文辭典雅，翰墨飄香，書(shū)道自古為心跡之寫(xiě)，性情之顯。今觀邊保華，字守和，號(hào)養(yǎng)心堂主，出身書(shū)香，幼承庭訓(xùn)，酷嗜翰墨，筆耕不輟。自少雅志清芬，氣韻生發(fā)，書(shū)道伴行，骨中昂揚(yáng)，精神彌滿。其學(xué)書(shū)之道，遇名師張海、沈鵬、李鐸、劉炳森、歐陽(yáng)中石，佟韋，得以傾授，廣取百家，匯晉唐之法，宗秦漢之勢(shì)，遂成古拙蒼勁、舒展流暢之體。

　　邊保華書(shū)風(fēng)四體兼精，尤善行草、隸書(shū)。行草平淡樸素，俊雅中見(jiàn)神采，端凝中蘊(yùn)功力，剛?cè)岵?jì)，通雅共賞。藝壇如海，翰林深邃，邊氏獨(dú)出風(fēng)標(biāo)，飽墨留香，古韻今風(fēng)相映，畫(huà)卷自舒。行草筆意，不激不厲，風(fēng)規(guī)自遠(yuǎn)，運(yùn)筆飄逸，骨勁形美，若“二王”遺韻，清新自然，筆走龍蛇，靈動(dòng)如風(fēng)。隸書(shū)法取秦漢，筆力遒勁，線條靈活，豐姿閑雅，氣韻古穆，章法疏密有致。書(shū)石門(mén)、乙瑛、張遷、華山諸碑，及武威漢簡(jiǎn)，心追手臨，意會(huì)形達(dá)，古今相融，自成高致。

　　邊氏榜書(shū)渾樸雄厚，筋骨畢現(xiàn)，結(jié)構(gòu)謹(jǐn)嚴(yán)，正中帶奇，和樂(lè)氣象，觀之心神安寧。邊公儒雅謙遜，氣骨沉雄，學(xué)養(yǎng)深厚，才情高邁。為進(jìn)書(shū)藝，擇古賢妙跡，臨習(xí)碑帖，體悟古人心境;探詩(shī)詞雅句，尋得靈光妙意。藝事精純，靜心丹青，養(yǎng)龍威虎振之氣，凝劍拔弩張之勢(shì)。其書(shū)于平淡中藏秀逸，端凝中蘊(yùn)深功，剛?cè)岵?jì)，雅俗咸宜。胸懷丘壑，筆下風(fēng)云，非一時(shí)之功。

　　書(shū)法擬人，古有論云：“賢溫俊雄，奇利才秀。”蓋書(shū)如其人，心跡相契。邊保華丙辰歲執(zhí)筆從戎，戍邊衛(wèi)國(guó)二十八載，軍中砥礪，氣節(jié)彌堅(jiān)。雅志翰墨，臨池不輟，行草隸書(shū)，皆臻佳境。才情俊逸，性情溫恭，日夜磨礪，志存承古而不泥，創(chuàng)新而不離正。戎裝解甲，楮墨寫(xiě)意，文武相融，剛?cè)嵯酀?jì)，自有風(fēng)骨。書(shū)之妙，貴在神采。邊公書(shū)跡，性情為本，法度謹(jǐn)嚴(yán)，古意盎然，抒幽情而無(wú)跡，顯雅懷而無(wú)華。古之“達(dá)其性情，形其哀樂(lè)”，正合此旨。邊公習(xí)書(shū)，字外功深，書(shū)卷氣馥郁，金石韻流淌。此中奧妙，乃因博覽古今，汲取百家，詩(shī)文琴書(shū)，盡為滋養(yǎng)。邊氏心志翰墨，于古典詩(shī)文、琴棋書(shū)畫(huà)間探幽訪勝，寫(xiě)胸中丘壑，繪筆下風(fēng)云。既窺古法源流，又明中正變遷，內(nèi)外兼修，三味俱臻。

　　古人云：“人品為書(shū)先，法古為基，勤學(xué)為本。”邊公志求高遠(yuǎn)，心性澹然，筆端自具古意。其作初若平和，細(xì)觀方覺(jué)深遠(yuǎn)，如山谷幽蘭，清韻潛生。觀之，如春風(fēng)過(guò)林，輕而有致;品之，似秋月照水，靜而有神。書(shū)中之趣，意在言外，字里之韻，神貫紙間。斯道正源，余味無(wú)窮。

