蒋维崧，当代著名文字言语 学家、书法篆刻家。1915年生于江苏常州，1938年毕业于南京地方 大学中文系，历任地方 大学助教，广西大学讲师，山东大学中文系副教授、教授。曾任山东大学中文系副主任、文史哲研讨 所副所长，山东省文史馆馆员、西泠印社顾问、中国训诂学研讨 会学术委员、《汉语大词典》副主编、山东省言语 学会副会长、山东省书法家协会主席等职。2001年受聘山东大学特聘教授，成为文学与旧事 传播学院汉言语 学专业文字学（含书法）博士生导师。与魏启后、陈左黄、高小岩、宗惟成一同 被称为“山东5 老”。
蒋维崧先生以文字学研讨 而出名 于世，同时又精于书法、篆刻，为世人所共仰。蒋维崧先生从教六十余年，曾掌管 《汉语大词典》山东编写组工作长达十年之久，为辞书编纂积累了重要经验。蒋维崧先生著有《汉字浅学》及言语 文字学专著、论文多篇，近几年前后 出版了《蒋维崧印存》（1992）、《蒋维崧临商周金文》（1998）、《蒋维崧书迹》（2001）、《蒋维崧书法集》（2005）等作品集，并于2003年向山东大学捐献书法作品六十余幅，供学校博物馆永世 收藏 。

早在20世纪30年代，蒋先生在地方 大学求学期间，就曾得到胡小石、乔大壮、沈尹默等大师的亲教，三四十年代便以书法、篆刻蜚声艺林，显示出不俗的艺术才华，受到了章士钊、徐悲鸿等先生的称赞。此后，蒋维崧先生便走上了以学养艺、以艺显学、固执 于书法篆刻艺术的探索和创作道路。蒋维崧先生的篆刻师承乔大壮先生，并广泛吸收珍贵的古金石文字材料 融入方寸当中 ，熔“黔山派”篆刻创始人黄士陵凌厉的薄刃冲刀法与乔大壮先生精妙的章法布局于1 炉，线条清丽生动，笔意质朴洗炼 ，既有殷周铭文那种质朴、圆润、雄壮 、厚重的金石气，又展示 出1 种清新、流畅的勃勃生机。严肃 规整的结体和雍容迂徐的笔意，巧妙地体现了商周金文的神韵——秀逸而又凝重，在当今印坛上占有十分重要的地位。他的行草书，师法晋唐，根植二王，而又转益多师，神清骨秀，如行云流水，飘逸峻拔，筋骨老健，自具风神。他平日深居简出、淡泊名利、襟怀坦荡、风格 严谨，故构成 了他内涵深邃、健康的书法风格。他的书法，成功地处理了1 些辩证关系，巧妙地将刚与柔、润与燥、深沉与轻盈无机 地统一同 来，字形简约而有法度、挺劲中露秀雅，结构平正中见流动、峻峭中透骨力，率真自然，典雅清正，以浓郁的书卷气，给人以朴实畅美的艺术享用 。同时先生将甲骨文、金文、战国文字及秦汉篆隶等多种古文字学研讨 同书法艺术完善 地结合在一同 ，将数千年前充满金石气息的青铜器铭文写成富有时代气息和书卷气息的书法作品，这是非常可贵的。蒋维崧的书法篆刻成就，得益于他的学术成就和对中国传统文明 的理解，是他综合文明 涵养 的折射。

书法是我国的国粹，是民族艺术百花园中不可或缺的1 隅。如何进行书法学科建设，培养和成就高层次的书法人才；如何进行书法创新，正确导引时代书法创风格 气，特别在当今社会，显得特别成心 义。在山东大学招收文字学（含书法）研讨 方向的博士生时，蒋维崧坚持将书法专业放在文学院，并苦口婆心 地指出：“书法人才在汉言语 文字学专业培养比较合适。1 开始写字还看不出来，当前 愈来愈 觉得不读书，没有传统国学涵养 ，就上不去了，这是经过历史证明了的。理想 中的例子很多很多。”这几句深入浅出且语重心长 的话，表明了他不凡的学术观点和艺术见地。关于书法的继承和创新，他讲得好：“艺术总是要创新的，这1 点我们同‘创新派’没有矛盾，成绩 是怎样 创新。有人认为，创新就得来个面目全非，把1 切旧的推倒重来，有人实在无计可施，就搞丑、怪、狂、野，这是自毁传统，自毁艺术。”他还说他七十年如1 日艰苦探索，与时俱进，走出了1 条正确的、科学的创新道路。从其书法、篆刻集中可见，不管 是他那“源于商周，高于商周”（徐超《高标独立，古籀重辉》）的金文临作，还是他“在清代以来诸家以外 别出心裁地书写出当代1 种融古为新、典雅俊逸的金文书法”，和 其“章法高雅脱俗、刀法流畅洗炼 ”（《中华书局编辑部》）的篆刻艺术都充分说明：他是时时留意 并坚持创新的。
