庆春的作品,尽管形式上有着丰富的变化,但有两点不变是非常明显的。一是他的审美追求,总的看来他倾向于雄强、苍茫、厚重之美,不尚小巧华饰,求作品形式、笔墨表现对视觉的冲击力,这是时下书法“展览时代”大环境这个客观因素对庆春的影响力所致,同时也是他个人气质禀赋的表现,是他主动的审美选择。回忆起我小时候学书法,完全没有什么书法创作意识,只是在大人的督导下习字而已,是对照字帖依样画葫芦,而庆春这一代书家,生活、成长在当代书法繁荣发展的这三十多年中,从一开始接触书法就带有明显的书法创作意识,是在创作意识主导下的学习传统与探索出新。其第二个特点,是以楚简帛书为母体的书法创作 Qing Chun’s work, despite the rich changes in the form, but there are two unchanged is very obvious. First, his pursuit of beauty, in general, he tends to be strong, vast, thick beauty, not yet small Qiao decoration, seeking works in the form of writing and visual impact on the performance, which is nowadays calligraphy This objective factor of the environment caused by the influence of Qingchun, but also his performance of personal qualities endowments, is his initiative aesthetic choice. Recalling when I was young, I learned calligraphy and did not have any sense of calligraphy at all. I just copied it under the supervision of an adult and copied the copybook according to the same pattern. The three generations of calligraphers, such as Qing Chun, lived and grew up in the flourishing development of contemporary calligraphy. More than a decade, from the very beginning of exposure to calligraphy, there is a clear sense of calligraphy creation. It is a learning tradition under the guidance of creative writing and exploration. The second characteristic is that Chu bamboo silk book as the parent’s calligraphy creation