吴玉珩：骤雨惊雷书壮志 枯润相生见天工

书之为艺，肇自颉皇，迄于秦汉，钟鼎彝器铭其魂魄，简帛绢素记其风骨。观当代吴玉珩，秉天地之正气，握造化之玄机，以笔为戈，以墨为锋，于方寸之间纵横八极，于点画之际涵盖古今。其作若云从龙，风从虎，既有惊鸿照影之姿，复具铁画银钩之骨。

观其行书，取文徵明之清雅，融米芾之恣肆，既承古法而不泥形骸，独出新意而自成气象。落笔如游龙戏海，腾挪跌宕;运锋似骏马追风，倏忽千里。横如千里阵云，隐隐现出关山形势;竖若万岁枯藤，苍劲中蕴含春意。转承处若风回雪转，暗合阴阳消长之理;顿挫时如金石相击，清越中自有宫商之音。观其墨迹，或浓若宿雾初开，或淡若晨光熹微，浓淡相宜之际，恍若见烟霞之变态，山水之精神。

古篆篇至若篆籀之法，直溯轩辕黄帝之玄文，旁通大禹鼎铭之奥义。运笔如凿壁偷光，力透金石;结体似苍松盘虬，劲拔不群。转角处若梅枝横斜，暗藏刚柔并济之妙;顿挫时如剑器舞罢，尽显吞吐风云之姿。观其篆书，方知文字之源流，可通天地之至理。笔画虽简，犹见商周礼乐之庄严;字形虽朴，实含秦汉风骨之雄浑。

行草篇其草书尤见天纵之才，如张旭醉后挥毫，怀素月下疾书。起笔似骤雨倾盆，墨走龙蛇;收锋如断弦离柱，戛然而止。密处若星罗棋布，疏时如江海奔流。转折之际，如虎跳龙吟，气势磅礴;连绵不断，似风回雪转，自然天成。观其狂草，恍惚间见公孙大娘舞剑器，又似李太白醉写清平调，真可谓书中有画，画中有诗者也。

隶楷篇

隶书取法《张迁碑》《石门颂》，后又参以简帛笔意。蚕头燕尾，藏金石之锋芒;波磔分明，显庙堂之气象。枯润相生之际，如古木逢春，新芽破土;浓淡交错之时，若暮云四合，月华初上。楷书则宗晋唐之法度，融北魏之骨力，端正如冠冕佩玉，飘逸似清风拂柳。一点一画，皆含中和之美;撇捺之间，自有乾坤之象。

心法篇

然吴子之书，非徒技法之精进，实乃心性之修为也。其作书也，若庖丁解牛，目无全牛而神游八极;如庄子梦蝶，物我两忘而气贯长虹。枯笔飞白，非求奇巧，乃腕底生风自然成趣;浓墨重彩，不事雕琢，实乃胸中块垒借笔端以抒发。观其墨迹，可见秦汉之雄风，宋元之雅韵，明清之逸气，终归于"我手写我心"之境界。

通玄篇

书道之妙，与天地同参，与日月并寿。吴生挥毫之际，实乃与古人对话，与造物者游。笔走龙蛇处，山河变色;墨泼云雾时，海晏河清。所谓"胸中丘壑，腕底风云"，非虚妄之言也。今观其遗墨，如见羲之兰亭醉态，颜公祭侄悲情，苏子赤壁豪情，米颠潇湘奇趣，千载风流，尽汇于尺素之间。

夫书者，心之迹也，神之象也。吴玉珩先生以笔为舟，以墨为楫，其书不仅传形达意，更传神韵，传天地之正气，传文明之薪火。

吴玉珩简介

吴玉珩，字楚白，原籍天津宝坻，一九五七年三月生于吉林市。现为吉林省文史研究馆第一副馆长，兼中国书法家协会第六届理事，吉林省文联第八届副主席、第九届荣誉委员，吉林省书法家协会常务副主席，吉林省书法展评审委员会主任，吉林省中国画学会副会长，吉林省博物馆特聘书画艺术专家，吉林省美术馆特聘学术委员。其书法作品，曾为人民大会堂、中南海、中央文史馆、辽宁省博物馆、吉林省博物院、西柏坡革命纪念馆等珍藏。

Wu Yuheng: Thunder and Sudden Rain, Strength in Calligraphy; Harmony of Dry and Moist, the Work of Nature

Calligraphy, as an art, originates from Cangjie and flourished through the Qin and Han dynasties. The inscriptions on bronze vessels capture its essence, while bamboo slips and silk convey its spirit. Observing contemporary calligrapher Wu Yuheng, one sees the righteous energy of heaven and earth and the profound mysteries of creation. He wields his brush like a spear, his ink like a blade, freely traversing all directions within the confines of paper, encompassing past and present through strokes and dots. His work flows like clouds following dragons, winds chasing tigers—graceful as a startled swan reflected in water yet firm as iron strokes carved in silver.