清人张之屏说；作字如论史，必须有才、学、识，并认为尤须有“不震于大名，不囿于风尚”的高目光 ，故“三者当中 ，识为尤要”(《书法真拴.谈屑》)。百年书坛，风气更迭，名家擅场，王霸杂出，1 时难与评说。而“不震于大名，不囿于风尚”，卓荦独立，以独树一帜 气格者，亦代有其人。当代著名学者、书法篆刻家蒋维崧教授便是其1 。
如果把蒋维崧先生的艺术历程分为前后两个阶段的话，那么前期成果应以篆刻和行书为主。后期则以金文书法为主。
先生零碎 进行艺术研讨 ，应从在地方 大学学习期间选修乔大壮先生书法、篆刻课程开始，时在1 九三六年。由于 先生有早年书法、篆刻的基础，所以，1 经乔先生指导 ，技艺就突飞猛进，不久便成了乔先生最得意的弟子。先生的篆刻成绩引发 全校师生的注视 ，当时任艺术系主任的徐悲鸿先生也赞美 不已，并请先生刻印。1 九三九年，潘伯鹰先生介绍为章士钊先生刻印，章曾以“作者篆刻擅巴蜀”的诗句给予赞美 。后来印艺益进，文明 名流求治印者不期而至，声名由此远播。
先生治印，历来求精、求雅、求巧，而不求多。即寻求 格调的高雅，构思的巧妙，刀法、线条和全部 印面的精致，而且1 以贯之数十年。
先生治印明显接受了乔大壮先生的艺术主张，但在保持乔派艺术特色的基础上又有新的探索。比如爱取大篆古籀入印，是乔先生篆刻的1 大特色，但由于新出土的古文字材料愈来愈 丰富，加上蒋先生长时间 从事文字学研讨 ，又特别喜欢和擅长金文书法，所以他在引金文入印方面做得更加盲目 。
关于推陈出新，我们最好能结合他的艺术见解来略加说明。先生曾经对笔者说过：“许多人把创作的调子唱得太高，以为必然 要搞出个面目全非来才是新，结果只好从丑、怪里找出路，走上了正路 。”
又说：“中国诗文里有用典故的习气 。用典故可以使人产生许多历史的联想。我们刻印也要在旧面目上添加 1 些新东西，让人对古代艺术情势 产生联想，从而赋予旧有艺术新的内容，丰富它的内涵。”这1 点也能够 用先生的行书来说明。先生写行书，最重“行”的节奏和韵律，所以他的运笔，行止合度，不激不厉，不飘不滞，1 任天机流衍，丝毫没有故作夸饰的地方。作品喜欢字字独立，不枝不蔓，却又笔笔呼应，顾盼无情 ，形断意连，略无挂碍。用墨喜和润，用笔取含蓄，故其书清婉多姿，温润可人，其文人书卷气息溢于字里行间，谦谦君子风度跃然楮墨之上。
我读先生的行书，有时觉得并不是欣赏1 幅艺术品，而是接受1 种道德洗礼，油然而生“浴乎沂，风乎舞雩，咏而归”的联想和慨叹，从而达到心灵的净化。先生的行书成就当然与他的学习历程密切有关。先生早年写楷书，由褚遂良、虞世南入手，多参行意。由此入行，不仅基础扎实，而且过渡十分自然。由此远寻二王法，近师沈尹老，终成1 家面目。
先生就曾经对笔者说过：“北碑是个好东西，但好东西对你或许 有益 。”“书法作为1 种艺术，它使用的工具和材料都是柔性的，书法就要适应和发扬这类 柔性功能 ；作为1 种书体，行书又最讲究流利。所以，融北碑人行书是难以和谐的。这就象诗歌讲究情调、意境1 样，你用北碑风格去写王维的诗就很别扭。”他又说：“写行书讲究抑扬顿挫。怎样 讲究呢?打个比方说：1 个人朗诵诗，听他朗诵的语气和节奏，就可以晓得 他对这首诗理解不理解了。这就是说，写行书不仅要有适合写行书的文辞，还要有适合写行书的运笔方式和节奏，而且，这类 节奏还要与书写的具体内容相分歧 。”
听了这两段话再来看先生的行书作品，探讨先生的艺术寻求 ，就能别有会心了。所以我说，入门正，师友直，这是走向成功的第1 步。但是，艺术乃是自我人格和审美情趣的载体。食桑而吐者丝，采花而酿者蜜。 师古之得法，博采之用心，贵在知善恶，辨雅俗，有自我。否则，生吞活剥。不知去取，败笔效颦，求古戾古，何足道哉。张之屏说过：“我辈幸生于古人后，得古人为锤炉，借古人以攻错，苟有美质，加以洗练 ，以垂嘉誉，以壮国光，岂非快事哉!”(《书法真拴·绪言》)我觉得先生正是这段话的躬行者。