　　靜觀邊保華書(shū)，筆勢(shì)翩然，若云卷水逝，隱顯于無(wú)形。行草之妙，貴在疾行，邊氏深悟此中三昧，于提按之間，自見(jiàn)氣象。急緩相依，若電掣風(fēng)馳，偶飛白如素雪輕灑，時(shí)見(jiàn)柳影拂塵。筆鋒游走，若鴻飛霄漢，時(shí)斷時(shí)續(xù)，留白處含虛，連筆處蘊(yùn)實(shí)，意態(tài)縱橫，氣韻不露痕跡。點(diǎn)畫(huà)鉤連，似游絲牽影，行間妙趣自生。附鉤若隱若現(xiàn)，宛若山澗清流，蜿蜒而下。筆意連綿，若云水無(wú)心而共影，偶現(xiàn)奇峭，似靜石臥壑，神情內(nèi)斂而不張揚(yáng)。字形之間，藏風(fēng)骨于無(wú)聲，見(jiàn)蒼勁于柔和。行筆若龍蛇起伏，字字自含筋骨，意趣深邃，不拘形跡，隱顯中自有幽韻?？菹酀?jì)，正隸交融，法嚴(yán)而意脫，拙樸而不失靈動(dòng)。邊氏書(shū)風(fēng)，端嚴(yán)中藏靈，瀟灑中有韻。楷多則肅穆，草重則飄逸，疏密相諧，頓挫有致。觀其筆墨，若江河浩蕩，波瀾自生，靜則山岳凝重，動(dòng)如風(fēng)云變幻，含蘊(yùn)深遠(yuǎn)，韻味悠長(zhǎng)。未見(jiàn)其形，已聞其聲;不察其跡，自得其神。書(shū)中清遠(yuǎn)幽情，氣象深厚，凡此妙境，非一時(shí)可達(dá)，真得書(shū)道之神髓矣。

　　邊保華隸法，橫若長(zhǎng)虹貫日，豎如勁松入云，頓挫起伏，隱雷含威。蠶頭重頓，若潛龍蓄勢(shì);雁尾輕挑，似風(fēng)動(dòng)云舒。筆勢(shì)舒緩間，剛?cè)岵?jì)，起收如太極變化，沉穩(wěn)中蘊(yùn)靈動(dòng)。方折如斷石嶙峋，波磔若江河蜿蜒，虛實(shí)相映，陰陽(yáng)相生。筆斷而意連，勢(shì)止而韻存，若大江東去，氣勢(shì)奔涌而不盡。點(diǎn)畫(huà)游走，若星漢錯(cuò)落，明滅無(wú)聲。鉤連處，似游絲牽夢(mèng)，貫穿始終。字勢(shì)平中見(jiàn)奇，厚中藏秀，拙樸而不失風(fēng)雅，重穩(wěn)而自有靈氣。觀其隸書(shū)，若登高山，險(xiǎn)峻而非凌厲;臨深淵，靜穆而不幽晦。形簡(jiǎn)而意豐，意凝而神遠(yuǎn)，真山水畫(huà)中景，風(fēng)韻自天成。閱者入其境，如覽古意，玩味無(wú)盡，回思彌深。

　　筆墨當(dāng)隨世變，藝道須承古今。邊保華治學(xué)嚴(yán)謹(jǐn)，詩(shī)文翰墨相生，遴選古今名篇，浩氣凌云間，清韻蘊(yùn)雅致?；虻鸵鳒\唱，或警句箴言，字里行間，若琴韻入耳，余音裊裊，回環(huán)不散。硯香漫案，墨暈流光，摒浮華喧囂，灑脫自見(jiàn)風(fēng)骨;去浮詞虛飾，清氣自然盈懷。六十載寒暑無(wú)聲，藝道日臻，人生光景愈盛。邊保華文武兼?zhèn)?，剛?cè)岵?jì)，德藝雙全，縱橫書(shū)壇，獨(dú)步藝海，光華自顯。

 

 

