储云，宜兴人也。父南京师大教授。云幼承庭训，博览经史，尤嗜书画。回溯童年，云初识笔墨，随祖父母居乡，蓝天白云，山水相映，童趣洋溢。闲暇则于板壁粉笔涂鸦，或鸟或树，形神俱备。祖辈父辈皆学人，虽云涂鸦，亦无责斥，常投嘉许之目。
Chu Yun, a native of Yixing, was born to a father who was a professor at Nanjing Normal University. From an early age, Yun received rigorous family education, extensively reading classics and histories, and developed a special fondness for calligraphy and painting. Reflecting on his childhood, Yun first encountered the brush and ink while living with his grandparents in the countryside, where he was surrounded by the beauty of blue skies and picturesque landscapes, enriching his youthful imagination. During his leisure time, he would often scribble and sketch on the walls with chalk, drawing birds and trees with vivid detail. His scholarly family, understanding and appreciative of his artistic expressions, never scolded him but often looked upon his efforts with approval and encouragement.
储云中学遇荆位辰先生，授山水画艺，启其书画之道。辛亥，应征入伍，因艺特长，创宣传画。甲寅，弃素描水粉，专攻书法，临帖汲古，取法先贤。云忆曰：“自迷书法，素描水粉不复涉。此经历虽益吾艺，然传统书画博大精深，须学思践行，方得其道。”
储云退伍后仕公安，余暇潜心书画，得林散之、徐邦达诸名师指点。己未，行书对联入选江苏书展，跻身艺坛。虽名声渐隆，然返故里宜兴，坚守寂寞清净之心，日磨月砺，对传统书画之悟益深。云言：“国画寂寞之道，孤独之艺也。”回首半世纪艺途，辛苦多于欢愉，九成寂寞。近年仍执笔作画，兼增思考、读书与写作。
Chu Yun encountered Mr. Jing Weichen during his middle school years, who introduced him to the art of landscape painting and ignited his passion for calligraphy and painting. In 1971, Yun enlisted in the military and, due to his artistic talents, created propaganda art. In 1974, he abandoned sketching and watercolor painting to focus solely on calligraphy, studying ancient masters to absorb their wisdom and culture. Yun recalled, "Since becoming enamored with calligraphy, I have not revisited sketching or watercolor painting. While these experiences benefited my art, the profound depth of traditional Chinese painting and calligraphy requires dedicated study, reflection, and practice to truly master."
After his discharge, Chu Yun served in the public security department and devoted his spare time to pursuing calligraphy and painting, receiving guidance from renowned masters such as Lin Sanzhi and Xu Bangda. In 1979, his running script couplet was selected for the Jiangsu Calligraphy Exhibition, marking his entry into the art world. Despite growing fame, he returned to his hometownYixing, adhering to a life of solitude and tranquility. Through daily diligence, his understanding of traditional Chinese painting deepened. Chu Yun remarked, "Chinese painting is the path of solitude, the art of loneliness." Reflecting on his half-century journey in art, he acknowledged that hardship outweighed joy, with ninety percent of the time spent in solitude. In recent years, he continues to create, alongside increasing his time for contemplation, reading, and writing.
储云之审美与处世，以“云水文心”为宗。云象变幻无常，水柔克刚强，文涤荡尘埃，心师古法今，造化自然。此四者，不仅寓其艺术审美，亦显其生活态度。尤赏黄宾虹、谢无量二大家，得其用笔，悟书画之妙。云重研前贤之法，然真成在于尊古不泥，守正创新。
储云以为黄宾虹艺术思想超迈，作品浑厚华滋，苍润并济，臻笔墨之至境。其论书文札有云：“宾虹深研金文，得其精髓，线如山岳潜行，力可扛鼎。”此乃云对宾虹笔墨理想之阐发。所谓“山岳潜行”，乃平和中蕴内力，笔墨间自有深远绵长之圆劲。
储云于书画多有成就，然谓佳作可遇不可求。引“废画三千”以明画作之偶然，百幅中得一佳已属难得。谓良工妙品须艺者捕瞬感，经年积累，精湛笔墨方能成。创作偶然，需衡关系之平，积淀深厚，作品乃与人共鸣。
Chu Yun's aesthetic pursuit and philosophy of life center on "Cloud, Water, Literary Mind." Clouds symbolize constant change, water represents overcoming strength with softness, literature cleanses away dust, and the mind learns from ancient and modern, creating naturally. These elements reflect not only his artistic aesthetics but also his approach to life. He especially admires the calligraphy masters Huang Binhong and Xie Wuliang, understanding the profundity of traditional Chinese painting through their brushwork. Yun emphasizes the importance of studying the techniques of these masters in his youth, but true achievement lies in respecting tradition without being confined by it, upholding integrity, and pursuing innovation.
Chu Yun believes that Huang Binhong's artistic thought is ahead of its time. His works are rich and vigorous, combining both strength and elegance, reaching the highest realm of brush and ink. In his calligraphy essays, Yun writes, "Binhong deeply studied bronze inscriptions, capturing their essence. His lines are like mountains moving stealthily, with the strength to lift great weights." This expresses Yun's understanding of Binhong's ideal brushwork state. The phrase "mountains moving stealthily" implies that while the lines appear calm, they possess immense inner strength and enduring, rounded vigor.
Although Chu Yun has achieved much in the field of calligraphy and painting, he believes that true masterpieces are rare and serendipitous. He cites the ancient saying "discarding three thousand paintings" to illustrate the randomness in the creation of art, noting that finding one excellent piece among hundreds is already difficult. He believes that a good work requires the artist to capture fleeting inspiration, build upon years of accumulation, and employ exquisite brushwork. The creative process is full of chance, requiring the balance of various elements; only through deep accumulation can a work resonate with others.
储云谓中国书画乃华夏精髓，融文人识见，笔墨间蕴深厚文化，传承价值无匹。云言传承国艺，首在学前贤，汲其精华，开广视界。黄宾虹高成，融众家之长，成自家风骨。云重申，国画之根不可弃，民族绘画须守其神。传承宜与时俱进，深入民间，创民乐之艺，亦继祖宗笔墨之道。黄宾虹叹民族绘画高于西艺，其根基不可失，此云多年坚守之理念也。
储云以赤子之心默耕，传弘中华文化。少涉展览，敬重传统书画，谓盲从不利佳作出。以为新时代艺者，当守责任之心，责己、责艺、责史、责后人。
Chu Yun regards Chinese painting and calligraphy as the essence of Chinese culture, blending the insights of scholars on nature, society, politics, philosophy, and art. The brushwork contains profound cultural significance and unparalleled heritage value. Yun states that the first step in inheriting national art is to study the works of predecessors, absorbing their essence and broadening one's perspective. Huang Binhong's great achievements resulted from integrating the strengths of many masters into his own style. Yun reiterates that the roots of Chinese painting must not be abandoned, and the spirit of national painting must be preserved. Inheritance should advance with the times, delve into the people, and create art that pleases the public, while also upholding the brushwork tradition of the ancestors. Huang Binhong remarked that national painting, in some respects, surpasses Western art, and its foundation must not be lost. This is the principle Yun has adhered to for many years.
With a pure heart, Chu Yun works silently, dedicating himself to the inheritance and promotion of Chinese culture. He seldom participates in exhibitions out of respect for traditional painting and calligraphy, believing that blind conformity is detrimental to the emergence of true masterpieces. He asserts that artists in the new era must uphold a sense of responsibility—to themselves, to their art, to history, and to future generations.
责任编辑：苗君