蒋先生在篆刻和行书方面都有很高的成就 ，但应当 大书1 笔的还要数他的金文书法艺术。纵观“金文时代”当前 的金文书法史，我们可以看到，金文书法风格次要 有三种明显的分野：1 类是寻求 工稳的，大致以线条平匀、结体工整为基本特征，这1 类作品为最多；另外两种，1 类是寻求 “金石气”的，多以枯笔、颤笔、方折顿挫等笔法表现；1 类是寻求 “行草意”的，如写行草，随体洁拙。
这二类作品各有特色，其中有些甚至达到了当时的最高水平。但由于全部 社会从事金文书法艺术实践的时间不长，同隶、楷、行、草等书体比拟 ，其整体 水平就显得绝对 落后了。如第1 类，作者在书写时多盲目 不盲目 地应用 了小篆笔法，线条平均，结体和章法都过分整饬，很难用笔墨表现书家个性。后两类明显 是受邓石如以来碑风的启发和影响，硬是用毛笔、水墨、宣纸等柔性材料去表现刻铸工艺中的“金石气”——甚至还要加上“泐损气”，如果表现手法不当，难免弄巧成拙。
用“行草意”写金文，自无不可，但如过于粗率，则与金文庄严、静穆和雍容华贵就显得很不和谐。窃以为金文书法的推陈出新虽有多途，但次要 着眼点不应放在外部情势 上，特别是不应简单地在线条和笔墨上造作 ，在结体上动手术。而是要在“内修”上下功夫，即寻求 线条质量、笔墨质量、结体上的精构和巧妙变化，在笔墨情趣、神采神韵 、在这些方面，清代至近古代 书家也多有建树，代有其人，而蒋先生则是其中杰出的代表。
尽人皆知 ，就不可能、也不应当 是简单地“恢复”和“再现”刻铸品上的金文，而是要求书写者站在今天的学术高度和艺术高度去认识、解读那些刻铸品，然后再用本身 的综合文明 涵养 和艺术涵养 去“重塑”和“创作”。成功与否，则取决于书写者的上述综合素质。把蒋先生的金文临摹品和用金文书体创作的书法作品同原金文拓印品作比较，同“金文时代”当前 的历代金文书法作品做比较，深感其中的1 些差别实不可以道里计。
首先，先生的作品丰富了线条变化和笔墨情趣，表现了书卷气。书法是笔墨线条的艺术。书法的神韵、情感、趣味、层次感、立体感、律动感、生命力、书卷气、明暗动静变化等等艺术要素 ，次要 靠线条和墨韵来体现。如果说线条是书法艺术的生命的话，那么，水墨则是书法艺术生命体的血肉。先生写金文，1 改金文拓印品和前人作品中1 些过于柔弱 、臃肿或板滞的线条，代之以强健、隽季和灵动；对于过于严整等宽的线条，则添加 了粗细变化；弱化肥笔，缩小了肥瘦差异 ；弱化方折，添加 了圆转变化。这也是改“刻铸”和“笔墨”以后 的必然趋势。
用墨方面，先生讲究和润。常人 用他调制的墨来写字，或许 难得理想的效果；而先生则靠超凡的控墨能力，运笔果断爽利，擒纵有致，加上轻重、徐疾、提按的变化。写出的线条沉着痛快，流走自若 、多彩多姿，把阴柔和阳刚、筋骨和血肉、形质和性格 、飞白和墨晕、笔的弹力和墨的张力等都表现得淋漓尽致，把充满金石气息的刻铸品、拓印品写成了弥漫 书卷气息的真正意义上的书法作品，从而构成 了鲜明、独特的艺术风格。
其次，先生的作品调整了字的结体和章法。先生的临摹功夫罕有其匹，下笔如有神，形状 毕肖，但如果遇到原拓本中字的线条或部件有明显夺衍、变形、借位等情况，先生都要参考不同器铭中相反 的字加以修正，使之更符合历史和艺术的真实，更臻完善 。而用金文组词成句的作品，先生则留意 根据整体 的需求 ，在结体上添加 1 些参差错落、俯仰欹侧等纤细 变化，以奇正变化之势丰富字形，添加 动感。在大章法上，则改变之前 限于1 器以内 的无限 天地进行布自的方法，而是适应宣纸书写和室内悬挂等需求 ，灵活安排章法。
研讨 蒋先生艺术道路和艺术成就，笔者深深感到本身 私心推崇和寻求 的“以人格、学问滋养艺品》的治艺原则 在先生身上得到了天衣无缝地体现。面对先生的艺术作品，我们每个人了解他的为人，了解他的艺术思想，从而也了解他艺术寻求 的人，都会感受到1 种惊人的和谐。那就是他那严谨、静穆的金文，心气和平的行书，庄峻有法的小篆，淳朴古淡的隶书，神清骨秀的篆刻，同他磨而不磷、涅而不缁的人格精神，高古超迈的胸怀 情怀，博闻卓识 的学养学问 ，科学、周密 的治学态度，甚至同他温雅、谦和的步履神态和骏骨逸情等，都达到了高度地和谐统1 。这就是我所理解的蒋维崧先生及其书法篆刻艺术。

