【中国艺术名人汇】艺术家大可三人作品欣赏

大可三人（原名黄孝国），黄庭坚二十一世孙，风蚀体书法创始人，职业书法家，意象派篆刻家，散文学家，诗人。七零年生于孟子故里，字熙贤，墨大千，无二逸人。别署峄山居士、狂野墨鬼、三生墨，戏称黄罗锅、小丑、木石黄、墨痴。六岁习书，幼秉庭训，钟情笔墨，入神化帖，融万物之象、之气、之意，自成一体，曰：风蚀体，具有相对独立的笔墨语言，是过去的，也是现在的。

Da Ke San Ren (formerly known as Huang Xiaoguo), the 21st generation grandson of Huang Tingjian, the founder of wind erosion calligraphy, a professional calligrapher, an Imagist seal engraver, a prose scholar, and a poet. Born in the hometown of Mencius in the 1970s, with the courtesy name Xixian and the courtesy name Mo Daqian, there are no two elegant people. Don't label Yishan layman, wild ink ghost, and Sansheng ink, jokingly referred to as Huangluoguo, Joker, Wood and Stone Yellow, and Ink Idiot. At the age of six, he studied books, and at a young age, he grasped court training. He fell in love with writing and ink, and immersed himself in divine scriptures. He integrated the images, qi, and meanings of all things into one, which is called wind erosion. He has a relatively independent language of writing and ink, which is both past and present.

大可三人风蚀体书法不同于古人，有别于今人，书法气韵生动，神逸超然。他把自然与生命，技法与道法，哲学与经典，融合在一起，形成独特的笔墨体系和笔墨灵魂，其作品是无二的，独具的，难以模仿的。大可三人犹如当今书法界的一匹黑马，是敢于突破经典敢于超越自我的独行侠，是可以知见天地、道法自然、云汉大墨的灵慧者。他有诗酒墨鬼独具的大野神逸情怀，有舍我其谁的风蚀笔墨，有敢用小笔戳洞天的胆魄，有用灵魂生发笔墨，用笔墨辉煌灵魂的同心共和。人民日报全媒体平台两次深入专访大可三人，在人民日报网站播出后，反响热烈，好评如潮！大可三人的书法艺术是熠熠生辉的，他的风蚀体书法丰富了中国书法的多样性，为中国书法的发展注入了新样式，风蚀体已不再是简单的一种书体，更是一个书法符号，也是大可三人的艺术语言，更是馈赠这个时代的精品力作。

The wind erosion style calligraphy of Da Ke San Ren is different from ancient people and modern people. The calligraphy has a vivid and ethereal charm. He integrates nature and life, techniques and Taoism, philosophy and classics, forming a unique ink system and soul. His works are unparalleled, unique, and difficult to imitate. The three of them are like a dark horse in today's calligraphy world, daring to break through classics and surpass themselves as lone warriors. They are wise individuals who can see heaven and earth, follow the natural way of the Tao, and embody the essence of Chinese calligraphy. He has the unique wild and elegant sentiment of poetry, wine, and ink ghosts, the wind eroded brushstrokes of sacrificing oneself for others, the courage to poke holes in the sky with a small pen, and the spirit of using brushstrokes to create a brilliant and united republic of souls. The People's Daily's full media platform conducted two in-depth interviews with three people from Dake. After broadcasting on the People's Daily website, the response was enthusiastic and the reviews were overwhelming! The calligraphy art of Da Ke San is shining brightly. His wind eroded calligraphy enriches the diversity of Chinese calligraphy and injects new styles into the development of Chinese calligraphy. The wind eroded calligraphy is no longer just a simple form of calligraphy, but also a symbol of calligraphy. It is also the artistic language of Da Ke San and a masterpiece of this era.

大可三人是当代中国著名的书法家，他的书法风格被称为“风蚀体”。这种风格不仅体现了他对传统书法的深刻理解和精湛技艺，更融入了他对自然和生命的独特感悟。大可三人是黄庭坚的后裔，自幼受到庭训，对书法有着深厚的热爱和执着的追求。他的书法作品充满了个性和创新，同时也承载着深厚的文化内涵和历史渊源。

Da Kesan is a famous calligrapher in contemporary China, and his calligraphy style is known as the "Wind Erosion Style". This style not only reflects his profound understanding and exquisite skills in traditional calligraphy, but also incorporates his unique insights into nature and life. Da Ke and San are descendants of Huang Tingjian, who have received court training since childhood and have a deep love and persistent pursuit of calligraphy. His calligraphy works are full of personality and innovation, while also carrying profound cultural connotations and historical origins.

