書林眾秀，翰墨紛繁，有王永新者，寂然獨(dú)立，隱于眾而漸顯。其筆墨沉靜，古今交融。其筆法若清風(fēng)朗月，靜若幽蘭。揮毫之間，不露鋒芒，意韻自然。每字如心影流轉(zhuǎn)，氣度高遠(yuǎn)，內(nèi)涵深沉。筆下天地之情，化為無(wú)聲妙語(yǔ)，淡雅中自蘊(yùn)無(wú)際意境，清靜處流露幽遠(yuǎn)芬芳。遂為書壇所重，聲名愈遠(yuǎn)。

　　王永新幼承家風(fēng)，質(zhì)樸堅(jiān)毅，氣度自生。曾祖樸厚，祖父戎馬，心懷大義;父精工盡責(zé)，母簡(jiǎn)善溫良。此諸品行，潛滋暗長(zhǎng)，漸融血脈，成其志氣。王永新少時(shí)游于田間，自然之氣充盈心胸，鄉(xiāng)土之情厚植其性。長(zhǎng)成后，毅然從軍，歷艱苦而不墜志，才勇俱備，未幾擢為排長(zhǎng)。然天命不測(cè)，一次演習(xí)中負(fù)重傷，遂別鋒芒，退而任文職。正所謂，山川雖阻，心無(wú)邊界，藝路由此開。

　　療傷之余，王永新偶遇書法典籍，昔年對(duì)文之雅好，若沉潛之種漸復(fù)萌發(fā)。始自習(xí)漢學(xué)，研古帖如《玄秘塔》《九成宮》，漸入書法之道，神采自現(xiàn)。初則消遣，然筆墨之間，愈覺漢字神韻無(wú)窮，似暗流涌動(dòng)，帶其游于文化長(zhǎng)河，古今如見。后入天津茂林書院，潛心書道，摹“二王”，研《蘭亭序》《圣教序》《十七帖》《黃庭經(jīng)》《三希堂法帖》，旁涉隸篆諸體。歲月淬煉，終自成一格，筆墨流轉(zhuǎn)如云舒風(fēng)卷，構(gòu)思奇妙絕倫。其作融古意于新風(fēng)，厚重中透飄逸，古韻中含新意，細(xì)密而不失磅礴，靜穆而自見浩然。

　　王永新書道，自古意中求法，游心二王，筆意含蓄而不露鋒芒。筆下每字，似見羲獻(xiàn)之神采，瀟灑不羈，莊穆自持，行于紙上，若山間微風(fēng)，水石有聲，流轉(zhuǎn)而不滯，內(nèi)斂中自有深遠(yuǎn)之意。輕重之變，如云舒卷，暗合天機(jī)。其書中韻，非言語(yǔ)所盡，觀者需細(xì)品其中之幽微。隸書取法漢碑，尤得《禮器碑》《石門銘》《史晨碑》《乙瑛碑》之古韻。表平直，實(shí)隱曲折，藏鋒于內(nèi)，含意而不張揚(yáng)。字形如鐵畫銀鉤，沉著自持，婉轉(zhuǎn)而不露鋒。氣息沉穩(wěn)，古樸中透出生命之力，似草木隱于幽谷，非顯非藏。篆書法金文，氣象恢宏，筆墨之間，疾緩有度，若風(fēng)雨交織，山川相映。其妙處不在顯露，須于無(wú)聲處尋幽意，方得其中深韻。

　　王永新行藝，不拘一隅，隨歲月流轉(zhuǎn)而心境漸化。筆下每字，皆因世事所感，心有所動(dòng)，書有所變。其法不固于陳規(guī)，常出奇致，融入時(shí)代氣息。書非止于墨，妙在字外，漢字所載者，乃文化之脈，歷史之聲，書法實(shí)乃心神與天地交匯。尤以“緣”與“龍”二字，筆力遒勁，氣象萬(wàn)千，為世人所共賞，神韻深長(zhǎng)。