Jiang Weisong, a famous linguist, writing calligraphy carving. Born in Jiangsu in 1915 1938 in Changzhou, graduated from the Chinese Department of Nanjing Centre College, Centre College as a teaching assistant, lecturer of Guangxi University Professor, associate professor, Department of Shandong University Chinese. Served as deputy director of the Department of Shandong University, Chinese WenShiZhe deputy director of the Institute, Shandong province museumlibrarian, Xiling Seal-Engravers'Society consultant, Chinese exegesis of Academic Committee, deputy editor of the "Chinese Dictionary", Shandong province Language Association vice president of Shandong Calligraphers Association chairman. In 2001 he was appointed distinguished professor in Shandong University, a college of literature and journalism, Chinese Linguistics Philology (including calligraphy) Doctoral tutor. With Wei Qihou, Chen Zuohuang, small, high Weicheng were together known as the "Shandong five".
Mr. Jiang Weisong to study philology and famous, but also skilled in calligraphy, carving, Yang by common people. Mr. Jiang Weisong taught for sixty years, has presided over the "Chinese Dictionary" Shandong writing group work for ten years, has accumulated significant experience for the compilation of dictionaries. Mr. Jiang Weisong wrote a "and" Chinese characters philology monographs and papers, in recent years has published "Jiang Weisong" (1992), printed deposit "Jiang Weisong Lin" Shang and Zhou Jin (1998), "Jiang Weisong calligraphy" (2001), "Jiang Weisong calligraphy collection" (2005) and other works, and in 2003 to the Shandong University to donate calligraphy works for 60 painting, the school Museum permanent collection.