书法风格——风蚀体

Calligraphy Style - Wind Erosion Style

“风蚀体”是大可三人自创的书法风格，它既有传统书法的韵味，又有现代审美的感受。这种风格的特点在于其笔墨间的力度、节奏和变化，以及在创作过程中对自然环境的敏感度和借鉴。大可三人人通过长期的苦修和对自然的感悟，将这些元素融入到笔墨之中，形成了独特的艺术风貌。

"Wind erosion style" is a calligraphy style created by the three individuals of Dake, which combines the charm of traditional calligraphy with a modern aesthetic feeling. The characteristics of this style lie in the intensity, rhythm, and variation between the strokes, as well as the sensitivity and reference to the natural environment during the creative process. Through long-term hard work and understanding of nature, all three of them have integrated these elements into their writing, forming a unique artistic style.

创新意识与传统融合

Innovation consciousness and integration with tradition

大可三人的书法体现了强烈的创新意识，但他并非简单地颠覆或变革传统，而是通过对传统书法的深入研究和理解，进行完善、修正和深入探索。他追溯了甲骨文、象形字、魏碑、真草篆隶等不同书体的演变过程，并认识到“心象、生命与自然的结合”是书法创作的重要源泉。

The calligraphy of the three individuals reflects a strong sense of innovation, but they are not simply subverting or transforming tradition. Instead, they improve, revise, and explore traditional calligraphy through in-depth research and understanding. He traced the evolution process of different calligraphy styles such as oracle bone script, pictographic characters, Wei stele, and true grass seal script, and recognized that the combination of mind, life, and nature is an important source of calligraphy creation.

对自然的感悟

Perception of nature

大可三人喜欢独处，享受心神澄澈的情感世界。他经常走进深山、森林，从大自然中获得灵感和启示。他认为，每一个自然景观都可以转化为书法创作的元素，如悬崖峭壁、深岩巨壑、古柏密林等，这些元素在他的笔下生动地展现了自然的生命力和书法的美感。

The three of them like to be alone and enjoy a clear emotional world. He often walks into deep mountains and forests, seeking inspiration and inspiration from nature. He believes that every natural landscape can be transformed into elements of calligraphy creation, such as cliffs, deep rock ravines, ancient cypress forests, etc. These elements vividly demonstrate the vitality of nature and the beauty of calligraphy in his writing.

书法创作的过程

The process of calligraphy creation

大可三人的书法创作不仅仅是一种技术活动，更是一种心灵的体验和情感的表达。他在创作过程中，能够做到心境平和，心无杂念，从而达到与自然合一的境界。他的每一笔每一划都充满了情感和生命力，使得他的书法作品既有深厚的文化底蕴，又有强烈的时代气息。

The calligraphy creation of the three individuals is not only a technical activity, but also a spiritual experience and emotional expression. During the creative process, he was able to achieve a peaceful state of mind and a mind free from distractions, thus achieving a state of unity with nature. Every stroke and stroke of his calligraphy is filled with emotions and vitality, giving his works both a profound cultural heritage and a strong sense of the times.

社会影响与评价

Social impact and evaluation

大可三人的书法作品受到了广泛的关注和赞誉。他的“风蚀体”不仅在国内产生了深远的影响，也在国际上赢得了认可。他的作品不仅在艺术展览中展出，也被用于商标设计等领域，显示了他的书法不仅具有高度的艺术价值，也具有广泛的实用价值。

The calligraphy works of Da Ke and San have received widespread attention and praise. His "wind erosion body" has not only had a profound impact domestically, but also gained recognition internationally. His works are not only exhibited in art exhibitions, but also used in fields such as trademark design, demonstrating that his calligraphy not only has high artistic value but also extensive practical value.

大可三人是一位在书法领域有着卓越成就和深刻见解的艺术家。他的“风蚀体”不仅是对他个人艺术追求的体现，也是对中国传统文化的一种创新和发展。

Da Kesan is an artist with outstanding achievements and profound insights in the field of calligraphy. His "wind erosion body" is not only a reflection of his personal artistic pursuit, but also an innovation and development of traditional Chinese culture.