　　邊保華藝術(shù)簡(jiǎn)介

　　邊保華，原國(guó)家行政學(xué)院辦公廳主任，中國(guó)行政體制改革研究會(huì)副會(huì)長(zhǎng)，中國(guó)行為法學(xué)會(huì)廉政書(shū)畫(huà)院院長(zhǎng)，中國(guó)教育學(xué)會(huì)書(shū)法教育專委會(huì)副理事長(zhǎng)，中國(guó)書(shū)畫(huà)家協(xié)會(huì)副主席，中國(guó)書(shū)法家協(xié)會(huì)會(huì)員，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員，北京美術(shù)家協(xié)會(huì)會(huì)員，中國(guó)楹聯(lián)學(xué)會(huì)會(huì)員，中國(guó)書(shū)畫(huà)收藏家協(xié)會(huì)會(huì)員，中國(guó)書(shū)法家協(xié)會(huì)社會(huì)藝術(shù)水平考級(jí)考官，中央黨校(國(guó)家行政學(xué)院)老教授協(xié)會(huì)會(huì)員，中央美術(shù)學(xué)院、中國(guó)地質(zhì)大學(xué)(武漢)、華中師范大學(xué)、延安大學(xué)等高?？妥淌?。

　　他是從空軍走出來(lái)的軍旅書(shū)法家。書(shū)法作品先后入展由中國(guó)書(shū)法家協(xié)會(huì)主辦的“全國(guó)第二屆扇面書(shū)法展”“紀(jì)念中國(guó)人民抗日戰(zhàn)爭(zhēng)暨世界反法西斯戰(zhàn)爭(zhēng)勝利 60 周年‘高恒杯’全國(guó)書(shū)法藝術(shù)展”“第三屆中國(guó)書(shū)法蘭亭獎(jiǎng)‘堯山杯’新人展”，榮獲第二屆“杏花村汾酒集團(tuán)杯”全國(guó)電視書(shū)法大賽入圍獎(jiǎng)等獎(jiǎng)項(xiàng)。曾在北京榮寶齋、軍事博物館、北京名家藝術(shù)館、天津美術(shù)館、山東濰坊郭味蕖美術(shù)館、河北省美術(shù)研究所書(shū)畫(huà)院等地舉辦書(shū)法個(gè)展。編著出版有《學(xué)習(xí)摘錄黨的十七大報(bào)告邊保華書(shū)法作品集》(國(guó)家行政學(xué)院出版社)、《邊保華書(shū)法作品精選》(天津人民美術(shù)出版社)、《邊保華書(shū)法作品集》(榮寶齋出版社)、《治國(guó)理政用典名句書(shū)法集錦》(線裝書(shū)局)《典墨潤(rùn)心》(文物出版社)等。作品被國(guó)際奧委會(huì)名譽(yù)主席薩馬蘭奇、航天英雄楊利偉等名人和人民大會(huì)堂、故宮博物院、國(guó)家博物館、中央黨校(國(guó)家行政學(xué)院)、中央團(tuán)校、抗日戰(zhàn)爭(zhēng)紀(jì)念館、西柏坡紀(jì)念館、趙樸初紀(jì)念館等單位收藏。有的作品被榮寶、翰海、保利、香港國(guó)際等拍賣公司拍賣，有的作品被書(shū)法碑林刻石。作品“神舟飛天，嫦娥探月”搭載“神舟十一”上太空，以此宣傳偉大的航天精神。

　　策劃并組織實(shí)施了“翰墨初心頌盛世---第六屆中國(guó)廉政文化書(shū)畫(huà)展”、“致敬英雄---助力武漢抗疫書(shū)畫(huà)捐贈(zèng)活動(dòng)”、“初心為民---紀(jì)念偉人誕辰127周年書(shū)畫(huà)展”、“行廉致遠(yuǎn)---第七、第八屆中國(guó)廉政文化書(shū)畫(huà)展”以及全國(guó)部分省市巡展等重大活動(dòng)，受到社會(huì)各界的普遍關(guān)注和一致好評(píng)。