　　王永新書“緣”，不言命數(shù)，意在天機(jī)。緣若絲線，藏于無(wú)形，牽連萬(wàn)象，舉重若輕。世間相逢，無(wú)聲而定，若風(fēng)卷殘?jiān)?，悄然成?shì)。彼此相契，非人力所為，惟天命使然，斯可會(huì)于心。左旁絞絲，筆法纏繞，密如云聚，重若山巒，時(shí)緩時(shí)急，若命運(yùn)之跡隱顯無(wú)常。彼中深意，難以一覽，若人事萬(wàn)千，錯(cuò)中有序，隱曲于直，實(shí)乃天意自為。每筆轉(zhuǎn)折，如山川流轉(zhuǎn)，自然而然，不失其節(jié)。右筆一落，似自穹蒼，力透紙背，氣定神閑。此筆非尋常之運(yùn)，暗含滄海桑田，流轉(zhuǎn)無(wú)盡，初時(shí)激昂，復(fù)歸平和，似波濤起伏，終落于無(wú)聲。觀其字，仿見風(fēng)雨來(lái)去，人生際遇其中起伏，緣深意遠(yuǎn)，不可言盡。王氏心懷玄理，字中韻致，含而不露。其“緣”字，神氣凝重，超脫形跡之外，觀者或得其意，未必見其形。緣之妙，如云端相識(shí)，默契相通，終至于心，回味無(wú)窮，凡塵世事，皆于此中隱現(xiàn)。

　　王永新書“龍”，不拘形跡，承古法，隱其鋒，顯其韻。其筆如游龍出淵，氣象雄渾，動(dòng)靜有度，若風(fēng)雷起于無(wú)聲。字中所見，乃蒼龍出海之勢(shì)，云霞為伴，霄漢為途。起筆如龍翔天際，收勢(shì)若江海歸流，筆意連綿，筆墨沉厚，勢(shì)不可擋。王氏書龍，寓天地之道，借龍象抒胸中浩然。雖不言壯志凌云，然筆墨自述人生高遠(yuǎn)。龍者，承天之氣，負(fù)萬(wàn)物之義，縱不顯于形，然精神已躍紙上。觀者品其字，若見龍游萬(wàn)里，心神激蕩。

　　龍形不顯于符，精神自現(xiàn)于筆，王氏運(yùn)筆有如行云，流轉(zhuǎn)有致，剛?cè)嵯嗳?。字中暗含轉(zhuǎn)折，恰如龍隱于風(fēng)，驚鴻一現(xiàn)，動(dòng)而不躁，靜中蘊(yùn)勢(shì)。觀其作，似龍馭風(fēng)云，游于無(wú)形，無(wú)跡可循，卻留萬(wàn)里風(fēng)雷。其書不求外露，內(nèi)藏氣韻，筆下蒼勁而含蓄，隱隱透出騰飛之志。用墨濃淡相間，如天地陰陽(yáng)交織，墨痕起伏，若山川浮沉，深邃無(wú)垠。其龍字，不僅是筆墨之形，更是天地之象，心志之寫。

　　王永新每言，字非徒技，乃心神所寄，氣韻所存。筆端之妙，動(dòng)于靜中，寄于無(wú)形，內(nèi)為心志所牽，外承時(shí)代所感。書之所為，非但形跡之工，乃一片敬意于天地，思慮于萬(wàn)象，字字皆成胸中丘壑。其于未來(lái)，少設(shè)藩籬，隨時(shí)而運(yùn)，任筆而行。自性中發(fā)，因愛而堅(jiān)，未嘗一日稍離。知文化之深遠(yuǎn)，時(shí)移勢(shì)易，而其精魂常在。溯其本源，探其幽微，方可得其真意。心愿所寄，惟愿人能于墨間觀得妙理，于字里觸得心聲，俯仰之間，見中華之魂魄，念其美，惜其珍。

 

　　王 永 新

　　藝/術(shù)/簡(jiǎn)/介

　　王永新，祖籍河北遷安，書壇散仙。1985——1988年就學(xué)于天津茂林書法學(xué)院。軍旅書法家，曾五次榮立軍功。國(guó)禮藝術(shù)大師，北京散仙書苑主事，北大蘭亭書畫研究院客座教授，中國(guó)文化藝術(shù)創(chuàng)新網(wǎng)藝術(shù)總監(jiān)。

