我深信对任何艺术会自然而然产生兴趣，多少讲点缘分。童年在金门时，拿毛笔写字就如拿筷子吃饭一样，习以为常。八岁来新，之后与书法情缘不断；先是在端蒙中学临摹工整的颜、柳楷树，一段时日以后，感觉能把字写得四平八稳（念华中和南大时还得了几个奖），对自己的要求也日渐严格，后来发现行草体最令我心仪，原因是其适用价值高，人们容易接受，又不乏发挥创意的机会，写字、临摹之际也常读名家字帖以开阔视野，久而久之也形成了自己喜爱的风格，为忙碌的生活增添了一段富有情趣的插曲。
学习书法本来是件很严肃的事，写字的人必须要有苦行僧那份吃苦的精神，以及耐心与恒心。古今书法理论对这方面有很详细的说明。写字的人如想要稍有成就，除了应具备首要条件 -- 天分之外，必须遍临各家、勤写多看、神交古人、道法自然，以及注意人格修养与提高学识。经过数十年后，若有机缘和造化，才能达到“人书皆老”的理想境界。但如此漫长的学习路程，会不会把吃惯快熟面的现代人吓跑了吗？
文化和艺术工作是长远的，非一朝一夕能达成的。在以市场经济为挂帅的今天，现代人讲求的是经济效益，急于想在极短的时间内达到目标，这和学习书法的原则互相抵触。但这门传统艺术对现代人来说，并非没有其积极的意义与存在的价值。现代人并非是一幅机器，他们也是血肉之躯，肉体和头脑在经过高度操劳之后，也应获得充分的休息。也许正因为书法这门艺术有调节生活和平衡身心的特殊作用，反而更加受到现代人的重视与发扬。这说明相对立的东西也是可以并存的。否则，书法这门传统艺术没有理由能保留到今天。
对我而言，书法这爱好是苦中作乐的玩意。书法使我专心投入，在点、线的波动中找到一种轻快愉悦的节奏。书写唐诗宋词又给我机会畅游古诗词的美妙境界。李白、苏东波等风格豪迈的作品以行草发挥最为适当。所谓“笔未狂时我已狂”（林散之之句），我书写他们的作品时倍觉舒畅。更重要的是，身为忙碌的现代人，不但要分秒必争，也须兼顾人际关系，所以不免常有身不由己的感触。写字能减轻工作压力，平衡身心，更可贵的是，写字允许我控制作品的成果。笔墨的变化，完全掌握在我的手中。宣纸里的天空，辽阔无比，任我翱翔；神游其中，陶冶性情，世界上还有比写字更开心的事吗？
除了临池，我也争取机会多看名家作品，尤其是那些较难看到的真迹。国内外画廊和艺术馆在一定程度上满足了我这方面的需求。远者不说，就当代中国书法家，被誉为当代草圣的林散之，其书法贵在灵气，他是我最为欣赏的大家；启功以美取胜；沙曼翁的风格则属于高雅一类，欣赏这几位大师的作品，也可以说是人生一大享受。
我住在狮岛东北的春业园。园内约有五百户人家，道路两旁种有棕榈科等热带树木。邻近是三大蓄水池和四大高尔夫俱乐部的绿色草茵。湖光山色，美不胜收，有如中国书法大师-- 启功为我写的七言对联：园中草木春无数，湖上山林画不如。每逢周末，我常到这些地方作晨运，希望能藉此净化心灵，从而领悟自然界中种种变化。
这本集子里的作品都是忙里偷闲写出来的。大部分是夜深人静或周末雅集乘兴之作。所以对我别有意义。这也算是给那些关心我的家人和好友的一份礼物。
薛振传
1988年4月18日
注：本文为《薛振转书法集》出版而作。
Calligraphy has been my passion for well over 40 years during which I thoroughly enjoyed the joy of the art. It has become part of my life. Bit it has never come crossed my mind that I should one day compile my works into a book for record. During my recent trips to Eastern Europe, I was immersed in and struck by the rich cultures in such cities as Vienna, Prague and Budapest. It reminded me that I, too, had been immersing in another culture with rich heritage. On my return, I decided to preserve my works for posterity. Thus, the birth of this collection.