　　Bian Baohua: Grace Concealing Great Depths, Ink Concealing Inner Strength

　　Elegant in diction, fragrant with ink, calligraphy has long been the expression of one’s inner thoughts and the reflection of one’s temperament. Now, we look at Bian Baohua, styled Shouhe and also known as the Master of Yangxin Hall. Born into a family of scholars, he received rigorous training from a young age, developing a deep passion for calligraphy, and has never ceased practicing. Since his youth, he harbored noble aspirations, exuding a natural charm and energy, with calligraphy as his lifelong companion. His art is imbued with vigor, and his spirit is ever-present in his work.In his pursuit of calligraphy, he encountered esteemed masters such as Zhang Hai, Shen Peng, Li Duo, Liu Bingsen, Ouyang Zhongshi, and Tong Wei. He received their teachings with devotion, drawing upon a wide range of influences. He embraced the techniques of the Jin and Tang dynasties and grounded his work in the strength of the Qin and Han dynasties, eventually forming a style that is both ancient and robust, yet graceful and flowing.

　　Bian Baohua's calligraphy is proficient in all four styles, with a particular mastery of semi-cursive and clerical script. His semi-cursive writing is plain yet elegant, displaying vitality amidst refinement, and strength within its dignified structure. It strikes a balance between rigidity and softness, making it appreciated by both connoisseurs and the general audience alike. In the vast and profound realm of art, Bian's distinctive style stands out, leaving an ink-filled fragrance that merges ancient charm with modern sensibility, allowing his works to naturally unfold like a scroll. His semi-cursive brushstrokes are graceful without force, exuding a distant elegance. With flowing and dynamic strokes, his work possesses strength and beauty, reminiscent of the "Two Wangs" (Wang Xizhi and Wang Xianzhi), embodying freshness and spontaneity. His clerical script draws from the Qin and Han dynasties, marked by powerful strokes, flexible lines, and a leisurely grace. His work carries an ancient, solemn atmosphere, with a well-balanced composition. He has meticulously studied the classical inscriptions of the Stone Gate, Yi Ying, Zhang Qian, Mount Hua steles, and the Han wooden slips from Wuwei, emulating them with deep understanding. By merging the ancient and modern, Bian has created a style of his own, achieving a high level of artistic distinction.

　　In large script, his strokes are bold and solid, the structure robust and imposing, with strict composition balanced by subtle innovation. His works convey a harmonious aura that brings peace to the viewer's heart. Modest and refined, with a noble spirit, Bian is both deeply learned and highly talented. To refine his craft, he selects the masterpieces of ancient sages, diligently practicing inscriptions, comprehending the mindsets of the ancients; he explores poetic elegance, seeking inspiration from their profound ideas. His art is pure and tranquil, cultivating the power of dragons and tigers, embodying the poised strength of drawn swords and tense bows. His writing conceals grace within simplicity, strength within composure, harmoniously balancing strength and gentleness, appealing to both refined and common tastes. With a mind embracing mountains and rivers, his pen evokes wind and clouds, an achievement that is not the result of mere momentary effort.

　　Calligraphy is said to reflect the person, as the ancients proclaimed: "The virtuous are gentle, the valiant are firm, the unconventional are agile, the talented are elegant." Thus, calligraphy mirrors the character, its lines reflecting the soul. Bian Baohua, enlisting in the year of Bingchen, served the nation for twenty-eight years, his resolve tempered by military life. With a refined aspiration towards calligraphy, he practiced diligently, excelling in both cursive and clerical scripts. His talent is outstanding, his temperament gentle, his perseverance unwavering, devoted to tradition without being constrained, innovating without deviating from the essence. After his military service, he expressed himself through ink, seamlessly merging the strength of martial discipline with the grace of literature. The essence of his calligraphy lies in its spirit. Bian’s works, rooted in temperament, adhere strictly to the rules, yet exude an ancient charm, expressing deep emotions without apparent effort, revealing refined sentiment without pretense. The ancient principle of "expressing one's true feelings, shaping one's joy and sorrow" aligns perfectly with his approach. Bian's calligraphy, deeply grounded, brims with the fragrance of books and the resonance of stone carvings. This profundity comes from his extensive study of the past and his assimilation of myriad influences, drawing nourishment from poetry, literature, music, and painting. His heart is attuned to calligraphy, exploring the elegance of classical poetry and the charm of traditional arts, his mind embracing the mountains and rivers, his brush wielding the wind and clouds. He understands the essence of ancient methods and comprehends the balance of stability and change, achieving mastery through comprehensive cultivation and synthesis.