　　因首創(chuàng)“蒼龍出海”獲國(guó)家著作權(quán)專利注冊(cè)。王永新多次參加北京榮寶齋、徐悲鴻紀(jì)念館、雁棲湖、國(guó)粹苑、民族文化宮和美國(guó)洛杉磯，舊金山，日本東京都，希臘雅典娜等國(guó)內(nèi)外書畫大展，其中書法作品《龍行天下福運(yùn)來(lái)》在美國(guó)洛杉磯全球藝術(shù)大展獲國(guó)際金獎(jiǎng) ，被有關(guān)部門分別授予“中美文化藝術(shù)交流使者”、“最具學(xué)術(shù)價(jià)值書法家”、“最受矚目書法家”、“中國(guó)珍藏級(jí)藝術(shù)家”、“中國(guó)殿堂級(jí)藝術(shù)大師”、“中國(guó)民族品牌國(guó)粹藝術(shù)家”等榮譽(yù)稱號(hào)。其作品被收入《時(shí)代風(fēng)范》、《中國(guó)翰墨巨匠全集》、《中國(guó)歷代書畫名家大辭典》等多部專業(yè)典籍，并著有中國(guó)高等美術(shù)院校名師教學(xué)范本《王永新書法作品選》出版發(fā)行。

　　王永新認(rèn)為，漢字是中華文化的載體，而書法是漢字具象的藝術(shù)表現(xiàn)形式。中華文化是神傳文化，華夏先祖都是大神級(jí)的存在，中華傳統(tǒng)文化是照亮生命前程的智慧之光。因此每個(gè)漢字都具有其形、聲、意、韻的豐富內(nèi)涵，因而書法作為漢字的表現(xiàn)形式，則必然是漢字神韻內(nèi)涵深度與廣度的表達(dá)藝術(shù)。因此學(xué)習(xí)書法必須從中華傳統(tǒng)文化的沃土中汲取營(yíng)養(yǎng)和智慧，才能有所突破，實(shí)現(xiàn)質(zhì)的飛躍。

　　Wang Yongxin: Honoring Tradition, Innovating in Ink, Expanding Horizons Beyond Calligraphy

　　Amid the flourishing talents of the calligraphy world, there is Wang Yongxin, who stands quietly apart, gradually emerging from the crowd. His brushwork is serene, blending the ancient and the modern. His style flows like a breeze under the moonlight, as tranquil as orchids in seclusion. As he wields the brush, there is no display of sharpness; the essence of his art emerges naturally. Each stroke mirrors his inner thoughts, carrying both grandeur and depth. The emotions of heaven and earth are transformed into silent expressions, and within the simplicity lies boundless meaning. In the stillness, a distant fragrance lingers. Thus, he has gained respect in the calligraphy world, with his renown spreading ever farther.

　　Wang Yongxin, from a young age, inherited the family’s values of simplicity and perseverance, traits that naturally shaped his character. His great-grandfather was a figure of integrity, and his grandfather, a soldier, possessed a heart of great righteousness; his father was diligent and responsible in his craft, while his mother was humble and kind. These qualities quietly took root and became a part of his being, shaping his will. As a child, Wang wandered through the fields, where the energy of nature filled his heart, and a deep love for the land nurtured his spirit. Upon reaching adulthood, he resolutely joined the military, enduring hardships without losing his determination, becoming a capable and brave man. Before long, he was promoted to the rank of platoon leader. However, fate had other plans. During a training exercise, he was severely injured and forced to retire from active duty, transitioning to a civilian position. As the saying goes, though mountains and rivers may obstruct the body, the heart knows no boundaries, and thus, his artistic journey began.

　　During his recovery, Wang Yongxin encountered calligraphy books, reigniting his earlier passion for literature, like a seed long dormant, now sprouting anew. He began studying Chinese linguistics and delved into ancient texts such as Xuanzhita and Jiuchenggong. Gradually, his understanding of calligraphy deepened, and his personal style began to emerge. Initially a pastime, calligraphy soon became a pursuit, as he discovered the boundless charm of Chinese characters, like an undercurrent drawing him into the vast river of culture, where past and present converged. Later, he entered the Tianjin Maolin Calligraphy Academy to study more formally, focusing on works like Lantingxu and the styles of the two Wangs, while also exploring various styles, including clerical and seal script. After years of dedication, he forged his own path, with brushstrokes that flowed like clouds and wind, and compositions that were both profound and innovative. His works blend ancient grace with modern vitality, balancing subtlety and grandeur, evoking a sense of calm yet immense depth.