妙悟自然笔随意动

Miao Wu's natural pen moves freely

“田楷”写的规矩，受大众追捧，也引来很多非议，“吼书”写的狂野，备受批评，也开拓了大众的审美视野。两种书写样式，两个世界，引起多种思考，其中最受关注的话题，莫过于：“能否找到一种平衡？能否出现一种新的可能？”带着大众多年的期待，走近大可三人的书法，走近他的艺术人生，让人眼前一亮。（由于篆刻和书法是大可三人相辅相成的艺术，所以在此，仅以他的书法为例。）

The rules written by "Tian Kai" have been highly sought after by the public, but have also attracted a lot of criticism. The wild writing of "Hou Shu" has been criticized and has also broadened the public's aesthetic perspective. Two writing styles, two worlds, have sparked various thoughts, among which the most concerning topic is: "Can we find a balance? Can a new possibility emerge?" With years of public anticipation, approaching Da Ke's calligraphy and his artistic life, it is refreshing. (Due to the fact that seal cutting and calligraphy are mutually reinforcing arts, here we will only take his calligraphy as an example.)

创新是文化发展的动力，创新是人类智慧的灵魂，大可三人的书法也体现出一种创新意识，但是，不是颠覆、变革，更不是推到重来，而是，在传统书法中，进行完善、修正、深入所形成的创新风貌。

Innovation is the driving force of cultural development, and innovation is the soul of human wisdom. The calligraphy of Da Ke and San Ren also reflects a sense of innovation. However, it is not subversion, change, nor a comeback, but rather an innovative style formed through improvement, correction, and deepening in traditional calligraphy.

甲骨文从哪里来？象形字源于何处？魏碑的时代背景？真草篆隶的演变过程？追根溯源，虽然成因很多，然而，最不能忽视的是“心象、生命与自然的结合”。大可三人喜欢独处，喜欢面对内心，享受心神澄澈的情感世界，他曾多次走进深山、森林，每每置身于大自然的神奇之中，飘逸的遐想总是情不自禁，油然而生，那悬崖峭壁的走势、那深岩巨壑的体量、那古柏密林的华滋、那树干树根的苍劲……，无不在情感的交融中，迸发出迁想妙得的感悟，“树干的斑斑驳驳与篆刻的千年风化，有点神似”；“棱角分明的巨石转换面与魏碑的碑刻，有异曲同工之妙”；“穿插错落的树根与遒劲纵横的草书，让人折服”；“树叶的纷飞与飘舞，如跳跃的音符，美妙和谐”；“飞瀑流泉，也正演绎着高亢的旋律”……，大可三人在妙悟自然中，印证了传统书法“点如高峰坠石；横似千里阵云；竖像万岁枯藤”等等笔法的描述。尤其在面对自然之时，他一次次考量生命的意义、生命的色彩和生命的内涵，他想的很多，也走得很远。

Where does oracle bone script come from? Where do ideograms originate from? What is the historical background of the Wei stele? The evolution process of genuine grass seal script and clerical script? Tracing back to the source, although there are many causes, the most important thing that cannot be ignored is the combination of mind, life, and nature. Da Ke and his three companions enjoy solitude, facing their inner selves, and enjoying a clear emotional world. He has walked into deep mountains and forests multiple times, often immersed in the wonders of nature, and his graceful imagination always arises involuntarily. The trend of the cliffs and steep cliffs, the volume of the deep rock and huge ravines, the beauty of the ancient cypress forest, and the vitality of the tree trunk and roots all burst into a wonderful realization through the fusion of emotions. "The mottled and mottled tree trunk is somewhat similar to the thousand year weathering of seal carving."; The sharp and angular transformation surface of the giant stone and the inscriptions on the Wei stele have a similar effect; The interweaving of scattered tree roots and vigorous cursive script is awe inspiring; The fluttering and dancing of leaves, like jumping notes, are wonderful and harmonious; The flying waterfall and flowing spring are also performing a high melody... In their wonderful understanding of nature, the three of them confirmed the descriptions of traditional calligraphy techniques such as "dots like falling stones from peaks; horizontal like clouds from a thousand miles; vertical like withered vines for eternity". Especially when facing nature, he repeatedly considers the meaning, color, and connotation of life, and he thinks a lot and goes far.