　　The ancients stated: "Character precedes calligraphy, classical methods are the foundation, diligent study is the path." Bian's aspirations are lofty, his temperament serene, and his brushwork naturally imbued with an ancient charm. His works, at first glance, appear simple and harmonious, but upon closer examination, reveal profound depth, like orchids in a secluded valley, their fragrance subtly permeating the air. Viewing his calligraphy is like feeling a gentle spring breeze through the forest, delicate yet distinct; savoring it is akin to observing the reflection of the autumn moon on water, calm yet spirited. The essence of his work lies beyond the literal meaning, its rhythm and spirit permeating the paper, leading to an inexhaustible source of enjoyment.

　　Observing Bian Baohua’s calligraphy in quiet contemplation, one finds his strokes graceful, like clouds rolling over water, appearing and disappearing seamlessly. The essence of cursive lies in its speed, and Bian has mastered this subtle art, his skill evident in the pressure and lift of his brush. The interplay of rapid and slow movements is like lightning and wind, occasionally revealing streaks of white, like snowflakes lightly falling, sometimes showing the sway of willows in the breeze. His brush moves with the freedom of a bird in flight, sometimes pausing, sometimes continuing, with emptiness between strokes suggesting hidden meanings, and connected lines conveying substance. His expressions are varied, yet the spirit never leaves a trace. His dots and strokes are linked, like threads pulling shadows, creating beauty between the lines. His light hooks, faintly visible, flow like a mountain stream winding its way down. His brushwork is continuous, like clouds drifting with water, naturally forming reflections. Occasionally, sharpness appears, like a stone lying silently in a ravine, restrained and unpretentious. The structure of his characters contains silent strength, revealing robust energy within softness. His strokes rise and fall like dragons and serpents, each character infused with strength and profound meaning, not bound by form, but with subtle resonance between the visible and the invisible. His work combines the precision of regular script with the spontaneity of cursive, adhering to strict methods yet retaining freedom, simple yet lively. His style is rigorous yet spirited, elegant yet rhythmic. More regular strokes yield solemnity, while more cursive strokes produce freedom, the spacing harmonious, the pauses measured. Viewing his brushwork is like watching a mighty river flow, waves spontaneously forming, calm like a mountain when still, changing like clouds and wind when in motion, profound and enduring, with lingering charm. Even without seeing the form, one can sense its essence; without tracing its path, one grasps its spirit. In his work, distant emotions are conveyed, the atmosphere deep and vast. Such a realm cannot be reached easily; it is the true essence of calligraphy.

　　Bian Baohua’s clerical script is as grand as a rainbow spanning the sun, as straight as a sturdy pine reaching the clouds, with pauses and fluctuations, like hidden thunder containing latent power. The heavy starting strokes resemble a dragon gathering its force; the light ending strokes, like a goose’s tail, are gentle and graceful, as if the wind is moving the clouds. In the smooth flow of his brush, strength and softness are harmonized, the beginning and ending of strokes transform like the movements of Tai Chi, stable yet dynamic. The square turns are like rugged stones, the wavy strokes like meandering rivers, the interplay of void and solid, yin and yang complement each other. The break in the line still contains intention, the cessation of force still holds rhythm, like the great river flowing east, unstoppable in its momentum. The strokes move like stars scattered across the sky, their brightness appearing and fading in silence. The connecting strokes are like threads pulling dreams, weaving through the entire piece. His characters are stable yet surprising, their robustness hiding elegance, rustic yet refined, solid yet full of spirit. Observing his clerical script is like ascending a lofty mountain, grand but not intimidating; approaching a deep abyss, serene but not dark. Simple in form yet rich in meaning, concentrated in intention yet expansive in spirit, it is truly a landscape painting in calligraphy, with natural strength and inherent grace. The viewer, immersed in this realm, feels as if transported to ancient times, savoring its endless charm, lost in deep contemplation.