As early as 1930s, Mr. Jiang during the study in the Centre College, Hu Xiaoshi, Qiao Dazhuang, had been Shen Yinmo Master Pro teach, 30s and 40s with the renowned calligraphy and seal cutting Yilin, showing impressive artistic talent, by Zhang Shizhao and Xu Beihong praised mr.. Since then, Mr. Jiang Weisong went on to study art, in art school, dedicated to calligraphy art exploration and creation. Mr. Jiang Weisong's seal from Joe Dazhuang sir, and widely absorb precious ancient stone text data into confusion, melting "Guizhou Mountain" thin edge seal Shiling sharp red blade founder Huang and Mr. Qiao Dazhuang exquisite layout in a furnace, and vivid lines, simple meaning pen succinct, both yin Zhou Mingwen's plain, mellow, vigorous, thick stone gas, and show a fresh and flowing vitality. The structure of the dignified neat and grace circuitous Xu's conception, cleverly reflects the Shang Zhou bronze Charm -- elegant and dignified, occupies a very important position in today's India altar. His cursive, imitating the Jin and Tang Dynasty, rooted in kings, and on that bright and pretty, elegant and JUNBA, such as freely flowing style of writing, old Jian, self fengshen. He was reclusive, fame, broad mind, rigorous style, so he formed a deep meaning and healthy style of calligraphy. His calligraphy, succeeded in dealing with the dialectical relations, cleverly just soft, moist and dry, deep and light organic unity, simplicity and upright shape testimonies, Lu Su Ping see, steep flow structure in Tougu, naturally, clean and elegant, with rich bookish give a person with simple smooth artistic enjoy. At the same time will study with the calligraphy art perfect combination of Oracle, inscriptions, the Warring States and Qin and Han zhuanli of paleography, the thousands of years ago with stone flavor of the rich flavor of the times and the bronze inscription written bookish calligraphy works, it is very expensive. Jiang Weisong's calligraphy achievements, thanks to his academic achievements and Chinese understanding of traditional culture, is a reflection of his comprehensive cultural accomplishment.

Calligraphy is the quintessence of Chinese culture, is a indispensable national art in the garden. How to carry on the calligraphy discipline construction, the training and the achievement high-level calligraphy talented person; how carries on the calligraphy innovation, guides the time calligraphy creation atmosphere correctly, specially in the present society, appears specially meaningful. At the Shandong University to recruit Philology (including calligraphy) doctoral research direction, Jiang Weisong insisted on the College of professional calligraphy, calligraphy and sincere words and earnest wishes pointed out: "talent in Chinese language training is appropriate. The beginning of writing still can not see, after more and more feel not reading, no traditional Chinese culture, on the go, this is proved by history. Many examples of reality." A few simple and meaningful words, show the academic point of view and his artistic views. About calligraphy inheritance and innovation, he spoke well: art always want to innovate, this we have no contradiction with the 'creative', the problem is how to innovate. Some people think that innovation will have come to a completely different, all the old people have to reinvent the wheel, really can not do anything, get ugly, strange, wild, crazy, this is the traditional art of self destruct." He also said that he seventy years such as a day of hard exploration, advancing with the times, out of a correct, scientific innovation path. From the calligraphy and seal cutting concentrated visible, whether it is his "originated from the Shang and Zhou, Zhou (higher than the" Xu Chao "high standard of independent," the inscription cut shigeteru) pro, or he "in addition to various books written since the Qing Dynasty create new styles a contemporary new into the ancient and elegant handsome gold calligraphy" and the "art, elegant and refined, smooth knife Xilian" ("Zhonghua editorial department") of the carving art shows: he is always pay attention to and insist on innovation.
The Qing Dynasty Zhang Zhiping said; as a word such as the history, must be talented and knowledge, and that you must have "no shock to name, vision is not limited to high fashion", so "three, we should know" ("calligraphy really tied. On chip"). One hundred years of calligraphy, climate change, the famous work, Wang PA complex, difficult and comments. "No shock in name, not limited to fashion, independent joylucky, with his style, also has its own generation. The famous scholar, Professor of contemporary calligraphy carving is one of Jiang Weisong.
If the art course of Mr Jiang Weisong is divided into two stages, then the preliminary results should be based on the seal and the main line. The latter mainly to Jin calligraphy.
The art of MR system, we should learn during elective Mr. Qiao Dazhuang calligraphy and seal cutting course began at the Centre College in 1936. Because Mr. early calligraphy and seal cutting, therefore, by Mr. Joe pointing, art by leaps and bounds, soon became the most proud disciple of Mr. joe. The seal performance caused by Mr. teachers and students attention, was the artistic director of Mr. Xu Beihong and Mr. admiration, please mark. In 1939, Mr. Pan Boying described Mr. Zhang Shizhao as "the chapter stamped, seal at Sichuan" of the poem to praise. Later progressive graphic arts printing, cultural celebrities seeking fame as it comes.
