书林众秀，翰墨纷繁，有王永新者，寂然独立，隐于众而渐显。其笔墨沉静，古今交融。其笔法若清风朗月，静若幽兰。挥毫之间，不露锋芒，意韵自然。每字如心影流转，气度高远，内涵深沉。笔下天地之情，化为无声妙语，淡雅中自蕴无际意境，清静处流露幽远芬芳。遂为书坛所重，声名愈远。
王永新幼承家风，质朴坚毅，气度自生。曾祖朴厚，祖父戎马，心怀大义;父精工尽责，母简善温良。此诸品行，潜滋暗长，渐融血脉，成其志气。王永新少时游于田间，自然之气充盈心胸，乡土之情厚植其性。长成后，毅然从军，历艰苦而不坠志，才勇俱备，未几擢为排长。然天命不测，一次演习中负重伤，遂别锋芒，退而任文职。正所谓，山川虽阻，心无边界，艺路由此开。
疗伤之余，王永新偶遇书法典籍，昔年对文之雅好，若沉潜之种渐复萌发。始自习汉学，研古帖如《玄秘塔》《九成宫》，渐入书法之道，神采自现。初则消遣，然笔墨之间，愈觉汉字神韵无穷，似暗流涌动，带其游于文化长河，古今如见。后入天津茂林书院，潜心书道，摹“二王”，研《兰亭序》《圣教序》《十七帖》《黄庭经》《三希堂法帖》，旁涉隶篆诸体。岁月淬炼，终自成一格，笔墨流转如云舒风卷，构思奇妙绝伦。其作融古意于新风，厚重中透飘逸，古韵中含新意，细密而不失磅礴，静穆而自见浩然。
王永新书道，自古意中求法，游心二王，笔意含蓄而不露锋芒。笔下每字，似见羲献之神采，潇洒不羁，庄穆自持，行于纸上，若山间微风，水石有声，流转而不滞，内敛中自有深远之意。轻重之变，如云舒卷，暗合天机。其书中韵，非言语所尽，观者需细品其中之幽微。隶书取法汉碑，尤得《礼器碑》《石门铭》《史晨碑》《乙瑛碑》之古韵。表平直，实隐曲折，藏锋于内，含意而不张扬。字形如铁画银钩，沉着自持，婉转而不露锋。气息沉稳，古朴中透出生命之力，似草木隐于幽谷，非显非藏。篆书法金文，气象恢宏，笔墨之间，疾缓有度，若风雨交织，山川相映。其妙处不在显露，须于无声处寻幽意，方得其中深韵。
王永新行艺，不拘一隅，随岁月流转而心境渐化。笔下每字，皆因世事所感，心有所动，书有所变。其法不固于陈规，常出奇致，融入时代气息。书非止于墨，妙在字外，汉字所载者，乃文化之脉，历史之声，书法实乃心神与天地交汇。尤以“缘”与“龙”二字，笔力遒劲，气象万千，为世人所共赏，神韵深长。
王永新书“缘”，不言命数，意在天机。缘若丝线，藏于无形，牵连万象，举重若轻。世间相逢，无声而定，若风卷残云，悄然成势。彼此相契，非人力所为，惟天命使然，斯可会于心。左旁绞丝，笔法缠绕，密如云聚，重若山峦，时缓时急，若命运之迹隐显无常。彼中深意，难以一览，若人事万千，错中有序，隐曲于直，实乃天意自为。每笔转折，如山川流转，自然而然，不失其节。右笔一落，似自穹苍，力透纸背，气定神闲。此笔非寻常之运，暗含沧海桑田，流转无尽，初时激昂，复归平和，似波涛起伏，终落于无声。观其字，仿见风雨来去，人生际遇其中起伏，缘深意远，不可言尽。王氏心怀玄理，字中韵致，含而不露。其“缘”字，神气凝重，超脱形迹之外，观者或得其意，未必见其形。缘之妙，如云端相识，默契相通，终至于心，回味无穷，凡尘世事，皆于此中隐现。
王永新书“龙”，不拘形迹，承古法，隐其锋，显其韵。其笔如游龙出渊，气象雄浑，动静有度，若风雷起于无声。字中所见，乃苍龙出海之势，云霞为伴，霄汉为途。起笔如龙翔天际，收势若江海归流，笔意连绵，笔墨沉厚，势不可挡。王氏书龙，寓天地之道，借龙象抒胸中浩然。虽不言壮志凌云，然笔墨自述人生高远。龙者，承天之气，负万物之义，纵不显于形，然精神已跃纸上。观者品其字，若见龙游万里，心神激荡。
龙形不显于符，精神自现于笔，王氏运笔有如行云，流转有致，刚柔相融。字中暗含转折，恰如龙隐于风，惊鸿一现，动而不躁，静中蕴势。观其作，似龙驭风云，游于无形，无迹可循，却留万里风雷。其书不求外露，内藏气韵，笔下苍劲而含蓄，隐隐透出腾飞之志。用墨浓淡相间，如天地阴阳交织，墨痕起伏，若山川浮沉，深邃无垠。其龙字，不仅是笔墨之形，更是天地之象，心志之写。
王永新每言，字非徒技，乃心神所寄，气韵所存。笔端之妙，动于静中，寄于无形，内为心志所牵，外承时代所感。书之所为，非但形迹之工，乃一片敬意于天地，思虑于万象，字字皆成胸中丘壑。其于未来，少设藩篱，随时而运，任笔而行。自性中发，因爱而坚，未尝一日稍离。知文化之深远，时移势易，而其精魂常在。溯其本源，探其幽微，方可得其真意。心愿所寄，惟愿人能于墨间观得妙理，于字里触得心声，俯仰之间，见中华之魂魄，念其美，惜其珍。
王 永 新
艺/术/简/介
王永新，祖籍河北迁安，书坛散仙。1985——1988年就学于天津茂林书法学院。军旅书法家，曾五次荣立军功。国礼艺术大师，北京散仙书苑主事，北大兰亭书画研究院客座教授，中国文化艺术创新网艺术总监。
因首创“苍龙出海”获国家著作权专利注册。王永新多次参加北京荣宝斋、徐悲鸿纪念馆、雁栖湖、国粹苑、民族文化宫和美国洛杉矶，旧金山，日本东京都，希腊雅典娜等国内外书画大展，其中书法作品《龙行天下福运来》在美国洛杉矶全球艺术大展获国际金奖 ，被有关部门分别授予“中美文化艺术交流使者”、“最具学术价值书法家”、“最受瞩目书法家”、“中国珍藏级艺术家”、“中国殿堂级艺术大师”、“中国民族品牌国粹艺术家”等荣誉称号。其作品被收入《时代风范》、《中国翰墨巨匠全集》、《中国历代书画名家大辞典》等多部专业典籍，并著有中国高等美术院校名师教学范本《王永新书法作品选》出版发行。
王永新认为，汉字是中华文化的载体，而书法是汉字具象的艺术表现形式。中华文化是神传文化，华夏先祖都是大神级的存在，中华传统文化是照亮生命前程的智慧之光。因此每个汉字都具有其形、声、意、韵的丰富内涵，因而书法作为汉字的表现形式，则必然是汉字神韵内涵深度与广度的表达艺术。因此学习书法必须从中华传统文化的沃土中汲取营养和智慧，才能有所突破，实现质的飞跃。
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" (缘) and "dragon" (龙) 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" (缘), 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" (龙), 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 asThe Style of the Times,Collection of Chinese Calligraphy Masters, andThe Dictionary of Chinese Calligraphers and Painters through History. He has also publishedSelected 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.
责任编辑：苗君