几十年以来，他一直希望通过书法的形式去演绎一种浓缩的主题——生命与书法，这个主题随着时间的推移，愈加清晰，也更让他不能自拔，日月交替、岁月流逝，大可三人始终带着执拗一般的书法追求，一次次梦寐中的惊醒、一次次苦思冥想的挣扎，他以常人无法理解的坚韧，在传统与现代、形式与内涵等等书法审美结构中，捕捉游离的艺术胎息，然后，以心象为桥梁承接书法与自然生命之间的过渡，通过外师造化到中得心源再到笔底风华的转换，让眼中的自然生命融进书法内涵、书法形式、书法审美之中，力图寻找一种新的表达方式，他也似若找到属于自己的精彩——风蚀体。

For decades, he has hoped to interpret a condensed theme - life and calligraphy - through the form of calligraphy. This theme has become increasingly clear over time, and it has also made him unable to extricate himself. As the sun and moon alternate and time passes, the three of them have always carried a stubborn pursuit of calligraphy. They wake up from their dreams and struggle through contemplation time and time again. With a tenacity that ordinary people cannot understand, he captures the free artistic vitality in the aesthetic structure of calligraphy, such as tradition and modernity, form and connotation. Then, using mental images as a bridge, he undertakes the transition between calligraphy and natural life. Through external cultivation, he gains the source of his heart and finally reaches the bottom of his pen. The transformation of Hua integrates the natural life in the eyes into the connotation, form, and aesthetics of calligraphy, striving to find a new way of expression, He also seemed to find his own brilliance - the Wind Erosion Body.

“风蚀体”？这是一个寥寥长空的名字，难道有刀刻斧凿的内涵、有饱经风霜的故事？难道有跨越时空的深度、有心路历程的融合？应该都有，而且，还应该有超尘脱俗的时代感、有气象浑穆的生活气息。

"Wind erosion body"? This is a name that is fleeting, does it have the connotation of carving with knives, axes, and chisels, and a story that has been weathered by wind and rain? Is there a fusion of depth that transcends time and space, as well as a psychological journey? There should be all of them, and there should also be a sense of modernity and a solemn atmosphere of life.

大可三人的“风蚀体”是熔铸百家之长的质变，更是生命的色彩、人生的感悟、书法真谛的结晶，大可三人的“风蚀体”，凝聚着积年苦修的沧桑，充盈着潇散疏朗的风采，又彰显着一种舍我其谁的气势。

The "Wind Erosion Body" of the Big Three is a qualitative transformation of the strengths of a hundred schools of thought, as well as a crystallization of the colors of life, insights into life, and the true essence of calligraphy. The "Wind Erosion Body" of the Big Three embodies the vicissitudes of years of hard work, is filled with a carefree and elegant demeanor, and demonstrates a sense of selflessness.

事实上，大可三人的“风蚀体”是面对一切自然生命的笔底升华，这种笔底升华的状态正是践行了“书画同源”的艺术本体——源于自然，只是这种笔底升华唯有高水平的画家才能懂得其味，而书法家或受悟性的限制，或受笔底功夫的限制，想而不能达，用而不能尽，于是，只能望而却步，或者说，这种“源于自然”而归依于“书画同源”的笔底升华过程，只有极少的顶尖级书法家用到章法布局之中，使其书法达到了“书法如画”的妙境，如沈鹏、李铎，却很少有书法家用到字体的间架结构之中，因为这需要超迈的才情，尤其把“源于自然”的“书法如画”用到字体间架结构与章法布局的结合之中，更是凤毛麟角。大可三人正是巧妙地把情境、心象、笔法融为一体，形成互生奇妙之势，正是合理地把“源于自然”的“书法如画”用到间架结构之中，用到章法布局之中，并在章法布局与字体间架结构之间，形成独特的艺术韵致，才演绎出“风蚀体”的风貌。从中分体现出大可三人的高明之处。

