中国龙网贵阳消息（记者  龍龘龘  摄影报道）8月8日日下午，书法家、美术评论家邓清远先生新作《清远文稿品读》首发式，在贵阳乌当区香纸沟水东香纸艺术博物馆隆重举行。顾久、何京等来自贵州文艺界十多个文艺团体近百名专家学者参加了首发式。邓清远先生系中国楹联学会、中国文章学研究会资深会员，贵州省硬笔书法协会艺术顾问，精研六体书法六十余载，2023年贵州省图书馆为其举办专题展并典藏54幅力作，现已出版专著8部，累计达160万字，在业内有较强的影响力，是贵州著名的书法家、文艺评论家。

《清远文稿品读》由中科学文化音像出版社面向国内外公开出版发行，全书收录了邓清远近作9篇论文和九篇书评、美评，集书法实践与理论探索于一体，具三大特色:深挖易经、儒释道文脉，重构古典审美;以考古史料支撑书史演变，史论交融;聚焦贵州本土书画名家，推动黔地艺术传播。首发仪式上，各位文艺家现场共赏其学术价值与艺术魅力，纷纷勇跃发言，盛赞邓清远先生虽已耄耋，仍笔耕不辍，实为我辈楷模，并将新书誉为贵州传统文化创造性转化的典范之作。

China Dragon Network Guiyang Report (Reporter Long Tian Tian, Photography Report) – On the afternoon of August 8, the launch ceremony of Mr. Deng Qingyuan’s new work, “Qingyuan Manuscripts and Readings,” was grandly held at the Xiangzhigou Shuidong Xiangzhi Art Museum in Wudang District, Guiyang. Over 100 experts and scholars from more than a dozen literary organizations in Guizhou’s cultural circles, including Gujiu and He Jing, participated in the launch ceremony. Mr. Deng Qingyuan is a senior member of the Chinese Association of Couplets and the Chinese Research Society of Literature, an artistic advisor for the Guizhou Association of Hard-Pencil Calligraphy. He has devoted over sixty years to mastering the six styles of calligraphy. In 2023, the Guizhou Provincial Library organized a special exhibition in his honor and acquired 54 of his masterpieces. He has published eight books to date, totaling over 160 thousand words. He is a prominent calligrapher and literary critic in Guizhou.

“Qingyuan Manuscripts: An Appreciation” was published and distributed publicly by the China Science and Culture Audio-Visual Publishing House both domestically and internationally. The book contains 9 essays and 9 reviews/critiques by Deng Qingyuan, combining practical calligraphy with theoretical exploration. It boasts three distinctive features: in-depth exploration of the cultural heritage of the Yi Jing, Confucianism, Buddhism, and Daoism, reconstruction of classical aesthetics; use of archaeological materials to support the evolution of calligraphy history, with a blend of history and theory; and focus on local painters and calligraphers from Guizhou, aimed at promoting the dissemination of Guizhou’s art. At the launch ceremony, the various artists appreciated the book’s academic value and artistic appeal in person, with many expressing their admiration for Mr. Deng Qingyuan, who, despite his advanced age, continued to write prolifically. They hailed the book as a prime example of the creative transformation of Guizhou’s traditional culture.

《清远文稿品读》序

   顾 久

我对书法及文学艺术理论素无研究，本不该措辞书端，但承蒙邓先生青睐，不敢不遵命写几句门外人的话。
我曾在贵州省文史研究馆供职，结识不少贵州老文化人 --主要是文史与书画方面的，当然也知晓邓清远先生的大名。退休后，有赖殷平先生的热情与能力，组成一个名为“贵州学派”的文化沙龙，由热心贵州文化且有一定造诣者志愿组成，不时面向社会开展公益性的活动。而邓清远先生也参与其中，由此接触比过去密切。

邓先生给我的印象是:虽年过八旬，但仍然声音洪亮，目光炯炯，且腰杆板直，钟坐松立，好似旧识黄埔军校毕业的行武长辈。然而，据说他本来学工程技术，因仰慕老校长平刚先生的文人风范以及家庭的耳濡目染，自幼钟情于古籍文献及诗联书画，后来干脆辞去原职，神游于艺术与学术创作。

