He is currently a member of the Industry Construction Working Committee of China Calligraphy Association, a member of the Presidium of Guizhou Calligraphy Association, a deputy director of the cursive script committee, a member of the seminar on contemporary calligraphy creation of China Calligraphy Association, a student of Lanting Calligraphy Class of Central Academy of Fine Arts, the first batch of urban management experts in Liupanshui, a member of Liupanshui CPPCC, and a vice chairman and secretary general of Liupanshui Calligraphy Association.
His works won the first prize in the first national album calligraphy exhibition, the first prize in the second national cursive calligraphy exhibition, the fourth * * * literature and art award in Guizhou Province, the third prize in the seventh * * * literature and art award, and the first prize in the first professional art competition in Guizhou Province, and were selected for the academic criticism exhibition of calligraphy creation. He was awarded the title of "Top Ten Calligraphers in China" by China Federation of Literary and Art Circles, China Calligraphers Association and Tianjin * * at the 4th China Calligraphy Art Festival, and was elected as the Top Ten Calligraphers in 2008. 20 12 was rated as "advanced individual in calligraphy" by China Calligraphy Association. Calligraphy works are collected by China National Museum and Guizhou Provincial Art Museum.
Cao Zhang is an early font of China's calligraphy, which was popular in the Han and Jin Dynasties. However, although it attacked people in later generations, it gradually declined. The reason is that it is difficult to recognize and write. Although there are many appreciators in the past dynasties, few are good at books, but there are more than a dozen people, which shows that Cao Zhang's songs are high and low.
A piece of Shi Shuo Xin Yu (45cm× 22cm)
Among modern calligraphers in Guizhou, Chen Heng 'an, Fang Xiaoshi, Xu Zhuangshu and Huang Yuan are all famous for being good at Cao Zhang. Mr. Chen Heng 'an once visited Cao Zhang all over the country, and his Cao Zhang brushwork was integrated into the cursive script, which made him feel clumsy and heavy. In Chen Heng 'an's calligraphy collection, there are banners by Song Ke Cao Zhang and many calligraphy works created with Cao Zhang's brushwork. Although Mr Fang Xiaoshi is famous for his paintings, he has been fascinated by Cao Zhang all his life. Most of his calligraphy works are based on Cao Zhang, and his poems, letters and paintings all have their own styles. Mr. Xu Zhuangshu studied all his life. He is not involved in fame and wealth, and he has rich writings. His manuscripts and letters were written in Cao Zhang and printed in Cao Zhang. He has the thick beauty of Gu Zhuo. Their contemporary calligraphers include Mr. Zhang Guangkai and Mr. He Bennan. He was also elegant and good at Cao Zhang, but they didn't take it as the main direction, and the calligraphers who were a little later than them rarely involved Cao Zhang. Just when Cao Zhang in Guizhou's book circle failed to catch up, Wu Yong was obsessed with Cao Zhang. In just a few years, he was frequently selected and won prizes in some major domestic competitions, which had a great influence and became an outstanding calligraphy master in the domestic book circle.
The Analects of Confucius is 45cm×70cm.
Different from flowing grass and thirsty for grass, Cao Zhang emphasizes restraint and understatement, which is as slow as an old monk's meditation, but its internal force is endless, which seems to be static and still moving. For example, Tai Ji Chuan in China martial arts has the miraculous effect of coexistence of static and dynamic; Secondly, Cao Zhang has a simpler beauty. Over the years, Wu Yong has deeply copied Lu Ji's Ping Fu Tie, Huang Xiang Ji Zhang, Suo Jing's Ode to a Teacher and Xiao Ziyun's Yue Yi Tie, among which Ping Fu Tie took a lot of effort and benefited a lot. "Ping Fu Tie" is known as "Emperor Mo". Although there are only more than 80 words, it has been highly praised by scholars of all ages. Wu Yong repeatedly studied, deliberated and deliberated, and these famous Cao Zhang posts showed the effect of both form and spirit in structure, composition and verve. Because of its ancient thickness and dangerous structure, it is easy to do whatever you want, thanks to Sri Lanka.