In fact, the "wind erosion body" of the three individuals is the sublimation of the brush base facing all natural life. This sublimation of the brush base is precisely a practice of the artistic essence of "calligraphy and painting share the same origin" - originating from nature, but only high-level painters can understand its flavor. However, calligraphers are either limited by their understanding or the skill of the brush base, unable to achieve what they want or use it to the fullest. Therefore, they can only be deterred, or in other words, this sublimation process of the brush base that "originates from nature" and belongs to "calligraphy and painting share the same origin", only a few top-notch calligraphers are involved in the layout of their calligraphy, making their calligraphy reach the level of "calligraphy is like calligraphy". The wonderful realm of "painting", such as Shen Peng and Li Duo, is rarely incorporated into the framework structure of fonts by calligraphers, as this requires extraordinary talent, especially in the depiction of "calligraphy originating from nature" as "picturesque" The combination of font spacing structure and layout is even more rare. It is precisely through the clever integration of context, mental imagery, and brushstrokes that the three of Da Ke cleverly create a wonderful trend of mutual growth. It is precisely through the reasonable use of the "calligraphy like painting" that "originates from nature" in the framework structure, the use of the structure layout, and the formation of a unique artistic charm between the structure layout and the font framework structure, that the style of the "wind eroded body" is portrayed. The middle section reflects the brilliance of the three individuals.

在深山老林中拢天地精华，大可三人得到了灵魂的浸润，然而，为了得到更多风浪的洗濯，大可三人还在集市中，在川流不息的人群中，跳着舞、唱着歌、打着太极、写着舞一般的心性，飞动的线条伴随着湛发的灵心，他凝神静气，闹中，渐入佳境，乱中，物我两忘，书法与场景的互动，他境由心生，心随意转，字里行间里流露出放浪形骸的畅快，流露出怦然心动的亢奋，流露出心满意足的惬意……，一切情绪都在笔端流淌，默默无声，情感与风神齐飞。在车水马龙之中，大可三人心无旁骛地享受着自己的精神独处，提炼着源于生活，源于自然而服务于书法如画的元素，这是否就契合了钟繇、张旭、怀素等书法巨匠的神采呢？答案是肯定的。当然，也有人会说“故弄玄虚”，可是，没有几把刷子，从何而“玄”？不服，麻烦您“玄”一个试试。遥想当年，钟繇“阔谈疾书”，张旭“始闻公主与担夫争道而得笔法,后观公孙大娘舞剑而入妙”，怀素“忽然绝叫三五声，满壁纵横千万字”，也一定遇到如此这般的质疑，结果呢？时间老人给出了一个客观的评判标准。

Gathering the essence of heaven and earth in the deep mountains and forests, Dake three people have been infiltrated by their souls. However, in order to get more wind and waves, Dake three people are still in the market. In the endless flow of people, they dance, sing, play Tai Chi, and write dance like minds. Flying lines are accompanied by exquisite spiritual heart. He is calm, noisy, getting into a better situation. In chaos, things and I forget. The interaction between calligraphy and the scene, he is living from the heart, the heart turns at will, and the lines reveal the carefree of the wild, and the exciting feeling, showing the contentment of the heart...... All emotions flow in the pen, silently, and emotions fly with the wind and spirit. Amidst the hustle and bustle of traffic, Da Ke and his three companions are indulging in their spiritual solitude without any distractions, extracting elements that originate from life, nature, and serve the picturesque nature of calligraphy. Does this align with the brilliance of calligraphy masters such as Zhong Yao, Zhang Xu, and Huai Su? The answer is yes. Of course, some people may say "making things mysterious", but with only a few brushes, why do they become "mysterious"? I'm not satisfied, could you please give it a try. Looking back on those days, Zhong Yao "talked extensively about writing," Zhang Xu "first heard about the princess and her husband's struggle with the Tao and learned how to write, and later watched Gongsun and his wife dance swords and enter the realm of wonder." Huai Su "suddenly stopped shouting three or five times, and wrote tens of millions of words on the wall." He must have encountered such doubts, what was the result? The Time Elder provided an objective criterion for evaluation.

大可三人在深山、森林中，神往天地之间，在繁华的人群中，求索人间百态，他还在夜幕清灯下，从传统文化中，寻找答案，比如，他从太极中，探寻一种平衡的力量，刚与柔、动与静、虚与实，他汲取滋养，吐纳精神。

In the deep mountains and forests, Da Ke and his three companions yearn for the world and explore the various forms of the human world amidst the bustling crowds. He also searches for answers from traditional culture under the clear lights of the night. For example, he explores a power of balance in Tai Chi, where strength and softness, movement and stillness, and emptiness and reality nourish and nourish the spirit.

