当代书画圈的一个显著特征是:艺术创作已由技术的呈显转向了观念的演绎和设置,由手上的炫技转向了嘴皮的卖弄。那种安贫乐道、耿介自守的文艺工作者已越来越少。即便是最能体现中国传统人文精神的古典书法艺术也不例外。在当今世风日下、人心浮动的裹挟下,在作品面貌日趋雷同的或专业或业余的圈子里,越来越多的是各不相同的自我解说和自我吹捧。张承雨先生的书法,从宋人尺牍入手,意会羲献,心追手摩唐宋以来大家名迹,复以米书为姿逸。求雄强而不故作怒张,得巧妙而不矜持造作。其书笔势开放俊明,结构严谨,字间起承有度;体势在宽厚丰腴的字形中凝聚收敛,肉丰而骨劲,宽博而秀伟。其书线条勾划的精准巧妙,妍美而不柔媚,矫健而不轻佻,执、使、转、 A striking feature of the contemporary painting and calligraphy circle is that the artistic creation has been shifted from the presentation of technology to the deduction and setting of concepts. The kind of happy and tolerant, Geng Jie Jie literary and art workers have been less and less. Even classical calligraphy, which best embodies the traditional Chinese humanistic spirit, is no exception. Under the circumstance of today’s worldly life, with the floating of people’s hearts, more and more different self-explanatory and self-proclaimed touches in an increasingly similar or professional or amateur circle of works. Mr. Zhang Chengyu’s calligraphy, started from the feet of the Song people, will Xi Xi, heart chasing hands since the Tang and Song Dynasties name, complex rice book as a gesture. Seeking male strong but not so angry, clever and not reserved. His book open and bright gestures, the structure is rigorous, between the words bearing degree; body in the generous shape of the condensate convergence, fleshy and strong, broad and showy. The outline of the book lines of the precise ingenuity, Yan Mei and not sweet, vigorous and not frivolous, the Executive, so, turn,