王颂余（1910.7-- 2005)，著名书法家、山水画家。原名王文绪，斋室名曰：安素阁、易简楼。天津市人，1927年天津汇文中学肄业，1934年受业于章（太炎）氏国学讲习会，1936年前后 从溥心畲（溥儒）、刘子久学画，1938年从溥默公（即爱新觉罗·溥修）学书法，古典文学曾受业于章太炎、闻1 多、裴会川。早年在银行工作，1949年曾在天津津沽大学中国文学系任讲师，1958年后历任河北艺术师范学院、天津美术学院教师、教授。生前曾为中国美术家协会会员，中国书法家协会会员，中国书法家协会天津分会副主席，中国美术家协会天津分会常务理事，天津市文联委员，天津市人民代表大会常务委员会委员，第2届中国美术家协会理事，南开大学分校兼职教授。

 中国画《把余粮卖给国家》、《凯歌黄金路》、《滦水清兮清且甘》（与白庚延合作）分别入选第二、四、六届全国美展。作品选送日本、新加坡、美国、西德、芬兰等国家展出。1984年作为中国书法家代表团成员赴日本参加中日书法联展和交流。

出版有：《中国画技法述要》、《王颂余书画选》、《王颂余书画艺术》、《困学偶记》等，论述有《黄河之水天上来》、《书法结体探津》等。

著名画家白庚延、孙贵璞和 王颂余的外孙喻建十均曾师从王颂余。

 法体系入手，参之以民间书风，特别 重视 借鉴日本近古代 书法艺术，从1 个全新的意义上对于“书画同源”做出了诠释。多年来，对他影响最大的是溥心畲、溥修、刘子久3位老师。而这三位先生又正是以其对于传统中国书画的钟情和精深体验而称著于世的，特别 是溥心畲先生更是在当时被世人公认为传统绘画的领军人物。正是这样的学习经历，给王颂余打下了坚实的传统绘画基础。

他的艺术特点是“以书入画，以画入书”，艺术表现寻求 “重、拙、大”，其山水画在刻意表现北方山水风情的基调上寻求 “质健为妍”的书画艺术境界。王颂余老先生多年来对艺术孳孳 不倦的执着寻求 都是值得后人称道的，而他终身 勤奋苦学淡薄功名，不求闻达，以1 个传统知识分子的典型心态在进行着他本身 人格的自我完善，他的人品与艺品特别 为人所钦佩，因其画作流传少，故尤其 藏家关注。

 Wang Songyu, a well-known Chinese calligrapher and landscape painter, has a unique style in his works and high attainments in his creation. Wang Songyu was originally named Wang Wenxu, and his studio was named Ansu Pavilion and Yi Jian Building. Tianjin native, graduated from Huiwen School in 1927, studied at the Zhang (Taiyan) Sinology Seminar in 1934, studied painting from Pu Xinshe (Puru) and Liu Zijiu in 1936, and calligraphy from Pu Mogong (Puxiu) in 1938. Classical literature was studied in Zhang Taiyan, Wen Yiduo and Pei Huichuan.

Wang Songyu (1910.7-2005), a famous calligrapher and landscape painter. Formerly known as Wang Wenxu, the studio is called Ansu Pavilion and Yi Jian Lou. Tianjin native, graduated from Huiwen School in 1927, studied at the Zhang (Taiyan) Sinology Seminar in 1934, studied painting from Pu Xinshe (Puru) and Liu Zijiu in 1936, and calligraphy from Pu Mogong (Puxiu) in 1938. Classical literature was studied in Zhang Taiyan, Wen Yiduo and Pei Huichuan. In 1949, he was a lecturer in the Department of Chinese Literature, Tianjin Jingu University. After 1958, he has been a teacher and professor in Hebei Normal College of Art and Tianjin Academy of Fine Arts. He was a member of China Artists Association, China Calligraphers Association, Vice-Chairman of Tianjin Branch of China Calligraphers Association, Executive Director of Tianjin Branch of China Artists Association, Member of Tianjin Wenlian, Member of Standing Committee of Tianjin People's Congress, Member of the 2nd China Artists Association, and Concurrently Member of Nankai University. Professorship.

The Chinese paintings "Sell the surplus grain to the country", "Kaige Golden Road" and "Luanshui Clear and Gan" (in cooperation with Bai Gengyan) were selected in the second, fourth and sixth national art exhibitions respectively. The works were selected for exhibition in Japan, Singapore, the United States, West Germany, Finland and other countries. In 1984, as a member of the Chinese Calligrapher Delegation, he went to Japan to participate in the Sino-Japanese Calligraphy Joint Exhibition and Exchange.

Publications include: Summary of Chinese Painting Techniques, Selection of Wang Songyu's Calligraphy and Painting, Art of Wang Songyu's Calligraphy and Painting, Records of Hard-to-learn Dolls, etc. Discussions include "Water of the Yellow River Comes to Heaven" and "Calligraphy Complex Exploration of Tianjin".

Famous painters Bai Gengyan, Sun Guipu and Wang Songyu's grandson Yu Jianshi all learned from Wang Songyu.

His Chinese painting landscape composition is novel, and his brush and ink are old and spicy, with a unique style. Starting from Wang Xizhi's calligraphy system, referring to folk calligraphy style, especially drawing lessons from modern Japanese calligraphy art, his calligraphy annotates "the same origin of calligraphy and painting" in a new sense. Over the years, Pu Xinshe, Pu Xiu and Liu Zijiu had the greatest influence on him. These three gentlemen are famous for their love and deep experience of traditional Chinese painting and calligraphy, especially Mr. Pu Xinshe, who was recognized as the leader of traditional painting at that time. It is this learning experience that has laid a solid foundation for Wang Songyu's traditional painting.

His artistic characteristics are "painting with calligraphy, painting with calligraphy" and pursuing "heavy, clumsy and big" in artistic expression. His landscape painting pursues the artistic realm of "good quality is beautiful" in deliberately expressing the tone of the northern landscape style. Over the years, Mr. Wang Songyu's persistent pursuit of art is worthy of praise. In his lifetime, he studied diligently and did not seek fame and fame. He was pursuing his self-improvement of personality with the typical mentality of a traditional intellectuals. His personality and artistic works were especially admired because of the spread of his paintings. Less, so Tibetans pay special attention to it.