任何成功之路，没有捷径可言，必须脚踏实地，通往成功的道路上，也一定不要驻足于前人停下脚步的地方，要勇敢地开荒拓土，寻找不被发现的领域，哪怕走偏了，也浓缩着人生的智慧。大可三人恪守着传统正脉之路，不断从自然生命状态中、从生活中汲取各种元素融入自己的艺术之中，耐住独上高楼的冷清和寂寞，收获了“说不完、道不尽”的经验，领略了“无限风光在险峰”的精彩。

There is no shortcut to any path of success, and one must be down-to-earth. On the road to success, one must not stop at the place where predecessors have stopped. Instead, one must bravely explore and search for undiscovered areas. Even if one goes astray, it condenses the wisdom of life. The three of them adhere to the traditional path of righteousness, constantly drawing various elements from natural life and life to integrate into their own art, enduring the loneliness and desolation of climbing tall buildings alone, gaining endless experiences and experiencing the brilliance of "infinite scenery on dangerous peaks".

如果说传统文化、书法功力是大可三人的艺术根基，生活、自然、生命、精神是大可三人的艺术源泉，那么，如何演绎出笔端风华，才是大可三人的立足之本。带着百般挑剔的眼神，去审视大可三人的“风蚀体”。

If traditional culture and calligraphy skills are the artistic foundation of Da Ke San, and life, nature, life, and spirit are the artistic sources of Da Ke San, then how to interpret the elegance of brushwork is the foundation of Da Ke San's foundation. With all kinds of picky eyes, examine the "wind erosion body" of the three of them.

从章法布局中，看大可三人的书法，如诗、如画的艺术气息使观者油然而生秋水视底的心境，沁人、醉心。笔尖在宣纸上游走，充满视觉张力，施墨如泉，有张旭之意；变化多端，有怀素之品；充沛流畅，有苏轼之姿；调配自如，有米芾之貌……，赏心悦目，品质高级。字里行间里，有情、有景，爽爽朗朗，大大方方，章法布局里，有阴阳、有哲学、有人生，这是孔孟之道、老庄精神，这也是心境、人品、修养的折射。

From the layout of the composition, the calligraphy of the three characters, such as Da Ke, exudes an artistic atmosphere of poetry and painting, which naturally evokes a mood of autumn water viewing the bottom, refreshing and intoxicating. The pen tip walks upstream of rice paper, full of visual tension, and the ink is like a spring, with the meaning of Zhang Xu; Diverse and versatile, with a nostalgic quality; Abundant and fluent, with the demeanor of Su Shi; Easy to adjust, with the appearance of Mi Fu... pleasing to the eye and of high quality. Between the lines, there is emotion and scenery, refreshing and cheerful, broad and square, and a systematic layout that includes yin and yang, philosophy, and life. This is the way of Confucius and Mencius, the spirit of Laozi and Zhuangzi, and it is also a reflection of one's mood, character, and cultivation.

透过章法布局，细品每一个字，有华美卓绝的，如窈窕淑女；有神采飘举的，如谦谦君子；有憨态可掬的，如髫韶童稚……，形态各有侧重，各呈风采，即便把各具形态的字体组成一篇创作，大可三人也可以做到因地制宜，布局得当，不局促、不跳跃、不娇柔、不做作，游刃有余，有的放矢。

Through the layout of the rules and regulations, each word is meticulously crafted, creating a magnificent and outstanding style, like a graceful and graceful lady; A person with a graceful demeanor, like a humble gentleman; Some are adorable, such as Tiaoshao and childish, each with its own emphasis and style. Even if different forms of fonts are combined to create a piece, the three of them can still adapt to local conditions, layout appropriately, and not be cramped, jumping, delicate, or artificial, with ease and ease.

从“风蚀体”的间架结构中，可以发现，大可三人熔铸多家的特点，比如碑帖融合的精华、比如“二王”连韵的气质、比如黄庭坚的开合、比如赵孟頫的风神、傅青主的磅礴，虽无意为之，却随处可见，这说明大可三人的“风蚀体”源于深厚的传统功力。但是，大可三人的“风蚀体”，绝不呆板地、拘谨地死守一家一体，而是触类旁通，臻妙辉映。他在传统的基础上，凭借着纯熟的书写功底，集诸家优长，放笔于手底，然后依仗着对书法的独到才情，加强笔法的灵动性，使字体显得很生动，很有冲击力，甚至很夸张，乍一看，仿佛在颠覆传统，又仿佛在变革传统，事实并非如此，而是在传统中深挖，在传统的共性审美中，挖掘出一种个性的书法艺术样式，带有能量、带有穿透性。比如，他通过把探囊取物一般的传统书法名家的特点拢于心象，让笔尖的提按、力量、方向随着心意的变化而变化，开张、顿势、转使、勾挑、牵丝、欤侧，自由生发，充满丰富的意态，从而最大限度地发挥传统书法具体笔画的视觉张力，以此强化字体间架结构的艺术表现，让书法成为真正的艺术，成为感人的视觉享受。毫无疑问，大可三人带有个性的书法样式——风蚀体，每一笔都来源于传统，不同的是，他强化了传统笔画的美感，并把这种美感以精修入境的方式，凝固于自己的书法风格，然后，在几十年的渐进、渐悟、渐变中，实现了蜕变。