　　Ink and brush must adapt to the times, and the art must carry the legacy of both ancient and modern. Bian Baohua, with rigorous scholarship, harmonizes poetry and calligraphy, selecting renowned works from the past and present, imbuing them with grand, lofty spirit and elegant charm. Whether softly reciting or stating aphorisms, his characters flow with the resonance of a zither, the lingering notes circling and echoing, never fading. The fragrance of ink permeates his studio, and the brilliance of his brushstrokes glows. Eschewing superficial glamour, his style embodies unpretentious elegance; avoiding ornate words, his work exudes natural clarity. Sixty years of silent dedication, his art has reached its zenith, and his life has become ever more radiant. Bian Baohua, combining martial and literary skills, balancing strength with grace, with both virtue and artistry, stands out in the calligraphy world, navigating the sea of art alone, his brilliance shining forth.

　　Bian Baohua: Artistic Introduction

　　Bian Baohua, former Director of the General Office of the National Academy of Governance, is currently the Vice President of the China Society of Administrative Reform and the President of the Calligraphy and Painting Institute of the China Law Society for Behavioral Sciences. He also serves as the Vice Chairman of the Chinese Painting and Calligraphy Association, Deputy Director of the Calligraphy Education Committee of the Chinese Society of Education, a member of both the China Calligraphers Association and the China Artists Association, a member of the Beijing Artists Association, a member of the China Couplets Association, and a member of the China Painting and Calligraphy Collectors Association. He is a certified examiner for the China Calligraphers Association's social art level evaluation, and a member of the Senior Professors Association of the Central Party School (National Academy of Governance). Additionally, he holds the position of visiting professor at several universities including the Central Academy of Fine Arts, China University of Geosciences (Wuhan), Central China Normal University, and Yan'an University.

　　He is a military calligrapher who emerged from the Air Force. His calligraphy works have been selected for exhibitions organized by the China Calligraphers Association, including the "National Second Fan Calligraphy Exhibition," the "Gao Heng Cup National Calligraphy Art Exhibition in Commemoration of the 60th Anniversary of the Victory of the Chinese People's War of Resistance Against Japanese Aggression and World Anti-Fascist War," and the "Third China Calligraphy Lanting Award 'Yaoshan Cup' Newcomer Exhibition." He has also received the finalist award in the Second "Xinghua Village Fen Wine Group Cup" National TV Calligraphy Competition.He has held solo calligraphy exhibitions at various prestigious venues, including Rongbaozhai in Beijing, the Military Museum, Beijing Masters Art Gallery, Tianjin Art Museum, Guo Weiqu Art Museum in Weifang, Shandong Province, and the Hebei Fine Art Research Institute Calligraphy and Painting Academy.He has compiled and published several books on calligraphy, including Selected Calligraphy Works of Bian Baohua Inspired by the Study of the 17th Party Congress Report (National Academy of Governance Press), Bian Baohua Calligraphy Selection (Tianjin People's Fine Arts Publishing House), Bian Baohua Calligraphy Collection (Rongbaozhai Publishing House), A Compilation of Classic Quotations in Calligraphy on Governance (Xianzhuang Bookstore), and The Ink of Wisdom (Cultural Relics Publishing House).His works have been collected by notable figures such as Juan Antonio Samaranch, Honorary President of the International Olympic Committee, and space hero Yang Liwei, as well as by institutions including the Great Hall of the People, the Palace Museum, the National Museum of China, the Central Party School (National Academy of Governance), the Central Youth League School, the Memorial Hall of the War of Resistance Against Japanese Aggression, the Xibaipo Memorial Hall, and the Zhao Puchu Memorial Hall. Some of his works have been auctioned by Rongbao, Hanhai, Poly, and Hong Kong International Auction Houses, while others have been inscribed in calligraphy stone forests. His work, "Shenzhou Flies to the Sky, Chang'e Explores the Moon," was carried into space aboard the Shenzhou-11 spacecraft to promote the spirit of the Chinese space program.

　　He has planned and organized several significant events, such as the "Praise the Glorious Era with Brush and Ink—The 6th Chinese Integrity Culture Calligraphy and Painting Exhibition," the "Tribute to Heroes—Support Wuhan's Fight Against the Epidemic Calligraphy and Painting Donation Event," the "Original Aspiration for the People—Commemoration of the 127th Anniversary of the Great Leader's Birth Calligraphy and Painting Exhibition," and the "Traveling Far with Integrity—The 7th and 8th Chinese Integrity Culture Calligraphy and Painting Exhibitions," as well as related national tours in various provinces and cities. These events have garnered widespread attention and acclaim from all sectors of society.