　　Wang Yongxin's calligraphy, rooted in ancient principles, seeks its form through the spirit of the two Wangs, with brushstrokes that remain restrained, never revealing their full sharpness. Each character in his work echoes the essence of Wang Xizhi and Wang Xianzhi, embodying both unrestrained elegance and solemn dignity. On paper, his strokes flow like a gentle mountain breeze, their sound like water rushing over stones—fluid yet measured, restrained yet imbued with profound depth. The shift between light and heavy strokes, like clouds rising and falling, subtly aligns with the rhythms of nature. His calligraphy exudes a richness that words cannot fully capture; it requires the observer to carefully discern its hidden intricacies. In his clerical script, Wang draws inspiration from Han dynasty steles, particularly the ancient gravitas of ritual vessels and Shimen Song. Although the lines appear straight, they conceal hidden turns, with strokes that seem forged in iron, firm yet flexible, their strength withheld. His characters exhibit a steady energy, and beneath their ancient simplicity lies a vital force, like plants growing unseen in deep valleys. In his seal script, Wang channels the grandeur of bronze inscriptions, with brushstrokes that are alternately swift and slow, akin to interwoven winds and rains, reflecting the vastness of mountains and rivers. The beauty of his art is not in its obvious forms, but in the subtle echoes within, which can only be appreciated in silence.

　　Wang Yongxin's artistry knows no bounds, evolving as his mind transforms with the passage of time. Each character reflects his inner responses to worldly events, his emotions stirring the changes in his calligraphy. His method does not adhere strictly to tradition, often breaking free to express fresh ideas, weaving the spirit of the times into his work. Calligraphy, for him, is not merely about ink on paper but about the energy that extends beyond the strokes; the Chinese characters he writes carry the pulse of culture and the echoes of history. Calligraphy, in its essence, is the meeting of heart and cosmos. His renderings of "fate" (緣) and "dragon" (龍) are particularly admired, their brushstrokes robust and majestic, embodying a grandeur that captivates all who see them, their spirit enduring long after the gaze moves on.

　　In Wang Yongxin's rendering of "fate" (緣), he speaks not of destiny, but of the mysterious workings of the universe. Fate is like an invisible thread, linking all things together, moving mountains with ease. Meetings in this world are set without sound, like wind sweeping away clouds, quietly forming their force. The bond between individuals is not the work of man but of heavenly design, something that resonates deeply in the heart. The left side of the character, with its twisted silk radical, is drawn with strokes that intertwine like gathering clouds, heavy as mountains, moving sometimes slowly, sometimes swiftly, like the unpredictable marks of destiny. Within this complexity lies a deeper meaning, not easily seen, like the myriad entanglements of human affairs, hidden yet orderly, with curves concealed within straight lines, shaped by the hand of fate itself. Each turn of the brush, like the flow of mountains and rivers, comes naturally, never breaking its rhythm. The right stroke, descending from above, strikes with the force of the heavens, penetrating the paper with calm precision. This is no ordinary stroke; it holds within it the cycles of history, flowing endlessly, beginning with intensity and returning to tranquility, like waves rising and falling, ending in silence. In viewing this character, one feels the rise and fall of life’s fortunes, the profundity of fate far beyond words. Wang's mind is filled with metaphysical thought, and his brushwork conceals more than it reveals. His "fate" holds a weighty spirit that transcends form, leaving the observer with a sense of its meaning, though its true shape may remain elusive. The wonder of fate is like recognizing a kindred spirit among the clouds, a silent understanding that resonates within, leaving a lasting impression, as all the affairs of the world quietly reveal themselves through it.

　　In Wang Yongxin's depiction of "dragon" (龍), he avoids rigid forms, drawing from ancient techniques, concealing sharpness while revealing inner resonance. His brushwork is like a dragon emerging from the depths, majestic and powerful, balancing motion and stillness, like the quiet rise of wind and thunder. What appears within the strokes is the force of a dragon surging from the sea, accompanied by clouds and mist, its path reaching the heavens. The initial stroke flies like a dragon soaring into the sky, while the closing movement flows like rivers returning to the sea. Each stroke is continuous, the ink deep and thick, an unstoppable force. Wang's dragon embodies the way of the universe, using the dragon's form to express his vast inner spirit. Though he speaks not of ambition or grandeur, the ink itself narrates a life of far-reaching vision. The dragon, as a creature of heavenly energy, bears the weight of all things. Though its shape may not always be visible, its spirit leaps from the paper. Observing his work is like seeing a dragon traverse ten thousand miles, stirring the soul.