From the shelf structure of "Wind Erosion Body", we can see that the three of them have forged many characteristics, such as the essence of the integration of tablets and stickers, the temperament of "Two Kings" with rhymes, the opening and closing of Huang Tingjian, the wind spirit of Zhao Mengfu, and the majesty of Fu Qingzhu. Although they did not intend to do it, they can be seen everywhere, which shows that the "Wind Erosion Body" of the three of them is derived from profound traditional skills. However, the "wind erosion body" of the three individuals is not rigidly and rigidly adhering to the unity of the family, but rather imitating each other and shining brilliantly. On the basis of tradition, he relied on his proficient writing skills, gathered the strengths and weaknesses of various schools, and placed his pen in his hand. Then, relying on his unique talent for calligraphy, he strengthened the flexibility of his brushwork, making the font appear very vivid, impactful, and even exaggerated. At first glance, it seems like he is subverting tradition, but also changing it. In fact, this is not the case. Instead, he dug deep into tradition, and in the common aesthetic of tradition, he excavated a unique calligraphy art style with energy and penetration. For example, he combines the characteristics of traditional calligraphy masters who are like exploring objects with his mind, allowing the lifting and pressing of the pen tip, power, and direction to change with the change of mind. He opens, pauses, turns, hooks, pulls, and flips freely, full of rich imagery. This maximizes the visual tension of specific strokes in traditional calligraphy, strengthens the artistic expression of the font shelf structure, and makes calligraphy a true art, becoming a touching visual enjoyment. Undoubtedly, the three of them have their own unique calligraphy style - the Wind Erosion Style, each stroke originating from tradition. What sets them apart is that they enhance the beauty of traditional strokes and solidify this beauty in their own calligraphy style through refinement. Then, through decades of gradual, gradual, and gradual changes, they achieve transformation.

再看“风蚀体”的线条，笔意连连，有韵律，劲韧柔逸，有节奏，轻与缓、急与迟、快与慢，拿捏到位，恰到好处。线条的跌宕，似若飞动，又很有秩序，似若惊雷，又洋溢着强烈的视觉美感，那柔与刚的结合，在对立中，保持了和谐；那方与圆的生辉，在丰富中，又彰显着鲜明；那正与斜的互补，可以看到狂放，但又不失法度；那静与动的呼应，可以看到潇洒，又在无意之间，侧露真功。笔随心迹，情感饱满，落笔有意，鉴者生情。

Looking at the lines of the "wind erosion body" again, the brushwork is continuous, rhythmic, strong and flexible, rhythmic, light and slow, urgent and late, fast and slow, well grasped, just right. The ups and downs of the lines, like flying, yet very orderly, like thunder, yet exuding a strong visual beauty. The combination of softness and hardness, in opposition, maintains harmony; The radiance of the square and the circle, amidst their richness, highlights their distinctiveness; The complementarity between positive and oblique can be seen as wild, but without losing the law; The echo of stillness and movement can be seen as graceful, yet inadvertently revealing true skills. The pen follows the heart, the emotions are full, the brushstrokes are intentional, and the reader generates emotions.

