​《中西交融·水墨新声》2026国际书画巨献艺术大展——梁发国

   

中和之韵 自然之美

一一一梁发国先生书艺品鉴

撰文| 陈洪基

梁发国 男 生于1952年，湖北襄阳人，原襄阳县教委主任 。号逸墨清风、逸墨书生。

现为：

襄阳书画艺术院院长：

中国书画协会会员：

人民书画院副院长;

北京复圣轩书画院院士;

北京名宝阁签约书法家;

CCTV央视书画频道签约书法家。

近年承蒙梁发国先生惠赠《逸墨浅韵》《逸墨清风》《逸墨文心》三集，余皆悉心品读。先生书艺一脉相承，尽展其书法境界、视野、成就与价值取向。往来交谈间，常以其书艺为话题核心。余亦多次观先生挥笔创作之神采，并闻诸书家论及先生书艺，更觉先生书道深邃，尤以 “中和之韵、自然之美” 贯穿始终，可谓深得中国传统美学之精髓。

一、根植传统，在传承中熔铸精神基因

先生幼嗜翰墨，从行书入道，读临名帖，问道师门。数十载心无旁骛，于篆隶楷行草五体皆探其奥妙，悟其神韵，终成自家风貌。

十年前，我初睹其行草佳作，录岑参《走马川行》，便惊觉其笔底乾坤。单字若修竹斜逸，或劲直凌天，牵丝映带间如竹影婆娑，笔势流转似清风过林。行气贯通处，字组绵延如竹鞭潜行，灵动而不失章法，恰如竹林枝叶纷披而根系井然。此作以竹喻书，既得自然之生机，又合古法之妙理，足见先生对传统笔墨精神的深刻把握。

先生常言：“书法当根植传统，又须紧随时代，在传承中创新。” 其取法乎上，于王羲之之雅逸、苏轼之风骨、米芾之痛快、赵孟頫之形意兼美皆心摹手追，更融当代名家之长，汇百家精华于笔端，以壮美与优美相济，抒发性灵，此乃其 “中和之韵” 的生动注解。

书法如同一面多棱镜，既折射作者的性情特质，又凝聚着文化基因与时代精神。从王羲之的魏晋风度到林散之的现代性探索，书法始终是“达其性情，形其哀乐”的精神载体。正如孙过庭所言：“达其情性，形其哀乐”，书法艺术的价值正在于将个体生命体验升华为永恒的文化符号。梁发国也正是在传承中不迷失，守正创新，写出了自已的风格，这也正是梁发国先生书法的独领风骚的魅力所在。

二、笔墨相生，在辩证中抵达中和之境观

先生挥毫，中锋行笔如竹干挺劲，力透纸背，得 “屋漏痕” 之苍劲;侧锋疾掠似竹叶翻飞，灵动取势，于飞白处显虚和之气。其笔法阴阳相济，刚柔并济，恰如太极之运化 —— 中锋为骨，侧锋为姿，浓墨为实，飞白为虚，笔锋起落间尽显 “一阴一阳之谓道” 的哲思。字里行间之留白，尤见先生 “计白当黑” 之妙诣。如作 “山” 字，三竖若危峰并峙，中竖直插云霄，两侧略斜如苍崖欲倾，空白处似有烟岚流转，与墨痕相映成趣，恍若微缩山水长卷。此等留白非虚空无物，而是与笔墨构成有机整体，如园林之借景，虚实相生间营造出 “无画处皆成妙境”的意境。

先生之书，于提按使转中见节奏，急缓徐疾间显 “干裂秋风，润含春雨” 之致;于行气贯通中求和谐，字组连贯如珠串相衔，似断还连，动中取静;于墨色变化中达交融，浓淡干湿相衬，沉稳清雅互映，终成形质与性情统一之境。其结体欹正相生，笔画粗细合度，横画不张扬，竖画如铁柱矗立而不僵直，端庄中见灵动，刚健中含秀逸，通篇弥漫着 “不偏不倚” 的中和之气。

三、文心化境，在书写中照见精神家园

先生之书，不仅是技法的展演，更是精神的外化。其 “艺术为人民，价值在奉献” 的理念，化作笔下的清丽温雅之气 —— 无论是呈现在襄阳街头的榜书，还是友人案头的小品，皆以书卷气浸润人心，如清风拂面，给人以美的陶冶。三集书册之中，五体兼备，风格多变，然皆以 “中和” 为归。楷书端严而不板滞，行书流美而不浮滑，隶书古朴而不乖戾，篆书高古而不晦涩。其榜书尤见气象，墨色浓淡相宜，线条刚柔相济，既具松竹之刚健，又含兰菊之清雅，于雄浑中见细腻，在开张中显含蓄，此乃“非中和而中和”的化境。

