文辞典雅，翰墨飘香，书道自古为心迹之写，性情之显。今观边保华，字守和，号养心堂主，出身书香，幼承庭训，酷嗜翰墨，笔耕不辍。自少雅志清芬，气韵生发，书道伴行，骨中昂扬，精神弥满。其学书之道，遇名师张海、沈鹏、李铎、刘炳森、欧阳中石，佟韦，得以倾授，广取百家，汇晋唐之法，宗秦汉之势，遂成古拙苍劲、舒展流畅之体。
边保华书风四体兼精，尤善行草、隶书。行草平淡朴素，俊雅中见神采，端凝中蕴功力，刚柔并济，通雅共赏。艺坛如海，翰林深邃，边氏独出风标，饱墨留香，古韵今风相映，画卷自舒。行草笔意，不激不厉，风规自远，运笔飘逸，骨劲形美，若“二王”遗韵，清新自然，笔走龙蛇，灵动如风。隶书法取秦汉，笔力遒劲，线条灵活，丰姿闲雅，气韵古穆，章法疏密有致。书石门、乙瑛、张迁、华山诸碑，及武威汉简，心追手临，意会形达，古今相融，自成高致。
边氏榜书浑朴雄厚，筋骨毕现，结构谨严，正中带奇，和乐气象，观之心神安宁。边公儒雅谦逊，气骨沉雄，学养深厚，才情高迈。为进书艺，择古贤妙迹，临习碑帖，体悟古人心境;探诗词雅句，寻得灵光妙意。艺事精纯，静心丹青，养龙威虎振之气，凝剑拔弩张之势。其书于平淡中藏秀逸，端凝中蕴深功，刚柔并济，雅俗咸宜。胸怀丘壑，笔下风云，非一时之功。
书法拟人，古有论云：“贤温俊雄，奇利才秀。”盖书如其人，心迹相契。边保华丙辰岁执笔从戎，戍边卫国二十八载，军中砥砺，气节弥坚。雅志翰墨，临池不辍，行草隶书，皆臻佳境。才情俊逸，性情温恭，日夜磨砺，志存承古而不泥，创新而不离正。戎装解甲，楮墨写意，文武相融，刚柔相济，自有风骨。书之妙，贵在神采。边公书迹，性情为本，法度谨严，古意盎然，抒幽情而无迹，显雅怀而无华。古之“达其性情，形其哀乐”，正合此旨。边公习书，字外功深，书卷气馥郁，金石韵流淌。此中奥妙，乃因博览古今，汲取百家，诗文琴书，尽为滋养。边氏心志翰墨，于古典诗文、琴棋书画间探幽访胜，写胸中丘壑，绘笔下风云。既窥古法源流，又明中正变迁，内外兼修，三味俱臻。
古人云：“人品为书先，法古为基，勤学为本。”边公志求高远，心性澹然，笔端自具古意。其作初若平和，细观方觉深远，如山谷幽兰，清韵潜生。观之，如春风过林，轻而有致;品之，似秋月照水，静而有神。书中之趣，意在言外，字里之韵，神贯纸间。斯道正源，余味无穷。
静观边保华书，笔势翩然，若云卷水逝，隐显于无形。行草之妙，贵在疾行，边氏深悟此中三昧，于提按之间，自见气象。急缓相依，若电掣风驰，偶飞白如素雪轻洒，时见柳影拂尘。笔锋游走，若鸿飞霄汉，时断时续，留白处含虚，连笔处蕴实，意态纵横，气韵不露痕迹。点画钩连，似游丝牵影，行间妙趣自生。附钩若隐若现，宛若山涧清流，蜿蜒而下。笔意连绵，若云水无心而共影，偶现奇峭，似静石卧壑，神情内敛而不张扬。字形之间，藏风骨于无声，见苍劲于柔和。行笔若龙蛇起伏，字字自含筋骨，意趣深邃，不拘形迹，隐显中自有幽韵。楷草相济，正隶交融，法严而意脱，拙朴而不失灵动。边氏书风，端严中藏灵，潇洒中有韵。楷多则肃穆，草重则飘逸，疏密相谐，顿挫有致。观其笔墨，若江河浩荡，波澜自生，静则山岳凝重，动如风云变幻，含蕴深远，韵味悠长。未见其形，已闻其声;不察其迹，自得其神。书中清远幽情，气象深厚，凡此妙境，非一时可达，真得书道之神髓矣。