必须要说明的是，大可三人，北宋书法家黄庭坚的后人，源远流长传统文化在血脉中流淌，在大可三人的记忆中，爷爷、父亲都很崇尚传统文化。生活在弥漫着浓郁文化气息的家庭，青少时期，大可三人就在父亲、伯父的教诲中，慢慢润染书法艺术，稍大，又先后跟随姑父、书法家岳庆隆系统学习书法。大可三人从颜体入手，童子功源于颜、欧、柳、赵，涉猎翁、成、刘、铁诸家，并上溯篆隶、魏碑，精研苏、黄、米、蔡等行书巨匠，深悟张旭、怀素等草书大能，广约博取，取舍提炼，又在舒同、启功的字体中，用情很浓，下过苦功，最后，他才落脚于“风蚀体”。在学习传统方面，磨穿铁砚地临帖，博闻强记地读帖，大可三人与当代很多功成名就的书法家一样，所不同的是，大可三人不像很多书法家那样，以临多少碑帖，读多少贴，彰显自己的勤奋，大可三人在临帖、读帖中，坚持用心去感悟，认真用心去对话，不求多，而求精，这与那些“死临帖”的书匠们有着最本质的区别，同时，他更多地专注于聆听身边的声音，捕捉生活中的元素，如跳舞、如歌唱、如打太极、如在山林中静养、如在闹市中安定心神，他从中总结提炼“风蚀体”的艺术元素，这一切皆没有规律可寻，也没有前师参照，只能自己研究。期间，大可三人常常有突破不了的迷茫，也常常有百思不解的痛苦，然而，每一次迷茫都是他前进的基石，因为迷茫可以促使他一遍遍走进传统，溯源古法，神会大师，答疑解惑，每一次痛苦也都是他接近成功的跨越，因为痛苦，他才能一次次旁参近现代名家，握手贤达，弥补自己的短板。迷茫伴随着希望，痛苦伴随着顿悟，他持之以恒，坚忍不拔，终于在柳暗花明之时，发现了豁然开朗的风景。

It must be noted that the three of them, descendants of the calligrapher Huang Tingjian of the Northern Song Dynasty, have a long history of traditional culture flowing through their bloodline. In the memories of the three of them, their grandfather and father both highly value traditional culture. Living in a family filled with a strong cultural atmosphere, during their youth, Da Ke and his three companions gradually immersed themselves in the art of calligraphy under the guidance of their father and uncle. As they grew older, they followed their uncle and calligrapher Yue Qinglong to systematically learn calligraphy. Da Ke and his three companions started with Yan Ti. Tong Zi Gong originated from Yan, Ou, Liu, and Zhao, and delved into various families such as Weng, Cheng, Liu, and Tie. They also traced back to the seal script, Li, and Wei inscriptions, and meticulously studied the cursive script masters of Su, Huang, Mi, Cai, and others. They deeply understood the cursive script abilities of Zhang Xu, Huai Su, and others, and extensively studied and refined them. In addition, in the fonts of Shu Tong and Qi Gong, they used their emotions and worked hard. Finally, they finally settled in the "wind erosion style". In terms of learning tradition, the three of them, like many contemporary calligraphers who have achieved great success, grind through their iron inkstones to imitate calligraphy and read extensively. The difference is that unlike many calligraphers, the three of them demonstrate their diligence by observing and reading as many inscriptions and stickers as possible. In their practice of copying and reading calligraphy, the three of them insist on understanding with their hearts, engaging in dialogue with their hearts, not seeking too much, but striving for excellence. This is the most essential difference from those calligraphers who die in copying calligraphy. At the same time, they focus more on listening to the voices around them, capturing elements of life, such as dancing, singing, practicing Tai Chi, and so on. Resting in the mountains and forests, like calming down in the bustling city, he summarized and refined the artistic elements of "wind erosion" from them. There were no patterns to follow, nor were there any references from his predecessors, so he could only study on his own. During this period, the three of them often had unbreakable confusion and perplexing pain. However, each confusion was the cornerstone of his progress, as it could prompt him to repeatedly enter the tradition, trace the origin of ancient methods, master of divination, answer questions and solve doubts. Each pain was also a leap towards success. Because of pain, he was able to repeatedly visit modern and contemporary masters, shake hands with wisdom, and make up for his shortcomings. Confusion accompanied by hope, pain accompanied by enlightenment. He persevered and persevered, finally discovering the suddenly bright scenery in the dark willows and bright flowers.

大可三人通过深厚的书写功力、天生的书法才情对自然界一切生命进行提纯，并把提纯的精华与传统文化、人生感悟、处世哲学等等多种元素，统合一体，从而呈现出独具个人特质的“风蚀体”，光芒闪烁，熠熠生辉。

The three Dake people purified all life in nature through their profound writing skills and natural calligraphy talents, and integrated the purified essence with traditional culture, life perception, life philosophy and other elements, thus presenting a unique "wind erosion body", shining and shining.

（文/桑干）

(Text/Sanggan)