林峰的行草书,一如他这个人一样,笔致轻灵活脱,结构自然俯仰,或端庄或飘逸,长线与短线的分配组合都拿捏得恰到好处我想这就跟一个人的格调有关,俗人的笔下是没有这种江南文人的情调的,这种儒雅斯文也不是装出来的,而是通过柔软的毛笔自然的流淌出来的。我曾经说过,林峰是新古典书风的代表书家。今天,面对他的新作,我依然坚定这个看法。他的书法扎扎实实的追求着以传统书法技术和风格为总基调的书风.他的技术和风格也是这个时代帖学书风中不可多见的实力派高手。我有时候很奇怪以林峰的功力和才情.为什么他一直坚守着魏晋书风的本体.而不张扬自己的个性呢?其实.这也正是林峰的高妙之处——书法是需要慢慢的滋养、慢慢的沉淀的、慢慢的流露的,如酒储存的年 Lin Feng’s cursive cursive, like his own, pen light and lively, the structure of natural pitch, or dignified or elegant, long-term and short-term distribution mix are just right to take I think this is related to the style of a person, the pen of the laity There is no such thing as a southern literati, nor is this Jarvasian outfitted, but flowing naturally through soft brushstrokes. I once said that Raymond Lam is the representative book of the neoclassical style of writing. Today, in the face of his new work, I still firmly believe that. His calligraphy solidly pursues a book style based on the traditional calligraphy techniques and style, and his technique and style are also outstanding masterpieces in the style of calligraphy in this era. Sometimes I am very strange to Lin Feng’s skill and talent why he has been sticking to the body of the Wei and Jin style of writing, without prejudice to their personality? In fact, this is exactly the beauty of Raymond - Calligraphy is the need to slowly nourish , Slowly precipitated, slowly revealed, such as wine storage year