Mr. India, has always been the refinement, elegance, and smart, and not much. The pursuit of elegant style, ingenious, knife, lines and the printing surface is exquisite, and One principle runs through it all. decades.
Mr. India was accepted Mr Qiao Dazhuang's view of art, but also a new exploration based on the characteristics of art to keep joe. Such as love were cut into India, is a major feature of Mr. Joe seal, but because of the newly unearthed ancient writing materials more and more rich, and Mr. Jiang long engaged in philology research, and especially love and good at calligraphy inscriptions so he cited, in inscriptions into India do more.
On innovation, we'd better combine his artistic views to slightly explain. The author once said: "many of the creation of singing is too high, that must come up with a completely different is the new results from the ugly, strange, had to find a way to go wrong."
Said: "Chinese poetry useful allusions habits. With allusions can make people produce many historical associations. We also need to add some new things engraved in the old face, make people think of the ancient art form, thus giving the old new artistic content, enrich its connotation." This point can also be used to explain the script of mr.. Mr. script written "OK", the rhythm and rhyme, so his pen, also not shock degree, not strict, not floating lag, a secret spread, no place is pretending to be. I love works independently, no branches do not spread, but Bibi echoed the look of love, like breaking, slightly unobstructed. The use of ink and pen like run, take the books they reserved, colorful, warm and pleasant, the literati scroll breath overflow in between the lines, on a modest, self-disciplined gentleman demeanor ran Chu ink.
I read the script and MR, sometimes feel not appreciate a piece of art, but to accept a moral baptism, arise spontaneously "bath between Yi, wind dance Yu Yong, to the" Lenovo and lament, so as to achieve the purification of the soul. Of course, Mr. script and his achievement is closely related to the learning process. Mr. early to write regular script, starting from Zhu Suiliang, Yu Shinan, multi parameter meaning. This line, not only solid foundation, and the transition is very natural. So far for two king, near division Shen Yinlao, and eventually became a face.

Mr. once said to the author: "Tangbei is a good stuff, but maybe not good stuff for you." "Calligraphy as an art, it uses the tools and materials are flexible, calligraphy must adapt and carry forward the flexible performance; as a kind of style, the most exquisite and fluent calligraphy. So, people are difficult to melt Tangbei script harmony. This is like poetry and artistic sentiment about the same, you go to write his poems very Bieniu Tangbei style." He added: "the script written about cadence. How to pay attention to it? For example: a person recite poetry, listen to his recitation tone and rhythm, you can know his understanding of the poem do not understand. That is to say, not only have a script written for writing the book but also for writing the script language, the pen style and rhythm, and this rhythm, but also consistent with the specific content of writing."
Listen to the two words come to see Mr. script, Mr. explore the pursuit of art, you don't have understanding. So I say, entry, mentorship straight, this is the first step to success. However, art is the carrier of self personality and aesthetic taste. Mulberry silk and Tu, flowers and stuffed honey. The division of ancient law, from the heart, is the knowledge of good and evil, and self identification. Otherwise, alive. I do not know it, and the ancient ancient Li expressed flaw, not worth talking about. Zhang Zhiping said: "I was born in the ancient, the ancients to hammer furnace by the ancients to better understand Youmei Gou matter, to be clarified, in vertical Jiayu, with strong Guoguang, not joy!" ("Introduction", it tied) I think is what this bow walker.
Mr. Jiang has a very high attainments in calligraphy and seal cutting, but should be a great book but also a few of his inscriptions calligraphy art. Jinwen calligraphy history after "Bronze Age" throughout, we can see that the Jin calligraphy style mainly has three kinds: one is obvious, the pursuit of balanced, roughly in line, homogeneous structure neat as the basic characteristics of this kind of works is the most; the other two, one is the pursuit of "epigraphy" the more dry pen, pen, folding side fibrillation technique showed a setback; is the pursuit of "the meaning", such as writing cursive, with a clean body.