　　The dragon's shape does not reveal itself through mere symbols; its spirit manifests through the brush. Wang's strokes flow like clouds in the sky, seamless and deliberate, blending strength and softness. The subtle turns within his strokes are like a dragon hidden in the wind, appearing briefly, full of energy yet not restless, quiet yet full of latent power. His works give the impression of a dragon commanding the clouds, moving invisibly, leaving no trace, yet reverberating like distant thunder. His calligraphy does not seek to be outwardly ostentatious; instead, it holds its energy within, with each stroke powerful yet restrained, quietly hinting at its desire to soar. The use of ink, in shades both dark and light, intertwines like the forces of yin and yang, with ink marks rising and falling like the undulations of mountains and rivers, vast and boundless. His rendering of "dragon" is not merely a form in ink, but an image of the universe, an expression of his innermost will.

　　Wang Yongxin often remarks that calligraphy is not merely a technique, but a vessel for the spirit, where energy and resonance are preserved. The brilliance of the brush lies in movement within stillness, in form within the formless, driven by inner will and inspired by the era. Calligraphy is not simply a craft of shapes; it is a gesture of reverence to the universe and contemplation of all things, with each stroke embodying the landscapes of the heart. As for the future, Wang imposes few limits, allowing his brush to flow with the times, driven by his inner nature. His commitment is born of love, unwavering, never straying even for a day. He understands the depth of culture, that though times may change, its spirit remains eternal. Only by tracing its origins and exploring its hidden depths can one grasp its true meaning. His greatest hope is that others may perceive the profound wisdom in his ink, feel the resonance of his heart through his characters, and through his work, catch a glimpse of the soul of China, cherishing its beauty and treasuring its legacy.

　　Wang Yongxin's Art Biography:

　　Wang Yongxin, whose ancestral home is Qian’an, Hebei Province, is known as the “Immortal of the Calligraphy World.” From 1985 to 1988, he studied at the Tianjin Maolin Academy of Calligraphy. As a military calligrapher, he has been awarded military honors five times. Wang is recognized as a National Ceremony Art Master, the head of the Beijing Immortal Calligraphy Academy, a visiting professor at the Peking University Lanting Calligraphy and Painting Research Institute, and the art director of the Chinese Cultural and Artistic Innovation Network.

　　Wang Yongxin is best known for his original creation, "Canglong Chu Hai" (Dragon Emerging from the Sea), for which he obtained national copyright registration. He has participated in many prestigious calligraphy and painting exhibitions both in China and internationally, including those at Rongbaozhai in Beijing, the Xu Beihong Memorial Hall, Yanqi Lake, Guocui Academy, the National Cultural Palace, as well as exhibitions in Los Angeles, San Francisco, Tokyo, and Athens. Among his works, the calligraphy piece "Dragon Traverses the World, Fortune Comes" won an international gold medal at the Global Art Exhibition in Los Angeles. Wang has been honored with numerous titles, including “Cultural Ambassador for Sino-American Art Exchanges,” “Calligrapher with the Greatest Academic Value,” “Most Prominent Calligrapher,” “China's Collectible Artist,” “China's Hall of Fame Artist,” and “National Treasure of Chinese Art and Culture.” His works have been included in several esteemed publications, such as The Style of the Times, Collection of Chinese Calligraphy Masters, and The Dictionary of Chinese Calligraphers and Painters through History. He has also published Selected Calligraphy Works of Wang Yongxin, a teaching model for leading art academies in China.

　　Wang Yongxin believes that Chinese characters are the carriers of Chinese culture, and calligraphy is the artistic form of expressing these characters. Chinese culture, he argues, is divinely inspired, and the ancestors of the Chinese people were of god-like stature. Each character contains rich connotations in its form, sound, meaning, and rhythm. Therefore, calligraphy, as a manifestation of Chinese characters, must reflect the profound depth and breadth of the characters’ spiritual essence. Wang asserts that learning calligraphy requires drawing nourishment and wisdom from the rich soil of traditional Chinese culture in order to achieve breakthroughs and experience a qualitative leap in skill.