士古人云:“学之不如好之，好之不如乐之”;又云:“用志不分，乃凝于神”。由于邓先生乐之而凝神，学而能思，并喜欢于理论上追根溯源，所以取得多方面的成就。我所知道的，其专著至少有《上古艺术审美的释悟--通灵感物味象》《书法审美感悟》《清远甲骨文书法集》，还常常展现甲、金、篆、真、草诸体书法创作，运笔真率，屡见巨幅，曾在全国不少展览中现身，有些还获过奖，产生的影响足以将大名记载于《中国艺术家辞典》之中。

本书收录邓先生论文五篇，分别是《“白贲”意境与书画艺术的关联及拓展》《楹联史话探赜》《探索书画艺术的残缺美》《略论书画艺术的“虚实”观》和《秦汉隶变的踪迹及其帛隶书的多元价值》，最后，《附录》部分收集了几篇小论文和品读书画家的文章。首篇聚焦“白贲”，篇幅最大，着力最深:先列举古人对此的阐释;次论儒道释三家与白贲之关系;接着历数“白贲”思想从春秋战国直到近代与当代诸家的历史演变，最后归结于“留白艺术”，几乎可称为“中国“白贲”艺术思想简史”。次篇《楹联史话》，难得处在于归纳了贵州的楹联演变、代表人物及代表作品等等。第三、四两篇，主要从“残缺”与“虚实”两点来论述中国书画艺术的意蕴;第五篇探寻隶变过程，提出用帛作媒介的“帛隶”因其易于“抒情达意”的特点，是从实用写字过渡到书法艺术的关键。其《附录》虽篇幅不大，但发乎胸臆，自有见地。

“我感觉到邓先生“白贲”“残缺”“虚实”等篇，其实是想探索并建立中国传统美学的主体与特点。的确，作为一门学科，美学本由西方人倡立，所以充溢着西人的视角与话语。比如言及美的本质与特征，就有柏拉图的“摹仿说”，毕达哥拉斯的“和谐说”，康德的“超功利说”，黑格尔的“理念说”，亚里士多德的“客观说”，休谟的“主观说”，狄德罗的“关系说”，等等。中华文明数千年，对于艺术实践与理论自有独到的观照，当代中国美学家们也曾归纳出儒家的“中和”、道家的“超迈”、释家的“空寂”，以及“重意境”，“贵含蓄”等中华美学概念，而邓先生上述诸篇，既出自其艺术实践和独立思考，也当在中国特色美学研究中占一席之地。此外我在想:中国美学中之所以器重白贲、残缺与虚实，而不太欣赏浓艳、全整和满实，是否还因中国长期处于传统等级制度之中，高妙的诗文书画等多出自寒门文士之手，这些人往往具有所谓“不戚戚于贫贱，不汲汲于富贵”，“丹青不知老将至，富贵于我如浮云”的气局:若倒向权贵，势必因为谄媚而艳而全而实，若投向钱商，也势必由于贪欲而艳而全而实。为保持自身精神世界的自由逍遥，艺术品位的高洁洒落，自不能不保持白贲、残缺与虚寂?

言及此，我突然领悟:邓先生之所以至老尚能保持尊严、轩昂的气度，应该既源于数千年中华先人的智慧和才艺，又与权贵和金钱保持相对的警惕和独立吧。

是为序。

(顾久:《贵州文库》总纂。)

(贾庆祥  摄)

Preface to "A Taste of a Qingyuan Essay"