These two kinds of works have their own characteristics, some of which even reached the highest level at that time. But because of the whole society in Jin calligraphy art practice time is not long, compared with Li, Kai, lines, grass and other style, the overall level is relatively backward. As the first class, the author in writing more consciously or unconsciously use Xiaozhuan style, line average, structure and composition are too neat, it is difficult to use the ink performance calligraphers personality. The two class is obviously inspired and influenced by the wind monument since Deng Shiru, just to show the moment in the casting process with brush and ink, paper and other flexible materials "epigraphy" -- even with "Le Qi", if improper, is self defeating.
Write "cursive inscriptions", since all can, but if too rough, with solemn, solemn and elegant inscription is not harmonious. I think the new Jin calligraphy although multipath, but the main focus should not be placed in the external form, especially should not be affected in lines and text, the operation in human body. But in the "inside" efforts, namely the pursuit of quality, quality, ink lines on the structure of fine structure and ingenious changes in taste, flavor, color ink in these areas, the Qing Dynasty to modern calligraphers also made many achievements, on behalf of its people, and Mr. Jiang is one of the outstanding representatives.
As everyone knows, it is not possible, it should not be simply "recovery" and "reproduction" moment of casting on the bronze inscriptions, but writing in today's academic standing height and artistic height to know, interpretation of the moment of casting, and then use the comprehensive culture and art to cultivate their "remodeling" and "creation". Success depends on the above comprehensive qualities of the writer. To Mr. Jiang bronze copy and creation with the bronze inscription calligraphy calligraphy inscription rubbing product compared with the original, compared with the "Bronze Age" calligraphy inscriptions of later dynasties, some differences between the real are incalculable.
First of all, the works of Mr. rich line change and ink taste, the bookish. Calligraphy is the art of ink lines. The art of calligraphy factors charm, emotion, interest, sense of hierarchy, three-dimensional, dynamic law, vitality, bookish, light movement and so on, mainly by lines and ink to reflect. If the line is the life of calligraphy art, then, ink is the life of calligraphy art flesh. Mr. Clementi, changed the previous works in bronze rubbing and some is too delicate, bloated or natural lines, replaced by a robust, Juan season and clever; for too neat line width, increased thickness changes; weakening fertilizer pen, narrowing the disparity FeiShou square fold increase; weakening, round to change. This is also to change the "engraved casting" and "ink" after the inevitable trend.

With ink, Mr. stress and embellish. Most people write with his modulation ink, perhaps a rare ideal effect; and Mr controlled ink charismatic, resolute brush refreshing, escapement to add weight, Xu Ji, according to the change of. Write the line flow freely, vigorous and fluent, colorful, feminine and masculine, the bones and flesh, style and temperament, feibai and ink, pen and ink are elastic tension behaved most incisive full flavor of the casting, carved stone products in the real meaning with the rubbing volume on the breath the calligraphy works, thus forming a distinctive and unique artistic style.
Secondly, the works of Mr. adjust the word structure and composition. Mr. copying Kung Fu was exceptional, writing if there is God, but if the form, in the words of the original rubbings lines or components have obvious capture diffraction, deformation, etc. through the situation, Mr. will refer to the same word is different in Ming amended to make it more in line with the history and reality of art, better perfect. With inscriptions on a group of words into a sentence works, Mr. note according to the overall needs, increase some subtle changes in pitch, tilt and confused with errors and omission in human body, rich glyph to surprising changes trend, increasing dynamic. In the tricks, then change the previous limited space within the cloth from the method, but to adapt to the needs of indoor hanging and writing paper, flexible composition.
Study on Mr. Jiang road of art and artistic achievements, I deeply feel respected and selfish pursuit of "personality," the rule of art crafts nourish learning criterion in Mr body has been reflected in a seamless heavenly robe. In the face of his works of art, each of us knows his own people, understands his artistic ideas, and thus understands his artistic pursuit, will feel an amazing harmony. That is his strict, solemn inscriptions, ataraxic. Zhuangjun by Xiaozhuan, simple ancient light Lishu, bright and pretty seal with him, grinding without phosphorus, Nieerbuzi personality, Guchao Wallace high minded sentiment, insight knowledge CMP knowledge, scientific and rigorous academic attitude. Even with him, and Wen Ya walking posture and bone Chun Yi Qing, can achieve a high degree of harmony and unity. This is my understanding of Mr. Jiang Weisong and the art of calligraphy and seal cutting.