先生以笔书心，以墨寄情，将数十载文化积淀与人生阅历熔铸于毫端。观其字，如见其人，真率自然，不假雕饰，于奇正俯仰间悟人生之道，于笔墨流动中寻心灵之乐。此等书写，早已超越技法层面，成为自然生机与人文精神的交响，是 “修心” 与 “悟道” 的统一。

四、清风逸墨 在书法之道上的不懈追求

梁发国先生的书法之路，是对传统的敬畏与创新，是对 “中和之韵，自然之美” 的不懈追寻。其作雅俗共赏，既合文人审美之高格，又契大众情感之共鸣;其艺随物赋形，却始终以 “自然之道” 为宗，让笔墨随心性流淌，成就 “从心所欲不逾矩” 的自由境界。 愿先生笔底常聚清风，文心永得自在，在书法的田园里继续耕耘，为时代留下更多逸墨清韵，让观者于黑白世界中，得见中国文化的中和之美、永恒之光。

 

The Charm of Neutrality and the Beauty of Nature

Mr. Liang Faguo's Calligraphy Appreciation

Writing | Chen Hongji

Liang Faguo, a male student from Xiangyang, Hubei in 1952, was the former director of the Xiangyang County Education Commission. Title: Yimo Qingfeng, Yimo Scholar.

Now it is:

President of Xiangyang Calligraphy and Painting Art Institute:

Members of the Chinese Painting and Calligraphy Association:

Vice President of the People's Calligraphy and Painting Academy;

Academician of Beijing Fushengxuan Calligraphy and Painting Academy;

Signed calligrapher at Beijing Mingbao Pavilion;

CCTV Calligraphy and Painting Channel signed a calligrapher contract.

In recent years, I am grateful to Mr. Liang Faguo for presenting me with three volumes of "Yi Mo Shallow Rhyme," "Yi Mo Clear Wind," and "Yi Mo Wen Xin," all of which I have carefully read. Mr.'s calligraphy skills are inherited from the past, fully showcasing his calligraphy realm, vision, achievements, and value orientation. In conversations and exchanges, his calligraphy skills are often the focus of the topic. Yu has also observed the brilliance of the master's brushstrokes and creations multiple times, and has heard various calligraphers discuss the master's calligraphy skills. He feels that the master's calligraphy is profound, especially with the "harmony of harmony and the beauty of nature" running through it, which can be said to deeply embody the essence of traditional Chinese aesthetics.

1、 Rooted in tradition, forging spiritual genes through inheritance

The gentleman was fond of calligraphy and ink at a young age, and entered the Tao from cursive script. He read the famous calligraphy and asked about his master's school. For decades, I have been devoted to exploring the mysteries and charm of seal script, clerical script, regular script, cursive script, and cursive script, ultimately creating my own unique style.

Ten years ago, when I first saw his masterpiece of cursive writing and recorded Cen Shen's "Walking on the Horse River", I was amazed by the vastness of his writing. A single character is like a slanting bamboo, or a strong and straight soaring through the sky, with threads stretching and reflecting like bamboo shadows swaying between them, and strokes flowing like a gentle breeze passing through the forest. At the point where the qi flows through, the character group stretches like a bamboo whip, agile yet orderly, just like the branches and leaves of a bamboo forest with well rooted roots. This work uses bamboo as a metaphor for calligraphy, which not only captures the vitality of nature, but also conforms to the ingenious principles of ancient methods, demonstrating the master's profound grasp of the spirit of traditional brush and ink.

As the saying goes, "Calligraphy should be rooted in tradition, and must keep pace with the times, and innovate in the process of inheritance." It follows from Wang Xizhi's elegance, Su Shi's character, Mi Fu's pleasure, and Zhao Mengfu's beauty both in form and meaning. It blends the strengths of contemporary masters, gathers the essence of a hundred schools of thought, and expresses the spirit with magnificence and beauty. This is a vivid annotation of its "charm of neutralization".

Calligraphy is like a prism, reflecting the author's personality traits and embodying cultural genes and the spirit of the times. From Wang Xizhi's Wei Jin style to Lin Sanzhi's exploration of modernity, calligraphy has always been a spiritual carrier for "expressing one's temperament and shaping one's sorrow and music". As Sun Guoting once said, "To express one's emotions and form one's sorrow and joy," the value of calligraphy lies in elevating individual life experiences into eternal cultural symbols. Liang Faguo did not lose his way in inheritance, adhered to tradition and innovation, and wrote his own style. This is also the unique charm of Mr. Liang Faguo's calligraphy.