My interest in calligraphy dated back to my childhood days in Jinmen, Fujian Province. There I used to write with a brush as often as I used chopsticks for my meals. I came to Singapore at age eight. Here I had my groundings in the art during my school days at Tuan Mong High where I modeled my regular style on master calligraphers like Yan Zhenqing and Liu Gingquan. I must be doing quite well to win several prizes in competitions held at the Chinese High School and later at the Nanyang University. Encouraged, I was determined to improve myself and scale new heights in the pursuit. Among the various styles, I have chosen xing cao - a combination of walking and running styles - as my favourite style to excel in. Xing cao is widely used and easily acceptable. Furthermore, it gives the calligrapher room to exercise his creativity. With practices and references to established calligraphers of the same style, I develop a style of my own over time.
To me, calligraphy brings me joy despite occasional agony experienced while trying to achieve the desired standard. It takes on a rhythm of its own while you execute the strokes and plant the dots on paper. It is a culturally very enriching experience when I write a brush lines from the literary giants like Tang poet Li Bo and Song ci writer Su Dongpo. My view is that their works are best expressed in xing cao style. I even get high when writing their lines. In this respect, I share similar experience as contemporary calligrapher Lin Sanzi. Indulging in the art gives me a break and brings me joy to my otherwise mundane and busy life. To me, nothing else gives me greater satisfaction than calligraphy.
I intend to share my calligraphy pieces done over the years. There were mostly done between my busy schedules, in the dead of night or at the spur of the moment at the gatherings with fellow calligraphers. I wish to thank my teachers Mr Lim Tiow Kim and my seniors Tan Ban Huat and Dr Ho Chee Lick for their guidance and encouragement. Last but not least, my special thanks to my wife Swee Kin for her advice in selecting the calligraphy pieces that went into this collection.
My interest in calligraphy dated back to my childhood days in Jinmen, Fujian Province. There I used to write with a brush as often as I used chopsticks for my meals. I came to Singapore at age eight. Here I had my groundings in the art during my school days at Tuan Mong High where I modeled my regular style on master calligraphers like Yan Zhenqing and Liu Gingquan. I must be doing quite well to win several prizes in competitions held at the Chinese High School and later at the Nanyang University. Encouraged, I was determined to improve myself and scale new heights in the pursuit. Among the various styles, I have chosen xing cao - a combination of walking and running styles - as my favourite style to excel in. Xing cao is widely used and easily acceptable. Furthermore, it gives the calligrapher room to exercise his creativity. With practices and references to established calligraphers of the same style, I develop a style of my own over time.
To me, calligraphy brings me joy despite occasional agony experienced while trying to achieve the desired standard. It takes on a rhythm of its own while you execute the strokes and plant the dots on paper. It is a culturally very enriching experience when I write a brush lines from the literary giants like Tang poet Li Bo and Song ci writer Su Dongpo. My view is that their works are best expressed in xing cao style. I even get high when writing their lines. In this respect, I share similar experience as contemporary calligrapher Lin Sanzi. Indulging in the art gives me a break and brings me joy to my otherwise mundane and busy life. To me, nothing else gives me greater satisfaction than calligraphy.
I intend to share my calligraphy pieces done over the years. There were mostly done between my busy schedules, in the dead of night or at the spur of the moment at the gatherings with fellow calligraphers. I wish to thank my teachers Mr Lim Tiow Kim and my seniors Tan Ban Huat and Dr Ho Chee Lick for their guidance and encouragement. Last but not least, my special thanks to my wife Swee Kin for her advice in selecting the calligraphy pieces that went into this collection.
Soon Chin Tuan
18th April 1998
Note: This article first appeared in the book "The Calligraphy of Soon Chin Tuan".
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