边保华隶法，横若长虹贯日，竖如劲松入云，顿挫起伏，隐雷含威。蚕头重顿，若潜龙蓄势;雁尾轻挑，似风动云舒。笔势舒缓间，刚柔并济，起收如太极变化，沉稳中蕴灵动。方折如断石嶙峋，波磔若江河蜿蜒，虚实相映，阴阳相生。笔断而意连，势止而韵存，若大江东去，气势奔涌而不尽。点画游走，若星汉错落，明灭无声。钩连处，似游丝牵梦，贯穿始终。字势平中见奇，厚中藏秀，拙朴而不失风雅，重稳而自有灵气。观其隶书，若登高山，险峻而非凌厉;临深渊，静穆而不幽晦。形简而意丰，意凝而神远，真山水画中景，风韵自天成。阅者入其境，如览古意，玩味无尽，回思弥深。
笔墨当随世变，艺道须承古今。边保华治学严谨，诗文翰墨相生，遴选古今名篇，浩气凌云间，清韵蕴雅致。或低吟浅唱，或警句箴言，字里行间，若琴韵入耳，余音袅袅，回环不散。砚香漫案，墨晕流光，摒浮华喧嚣，洒脱自见风骨;去浮词虚饰，清气自然盈怀。六十载寒暑无声，艺道日臻，人生光景愈盛。边保华文武兼备，刚柔并济，德艺双全，纵横书坛，独步艺海，光华自显。
边保华艺术简介
边保华，原国家行政学院办公厅主任，中国行政体制改革研究会副会长，中国行为法学会廉政书画院院长，中国教育学会书法教育专委会副理事长，中国书画家协会副主席，中国书法家协会会员，中国美术家协会会员，北京美术家协会会员，中国楹联学会会员，中国书画收藏家协会会员，中国书法家协会社会艺术水平考级考官，中央党校(国家行政学院)老教授协会会员，中央美术学院、中国地质大学(武汉)、华中师范大学、延安大学等高校客座教授。
他是从空军走出来的军旅书法家。书法作品先后入展由中国书法家协会主办的“全国第二届扇面书法展”“纪念中国人民抗日战争暨世界反法西斯战争胜利 60 周年‘高恒杯’全国书法艺术展”“第三届中国书法兰亭奖‘尧山杯’新人展”，荣获第二届“杏花村汾酒集团杯”全国电视书法大赛入围奖等奖项。曾在北京荣宝斋、军事博物馆、北京名家艺术馆、天津美术馆、山东潍坊郭味蕖美术馆、河北省美术研究所书画院等地举办书法个展。编著出版有《学习摘录党的十七大报告边保华书法作品集》(国家行政学院出版社)、《边保华书法作品精选》(天津人民美术出版社)、《边保华书法作品集》(荣宝斋出版社)、《治国理政用典名句书法集锦》(线装书局)《典墨润心》(文物出版社)等。作品被国际奥委会名誉主席萨马兰奇、航天英雄杨利伟等名人和人民大会堂、故宫博物院、国家博物馆、中央党校(国家行政学院)、中央团校、抗日战争纪念馆、西柏坡纪念馆、赵朴初纪念馆等单位收藏。有的作品被荣宝、翰海、保利、香港国际等拍卖公司拍卖，有的作品被书法碑林刻石。作品“神舟飞天，嫦娥探月”搭载“神舟十一”上太空，以此宣传伟大的航天精神。
策划并组织实施了“翰墨初心颂盛世---第六届中国廉政文化书画展”、“致敬英雄---助力武汉抗疫书画捐赠活动”、“初心为民---纪念伟人诞辰127周年书画展”、“行廉致远---第七、第八届中国廉政文化书画展”以及全国部分省市巡展等重大活动，受到社会各界的普遍关注和一致好评。
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.
责任编辑：苗君