Running Script (Xingshu)

Wu Yuheng’s running script embodies the elegance of Wen Zhengming and the unrestrained spirit of Mi Fu. He upholds ancient traditions without being confined by rigid forms, innovating with his own artistic vision. His brushwork resembles a dragon playing in the sea, full of dynamic movement. The strokes are as swift as a galloping horse, covering vast distances in an instant. Horizontal strokes resemble clouds stretching across the sky, subtly revealing the landscapes beyond; vertical strokes stand like ancient vines, weathered yet full of life. His transitions are like swirling winds and drifting snow, aligning with the natural balance of yin and yang. When he presses and lifts the brush, it is like metal striking stone, producing resonant musical tones. His ink varies from deep and rich, like morning fog dispersing, to light and subtle, like the first rays of dawn. In the interplay of these shades, one glimpses the ethereal beauty of clouds and mist and the essence of mountain and river landscapes.

Seal Script (Zhuanshu)

Regarding his mastery of seal script, he traces its lineage back to the mystical writings of the Yellow Emperor and the profound inscriptions on Yu the Great’s bronze cauldrons. His brushwork carves through paper like a chisel cutting stone, its force penetrating metal. His structures resemble ancient pines with twisting roots—unyielding and vigorous. The angular turns echo the slanted branches of plum trees, embodying the harmony of strength and gentleness. When he applies pressure and releases, it is as if a sword dance has concluded, leaving the air thick with its commanding presence. Observing his seal script reveals the origins of writing and its connection to the fundamental principles of the universe. Though the strokes are simple, they reflect the solemnity of ritual and music from the Shang and Zhou dynasties. Though the forms are unadorned, they embody the heroic spirit of the Qin and Han dynasties.

Cursive Script (Caoshu)

His cursive script, in particular, displays divine talent, reminiscent of Zhang Xu’s frenzied brushwork after drinking and Huaisu’s rapid strokes under the moonlight. His initial strokes pour down like a sudden torrential rain, his ink flows like writhing dragons and serpents. The closing strokes resemble a snapped string leaving the instrument—abrupt yet decisive. In dense sections, his characters are arranged like stars scattered across the sky; in sparse moments, they rush like rivers to the sea. His transitions roar like a tiger’s leap and a dragon’s cry, exuding a majestic presence. The continuous flow of his strokes resembles swirling winds and drifting snow, forming a naturally cohesive whole. Witnessing his wild cursive script feels like watching Lady Gongsun’s sword dance or seeing Li Bai drunkenly compose his "Qing Ping Tiao"—a true fusion of poetry and painting within calligraphy.

Clerical and Regular Script (Lishu & Kaishu)

In clerical script, he follows the ancient ruggedness of Zhong Yao and Cao Quan while integrating the grandeur of Han clerical calligraphy. His strokes display the signature "silkworm head and swallow tail" style, containing the sharpness of metal and stone. His flaring strokes and precise curves evoke the solemnity of imperial halls. The interplay between dry and moist ink mirrors an old tree awakening to spring, fresh buds breaking through the soil. When ink is layered richly and lightly, it resembles dusk clouds merging as the moonlight emerges.

In regular script, he adheres to the refined techniques of the Jin and Tang dynasties, while incorporating the strength of Northern Wei calligraphy. His characters stand as dignified as an official wearing ceremonial jade, yet flow as effortlessly as a breeze stirring willow branches. Every dot and stroke embodies the beauty of balance; every sweeping motion carries the essence of the cosmos.

The Heart of Calligraphy

Yet, Wu Yuheng’s calligraphy is not merely a technical pursuit—it is a cultivation of the mind. His approach mirrors Butcher Ding’s philosophy: cutting through obstacles with natural precision, seeing beyond the form to reach the essence. He is like Zhuangzi dreaming of a butterfly, transcending self and the external world to reach boundless artistic freedom. His dry-brush techniques and feathery strokes are not crafted for novelty but arise naturally from his wrist’s rhythm. His bold, heavily inked strokes are not artificially enhanced but are the spontaneous expressions of his inner emotions. His brushstrokes carry the heroic spirit of the Qin and Han dynasties, the refined elegance of the Song and Yuan dynasties, and the unrestrained charm of the Ming and Qing periods, ultimately culminating in the ideal realm of “writing from the heart.”

The Transcendence of Calligraphy

The art of calligraphy resonates with the heavens and endures alongside the sun and moon. As Wu Yuheng wields his brush, he engages in dialogue with the ancients and communes with the spirit of creation. When his strokes surge like dragons and serpents, the landscape shifts; when his ink splashes like mist and clouds, the world settles into harmony. The saying “Mountains and rivers lie within the brush, storms brew beneath the wrist” is no mere exaggeration. Examining his calligraphy today, one can glimpse Wang Xizhi’s drunken elegance at the Orchid Pavilion, Yan Zhenqing’s sorrowful lament in his "Eulogy for a Nephew," Su Shi’s heroic spirit at the Red Cliff, and Mi Fu’s whimsical charm in his "Xiaoxiang" calligraphy. Across a thousand years, the grandeur of past masters converges on a single sheet of paper.

Indeed, calligraphy is the trace of the heart, the manifestation of the spirit. Wu Yuheng, navigating ink like a boat and wielding his brush like an oar, conveys not only form and meaning but also the very essence of life. His calligraphy carries the righteous energy of the cosmos, the torch of civilization, and the infinite vitality of artistic expression.

责任编辑：苗君