Gu Jiu

I have no research on calligraphy or literary and artistic theory, and I should not have written it in a book, but because of Mr. Deng's favour, I dare not fail to write a few words from an outsider.
I worked at the Guizhou Museum of Cultural History and I knew many of the old cultural people of Guizhou, mainly in cultural history and painting, and of course knew the name of Mr. Deng Qingyuan. After retiring, thanks to Mr. Yinping's enthusiasm and ability, he formed a cultural salon called the Guizhou School, which was volunteered by people who were passionate about Guizhou culture and had some qualifications, from time to time carrying out activities of public interest to the community. Mr. Deng Qingyuan was also involved, so contact was closer than in the past.
Mr. Deng gave me the impression that, even though he was over 80 years old, he still had a loud voice, a bright eye, and a straight waist and a loose clock. He resembled a veteran of the armed forces who had graduated from the Whampoa Military Academy. However, it is said that he originally studied engineering technology, admired the literary style of the old school principal, Mr. Ping Gang, and the family's affection, and began to love ancient books and poetry and paintings at an early age, and then simply quit his position to devote himself to art and academic creation.
Sadhguru once said, "Learning is not good, and good is not fun." They say, "With their faith, they are committed to God." Because Mr. Deng is happy and attentive, learns and thinks, and likes to go back to the roots of theory, he has achieved many things. As far as I know, his monographs are, at least, "An Interpretation of Ancient Art Aesthetics - Through Inspirational Scenarios," "An Understanding of Calligraphy Aesthetics," and "A Collection of Ancient Oracle Calligraphy." He also often displays calligraphic creations in A, Jin, Tencent, Zhen, and Grass. His strokes are genuine and often appear in huge numbers. He has appeared in many exhibitions across the country, and some have won awards. His influence is enough to register his great name in the Dictionary of Chinese Artists.
This book contains five essays by Mr. Deng, which are: "The connection and extension of the 'Balian' sentiment with the art of painting and painting," "The historical investigation of 楹联," "Exploring the missing beauty of the art of art of drawing and painting", "An overview of the false" view of art of writing and painting" and "The traces of the conversion of the Qin and Han Dynasty and the multifaceted value of the papyrus books."Finally, the Appendix section collects several small papers and essays from the painters. The first article focuses on the "belia" and has the largest amount of space and the deepest effort: first, enumerate the interpretations of this by ancient people. A second discussion of the relationship between Confucianism, Taoism and Baichai; Then we enumerate the historical evolution of "Baechai" thought from the warring countries of Spring and Autumn to modern and contemporary families, and finally attribute it to "white art," which can almost be called "a short history of Chinese "Baaechai's artistic thought."The second volume, "The history of 楹联," is rare in summarizing the evolution of 楹聯 in Guizhou, the representative characters and the representative works, etc. The third and fourth sections discuss the meaning of Chinese painting and writing mainly from the two points of "mutilation" and "falseness." The fifth article explores the process of attribution, suggesting that the "book" used as a medium, because of its easy "lyricist" characteristics, is the key to the transition from practical writing to calligraphy. His appendix, although small in length, was insightful and insightful.
"I feel that Mr. Deng's essays on "Bai Cai," "mutilation" and "falsehood" are in fact intended to explore and establish the subjects and characteristics of traditional Chinese aesthetics. Indeed, as a discipline, aesthetics was originally advocated by Westerners, and therefore filled with Western perspectives and discourses. For example, when it comes to the nature and characteristics of beauty, there are Plato's "theory of imitation," Pythagoras's "theorie of harmony," Kant's "theoretical theory," Hegel's "idea theory," Aristotle's "objective theory," Hume's "subjective theory," Didier's "relationship theory," and so on. For thousands of years, Chinese civilization has had its own unique view of artistic practice and theory, and contemporary Chinese aestheticists have also summarized Confucian "neutrality" and Tao's "superiority" and Shi's "silentness," as well as Chinese aesthetic concepts such as "importance of context" and "precious implicity," all derived from Mr. Deng's artistic practice and independent thinking, and should also occupy a place in Chinese aesthetic research. In addition, I wondered whether the reason why Chinese aesthetics value whiteness, mutilation, and falseness rather than appreciating richness, completeness, and fullness is because China has long been in a traditional hierarchy, and the wonderful poetry, writing, and paintings were written by the scholars of the Qingmen. These people often have the feeling that they are not attached to poverty, they do not draw from richness, and they do know that they will soon come, and the richness is like a cloud: If they turn to powerful people, they will always be beautiful because of their charm, and if they turn into money merchants, they are beautiful because they greed. In order to maintain the freedom of their spiritual world, the taste of art is immaculate, and they cannot remain white, mutilated, and silent.
With this, I suddenly realized that the reason why Mr. Deng can maintain his dignity and majesty at this age should be both the wisdom and talents of the Chinese forefathers over thousands of years, and his relative vigilance and independence from the powerful and the money.
It's the order.

