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我的书法取法可谓驳杂,从二王到米芾、王铎;从黄道周到何绍基;从帖到碑;从“书法正脉”到“民间残纸”。其间尤钟情于草体,于孙过庭、怀素,黄庭坚诸家,或欲取其绵延,或追慕其态势;或心驰其趣旨,或探求其韵致。然皆涉草莽,不能称怀。当代书法碑帖合流。于千年书法有展拓之功。碑之宽博、拙厚,帖之流美、舒展,冶于一炉,新境叠现。其中又有以帖为本,以碑用之。或碑为根基,而帖增其潇洒、流畅,活脱其生机者。又以民间书法率意之,朴茂之……因此成就为当代书法创作之高标。
My method of calligraphy can be described as heterogeneous, from the two kings to Mi 芾, Wang Duo; from the zodiac to He Shaoji; from the posts to the monument; from the “calligraphy is” to “folk residual paper.” In the meantime, we are particularly fond of grass, and we live in the Sun Chaotian, Huai Su, Huang Ting-jien’s family, or want to take it, or chase its situation; However, all involved in wilderness, can not be complacent. Contemporary calligraphy calligraphy confluence. Calligraphy in the Millennium extension of the power. Monument wide Bo, I thick, posts of the United States, stretch, rule in a furnace, the new situation stacked. There are also posts-based, to use the monument. Or monument as the foundation, and posts by its chic, smooth, live off their lives. Again by the rate of folk calligraphy, Pumao ... So achievement is the highest standard of contemporary calligraphy.