm 2012
023 HEPTACHORD
Xuan Paper 135cm×70cm 2012
025 CRY
Xuan Paper 135cm×70cm 2012
027 RUN
Xuan Paper 135cm×70cm 2012
030 MOONLIGHT ON THE SPRING RIVER BY
ZHANG RUOXU IN THE TANG DYNASTY
Xuan Paper 135cm×70cm×4 2011
033 SAILING ON THE OU JIANG RIVER
Xuan Paper 35cm×136cm 2011
035 LET THINGS TAKE THEIR OWN COURSE
Xuan Paper 136cm×70cm 2012
037 THE MOUNTAIN AND THE SEA
Xuan Paper 38cm×80cm 2012
039 SEAGULL
Xuan Paper 67cm×69cm 2012
041 LISTEN TO THE RAIN
Xuan Paper 70cm×46cm 2012
043 SEA VIEW
Xuan Paper 136cm×70cm 2006
045 THE EMPTY HOUSE
Xuan Paper 71cm×47cm 2010
047 THE VIOLENT HORSE
Xuan Paper 54cm×70cm 2011
049 SPRING GREETS HONG KONG
Xuan Paper 135cm×70cm 2012
052 INVITATION TO WINE BY LI BAI IN THE TANG DYNASTY
Xuan Paper 135cm×70cm×4 2011
055 RULE BY THE GRACE OF GOD; LONG FOR PROSPERITY
Xuan Paper 47cm×244cm 2011
057 PHOENIX
Xuan Paper 76cm×76cm 2012
059 BIRD-INSECT SCRIPT BY FANG JIEKAN
Xuan Paper 69cm×57cm 2011
061 LONGEVITY BY THE FIRST EMPEROR OF QIN DYNASTY
Xuan Paper 39cm×23cm 2011
063 BIRD-INSECT SCRIPT ON THE JADE SLIPS IN THE STATE OF CHU
Xuan Paper 101cm×35cm 2011
065 CHU BY SUN YUGE
Xuan Paper 84cm×62cm 2012
067 COPY OF THE CHARACTER OF “SWORD” CONCERNING GOU JIAN’S SWORD
Xuan Paper 84cm×62cm 2012
069 THE CHARACTER OF “KING” CONCERNING GOU JIAN’S SWORD
Xuan Paper 62cm×84cm 2012
072 STROLL IN THE PEACH ORCHARD BY WANG WEI IN THE TANG DYNASTY
Xuan Paper 104cm×70cm×4 2012
075 INDIRECT TACTICS, EFFICIENTLY APPLIED, ARE INEXHAUSTIBLE AS HEAVEN AND EARTH, UNENDING AS THE FLOW OF RIVERS AND STREAMS
Xuan Paper 22cm×138cm 2011
077 TO ENJOY, TO SEEK FOR TRUTH AGAIN
Xuan Paper 152cm×90cm 2012
079 ON CALLIGRAPHY IN THE LUNAR YEAR OF BING ZI
Xuan Paper 152cm×67cm 2012
081 THE HIGHEST GOOD IS LIKE THAT OF WATER
Xuan Paper 39cm×122cm 2012
083 YOU WONDER WHERE THE ROAD IS; THE ROAD IS UNDER YOUR FEET
Xuan Paper 119cm×48cm 2012
085 SALUTARY BUT INVISIBLE INFLUENCE OF
EDUCATION
Xuan Paper 138cm×71cm 2012
087 ONE WORLD, ONE DREAM
Xuan Paper 136cm×68cm 2008
089 NOT A SINGLE SOUL IS SEEN AMIDST AN EMPTY HILL BUT FLOWING RIVERS AND BLOOMING FLOWERS
Xuan Paper 83cm×69cm 2012
091 CHINESE DRAGON
Xuan Paper 138cm×71cm 2012
093 LONG LIVE THE CHINESE CHARACTERS—POSTSCRIPT TO BIRD-INSECT CALLIGRAPHY OF XIE YUN