(Gu Ju: General Catalogue of Guizhou Literature.)

序言

谭涤非

清远兄新作《文稿品读》即将付梓，嘱予作文记之。

我读《周易》是作预测起卦，而清远兄是作学术性的探索。贲卦为《周易》六十四卦之二十二卦，贲卦上九爻辞白贲无咎，我的理解是饰终返素即绚烂之极复归平淡。自古文人学士深受儒、释、道的影响，追求空灵、自然之美，“清水出芙蓉，天然去雕饰”是一种自然之美。白玉无瑕，返璞归真何须装饰。

中国的水墨山水画常以茅亭、草屋点缀，如若换作现代高楼大厦，便觉格格不入。人物多作宽袍大袖，若作西装革履亦难调和，这仍然是残缺美的表现。

马致远的小诗《天净沙·秋思》:“古藤老树昏鸦，小桥流水人家。古道西风瘦马，夕阳西下，断肠人在天涯。”其中，“古藤老树昏鸦”无一不是残缺美，“瘦马”“残阳”同样是残缺美。

清远兄晨起必读书两小时，数十年如一日未尝稍息，其于诗文、楹联、美学、书法......涉猎甚广，求索甚深。

于书法一道用心良苦，妙笔神工。苍劲不失婀娜，浑厚不失灵通。今年事已高可谓“人书俱老”，犹孜孜不倦、上下求索，每年都有新作面世，可说是著作等身。

我读书甚少，为清远兄作序，实在是惶恐之至。

(谭涤非:著名画家。)

preface
Tan Di-fei

Qingyuan’s latest work, “An Analysis of Manuscripts,” is about to be published. I was asked to write a review of it.
I read the Book of Changes for the purpose of making predictions and casting hexagrams, while Brother Qingyuan engaged in scholarly exploration. The Fen hexagram is the twenty-second of the sixty-four hexagrams in the Book of Changes. The ninth line of the Fen hexagram states, “White Fen without fault.” In my understanding, this means that after embellishment, one returns to simplicity, akin to the transition from brilliance to tranquility. Since ancient times, scholars and literati have been deeply influenced by Confucianism, Buddhism, and Daoism, seeking the beauty of etherealness and naturalness. “A lotus blooms in clear water; it naturally lacks adornment” represents a form of natural beauty. White jade is flawless; there is no need for embellishment when one returns to simplicity and authenticity.
Chinese ink and watercolor landscape paintings often feature thatched pavilions and thatched huts as decorative elements. If these were replaced with modern high-rise buildings, they would seem out of place. The figures depicted often wear loose robes and wide sleeves; if they were dressed in suits and leather shoes, it would be difficult to harmonize them. This still represents the beauty of imperfection.
Ma Zhiyuan’s short poem “Tian Jing Sha: Autumn Thoughts” reads: “Ancient vines, old trees, dusk crows; Small bridge, flowing water, homes of people. Western wind on ancient roads, thin horses; Setting sun in the west; heartbroken person at the end of the world.” In this poem, “ancient vines, old trees, dusk crows” are all examples of imperfect beauty, while “thin horses” and “setting sun” are also instances of imperfect beauty.
Qingyuan brother always spends two hours reading in the morning. For decades, he has maintained this routine without any interruptions. His interests span a wide range of subjects, including poetry, couplets, aesthetics, calligraphy, and more. He delves deeply into these fields.
In the realm of calligraphy, he has devoted immense effort and skill. His strokes are both powerful and graceful, substantial yet agile. This year marks a significant milestone, with him being described as both “old in years and old in writing.” Despite this, he remains tireless and diligent, continually seeking and striving. Each year, he brings forth new works, making him a prolific author.
I have read very little, and writing the preface for Brother Qingyuan fills me with profound apprehension.
(Tan Di-fei: Renowned painter.)