2、 The interplay of ink and brush leads to the concept of harmony in dialectics

The gentleman waved his head, and the center forward's strokes were as vigorous as bamboo sticks, penetrating the back of the paper with force, capturing the vigor of the "leaking marks" in the room; The swift sweep of the side edge resembles the flipping of bamboo leaves, agile and taking advantage of the momentum, showing a sense of emptiness and harmony in the white flying area. Its brushwork combines yin and yang, with a balance of hardness and softness, just like the movement of Tai Chi - the center is the bone, the side is the posture, the thick ink is solid, and the flying white is the void. The rise and fall of the strokes fully demonstrate the philosophical concept of "one yin and one yang is the Tao". The blank space between the lines is particularly evident in the master's ingenious technique of 'treating white as black'. As the character "mountain" is written, the three vertical peaks stand together like dangerous peaks, with the middle vertical inserted into the clouds, and the two sides slightly inclined like cliffs about to tilt. The blank space seems to have smoke and mist flowing, complementing the ink marks, as if miniature mountains and waters are rolling in a long scroll. This kind of blank space is not empty and lifeless, but forms an organic whole with brush and ink, like the borrowed scenery of a garden, creating a beautiful atmosphere of "where there is no painting, everything becomes a wonderful scene" through the interplay of reality and virtuality.

The book of the master shows a rhythm in the rhythm of lifting and pressing, with a sudden and slow pace that reveals the "dry and cracking autumn wind, moistening and containing spring rain"; Seeking harmony through the integration of movement and qi, the coherence of character groups is like a string of pearls connected together, as if broken but still connected, taking stillness in motion; Through the changes in ink color, it blends seamlessly, with shades of dry and wet complementing each other, creating a stable and elegant atmosphere that harmonizes form and temperament. Its structure is symmetrical and harmonious, with strokes of appropriate thickness and thickness. The horizontal strokes are not bold, while the vertical strokes stand like iron pillars without rigidity. It is dignified yet dynamic, strong yet elegant, exuding a sense of balance and impartiality throughout the entire piece.

3、 Transforming the realm of literature into a spiritual home through writing

A teacher's book is not only a display of techniques, but also an externalization of spirit. The concept of "art for the people, value in dedication" has been transformed into a clear and elegant atmosphere in his writings - whether it is the imperial examination books presented on the streets of Xiangyang or the sketches on the desks of friends, they are infused with the charm of books, like a gentle breeze brushing against the face, giving people a sense of beauty. Among the three volumes of books, there are five styles and a variety of styles, all of which are centered around "harmony". Regular script is strict but not rigid, running script is flowing but not slippery, clerical script is ancient but not rebellious, seal script is ancient but not obscure. The imperial edict is particularly impressive, with ink colors that are suitable for intensity and softness, and lines that are both firm and soft. It embodies both the strength of pine and bamboo, as well as the elegance of orchids and chrysanthemums. It is delicate in its grandeur and subtle in its opening, creating a state of "neither neutrality nor neutrality".

Mr. uses his pen to write with his heart and ink to express his emotions, melting decades of cultural accumulation and life experience into a single thread. Observing the characters is like seeing the person, authentic and natural, without false embellishment, understanding the way of life through the ups and downs, and seeking the joy of the soul through the flow of ink and brush. This kind of writing has already surpassed the level of technique and become a symphony of natural vitality and humanistic spirit, which is the unity of "cultivating the mind" and "enlightenment".

4、 The relentless pursuit of clean breeze and ink in the path of calligraphy

Mr. Liang Faguo's calligraphy journey is a reverence and innovation for tradition, and an unremitting pursuit of the "harmony of harmony and the beauty of nature". His works are appreciated by both the refined and the popular, which not only conforms to the high aesthetic standards of literati, but also resonates with the emotions of the masses; His art follows the shape of things, but always adheres to the principle of "the way of nature", allowing ink and brush to flow freely according to one's heart, achieving a state of freedom of "following one's heart without exceeding the norm". May the gentle breeze always gather at the base of Mr.'s pen, and his literary heart always be at ease. He may continue to cultivate in the countryside of calligraphy, leaving more ink and clear charm for the times, allowing viewers to see the beauty of Chinese culture's harmony and eternal light in the world of black and white.