Write "reply post" 240cm× 120cm.
Wu Yong's Cao Zhang works are clumsy and skillful, light and heavy, grasping and vertical, moving and static, and complement each other. Light all the way, Wu Yong's works are quiet and elegant. He actually wrote Cao Zhang as big as a fly's head, but it was small and big, broad and imposing, which reminded people of Su Dongpo's instruction that "big characters are hard to be meticulous, while small characters are hard to be generous". Through the constant change of ink color, the dynamic beauty of light and heavy, slow and urgent was formed, which is in line with the motto of "Poverty is abnormal to the end, and love is on paper" in Sun Shu Pu. When it comes to changes, I feel that Wu uses a variety of words, some of which are chasing Han bamboo slips, some of which are accepted in his works, some of which are fused with Cao Zhang, and some of which are mutually used to make them look richer and more beautiful. Wu Yong is not only exquisite in fine print, but also impressive in big characters. As we know, the area of Cao Zhang has been very limited since its birth. In addition, in the history of practical time, such as electro-optic Shi Huo, among all the people in Cao Zhang in the past dynasties, except Wang Shitang, a neighbor, and Wang Quchang, a modern man, who can enlarge it and write it, there are very few people who can write big characters. Wu Yong's boldness and courage magnified Cao Zhang to the extreme. On one occasion, the Guizhou Federation of Literary and Art Circles held a get-together in the literary and art circles of the whole province, and divided the eight characters of "Colorful Guizhou, Colorful Flowers Bloom" into eight people to write, each word was four feet long, and Wu Yong wrote the word "Yan" according to the angle, which greatly stood out from the crowd. The Chinese characters in Cao Zhang written by him are hearty, with thick Gu Zhuo and simple lines. He looks rough but not sluggish, heavy but not dry, ethereal in extensive knowledge and refined in pursuit. It is difficult for some people to achieve such kung fu, and they can't succeed unless they enter the pool. As for Wu Yong's Cao Zhang, my general feeling is that lines have a sewing power, and it's wonderful to be ashamed to say what you want to say. At the same time, it gives people a sense of freehand brushwork and lyricism, such as doing nothing, writing without carving, staying without flowing, being quiet without stagnation.
Like a dragon, like a phoenix.
Besides Cao Zhang, Wu Yong is also good at seal script. Its official calligraphic method, Cliff Monument, which is based on Qin bamboo slips and silk calligraphy, rarely writes silkworm heads and goose tails, but it is ancient and new, implicit and restrained. If official script is like seal script, and there are seal scripts in official script, Fiona Fang has both simplicity and complexity, and its structure is multi-directional, or stretching from left to right, relaxed and ethereal, with the state of wild cranes and gulls, like the posture of wild geese dancing by the spring. As for seal script, Wu Yong also wandered between Qin and Han Dynasties for two weeks, and copied and created Zhong Dingwen, which is full of aristocratic flavor, such as The Wall of History and Mao, thus forming a clumsy, quiet and elegant aesthetic system that is in the same strain as his Cao Zhang.
It means "rammed brick" 45cm×50cm.
When I first came into contact with Wu Yong's Cao Zhang calligraphy, I always found it a bit exciting, and at the same time there was an extremely inexplicable element. This element is both familiar and unfamiliar. It is the direct power of the sages' consciousness, and conveys the ancient sounds of nature and more poetic Zen in China culture. Tossing and turning, I finally had an epiphany. It turns out that Wu Yongjun's calligraphy bears the traditional artistic spirit of China.
Ma Hongming, vice chairman of Guizhou Book Association, is a member of China Book Association.
A poem by Lu Ji is 240cm× 120cm.
The ram biography is 33cm×33cm.
He Lou Xuan Ji 152cm×256cm
Years old, everyone confessed.
Li Qingzhao's ci is 33cm×33cm.
A piece of Shi Shuo Xin Yu is 240cm× 120cm.
Two ancient poems of 240cm×500cm.
It means "rammed brick" 45cm×50cm.
The Analects of Confucius is 45cm×70cm.