前言
邓清远书法风格特点的形成

邓清远的书法风格以高古简约、诗书统一、六体兼修为核心，融合个人对传统艺术的深刻理解与创新表达。以下是其风格的具体特点:

1.六体兼修，博采众长
邓清远精通甲骨文、大篆、隶、楷、行、草六种书体，尤其近年专注甲骨文创作，融入大篆笔法，作品古朴多姿。其书体选择多样，包括行书、大草、对联嵌名书法、榜书独字等，形式丰富。

2.诗书统一，内容原创
作品多书写自创诗词楹联，如"花溪杏月又相逢""灵霄吉月桂花香"等，将文学意境与书法线条结合，形成独特的文人书法风格。强调“写字要照本意去写”，反对媚俗，注重艺术个性与主体性表达。

3.高古简约，笔法独特
字体追求“拙中藏巧"，线条沉雄稳健，章法天成，既有传统功底(如王铎神韵)，又显个人面目。甲骨文作品笔法均衡，大篆与甲骨文融合，体现对上古艺术审美的释悟。

4.理论与实践并重
出版《清远甲骨文书法集》《砚田斋书画品读集》等专著，系统总结书法审美与创作理念。提出“务存骨气”的艺术主张，强调书画需有“神采、力量与生命意味”。

5.风格演变与创新
其艺术之路肇始于草书，及至晚年，更潜心探索六体融合之境，风格亦由传统临摹渐次转向个性化创新，诸如“醉书”“尺素小行书”等实验性创作，皆彰显其求变之心。

preface

The Formation of Deng Qingyuan’s Characteristic Calligraphy Style

Deng Qingyuan’s calligraphic style is characterized by its archaic simplicity, the unity of poetry and calligraphy, and the mastery of six different styles. It integrates his profound understanding of traditional art forms with innovative expressions. Here are some specific features of his style:
1. Cultivate skills in six areas and draw upon diverse strengths.
Deng Qingyuan is proficient in six different writing styles: Oracle Script, Great Script, Inscript, Script, Running Script, and Grass Script. More specifically, he has focused on creating works in Oracle Script in recent years, incorporating elements of Great Script brushwork. His works exhibit a rustic and diverse aesthetic. He employs a wide range of writing styles, including Running Script, Grass Script, couplets with embedded names, monumental inscriptions with single characters, and other forms, resulting in a rich variety of styles.
2. Poetry and literature are unified, with original content.
He frequently composed original poems and couplets, such as “We Meet Again by the Cherry Stream in the Month of Apricot Blossoms” and “Fragrant Osmanthus in the Lucky Month of Lingxiao.” By combining literary imagery with the lines of calligraphy, he created a distinctive style of literary calligraphy. He emphasized that “writing should be done according to one’s true intentions” and opposed pandering to popular tastes, instead focusing on artistic individuality and expressive subjectivity.
3. Elegant and simple, with a distinctive brushwork style.
The font strives for “ingenuity hidden within simplicity,” with lines that are powerful, robust, and stable. The structure is natural and effortless, embodying both traditional foundation (such as the divine essence of Wang Duo) and individual characteristics. The brushwork of the oracle bone script pieces is balanced, integrating majuscule script with oracle bone script, reflecting an understanding and appreciation of ancient artistic aesthetics.
4. Balance between theory and practice.
He published monographs such as “Qingyuan Oracle Script Calligraphy Collection” and “Yantian Studio Calligraphy and Painting Appreciation Collection,” which systematically summarize the aesthetic principles and creative concepts of calligraphy. He proposed an artistic stance of “striving to preserve spirit and integrity,” emphasizing the need for calligraphy and painting to possess “vitality, strength, and a sense of life.”
5. Evolution of Style and Innovation
His artistic journey began with cursive script. By the time of his later years, he devoted himself more intensely to exploring the realm of the fusion of six styles. His style also gradually shifted from traditional copying to personalized innovation. Experimental works such as “Drunken Writing” and “Thin Silk Small Script” exemplify his desire for change.