張執權，，筆名：緻泉，号兩藝齋，青少年時期練習國術，先後師從國術名家北京京東樓梓莊村四代八卦掌名家何廣，字雨村老先生（程先師有龍弟子）和河北深州第三代八卦掌名家張子恒老先生（程殿華先師之關門弟子）二位先生習練程派八卦掌。數年後，學習書法，先後師從北工大教授呂雲峰先生和文史館館員許林邨老先生學習行書、隸書、魏碑，尤以魏碑見長，深得師長偏愛。
現為：
水墨丹青書畫院副院長
北京市朝陽區農民詩書畫協會會員
中國國典書畫院會員
中國華夏萬裡行書畫家協會會員
曲阜鴻儒書畫院特聘藝術家
中國書畫院會員
北京市朝陽區書畫協會理事
國家三部委考試考核書法家
中國教育電視台《水墨丹青》、《名家講座》欄目簽約藝術家
作品曾在瀚海四尺整紙（八平尺）以四萬六千元拍賣成交。
在保利大廈三尺整紙（五平尺）作品以三萬兩千元拍賣成交。
在國家圖書館四尺整紙（八平尺）作品以十三萬八千元拍賣成交。
以上均有記錄及報端登載。
2019年參加CETV中國教育電視台“潑墨中華情”書畫聯歡晚會并擷取改革開放40周年優秀作品獎。
中國教育電視台《潑墨中華情組委會》舉辦建國七十周年作品評選大賽中榮獲二等獎。
建國六十周年全國書畫大獎賽獲書法金獎，被中華書畫藝術家雜志聘為特邀顧問作品入編六十年甲子大典。
2021年6月參加潑墨中華情啟航新征程活動，現場書法作品創作獲獎。
作品在國内多省市參展，榮獲各類獎項，常見報端，經常參加國家畫院舉辦的全國優秀藝術名家作品展。如，國家圖書館、世紀壇等展出，也曾多次贈予老上司、老将軍以及港澳台、南韓友人、德國友人、和俄羅斯皇家畫院教授、被一些名流、企業家收藏。
本人願為中國國粹-書法獻出一份自己的微薄之力，願結交所愛好同行而共勉之。
光明日報藝術組委會專家評審團點評：
中國當代藝術巨匠-張執權
古人修書法，秘籍是筆法，筆法奧妙所獲，要麼得遇名師，經過心訣手授的傳承而得，要麼天才禀賦，遍觀碑帖，暗悟而自通。張執權書法用筆奇妙，變化萬千，沉與逸對應，粗與細顧念，穿插欹正，疾澀相間，通過中鋒與側鋒的完美排程，翻轉加鉸轉，一氣能呵成，亦可驟然蓄勢，能疾則疾，需慢則慢，通過暢與澀的互相推轉，讓書法線條完具自然萬象的豐富形态，導之如泉湧，頓之如山安，懸針垂露，驚雷奔石！書譜所言的書法物象之美，在他的筆法裡全面呈現，與孫過庭可謂是隔世千年的筆墨知音。
這說明張執權先生的書法，是盡得筆法精髓的修為成就，筆法之得，得益于他對曆代法帖的孜孜以求，楷書修顔柳筋骨，也意趙體的柔質風雅，再向前追，則是以二王書法側入中行翻漿擊水的筆法為基礎，建構自己行筆運氣寓寫虛實的書法哲學體系，讓書法在渾然蒼勁的塑造中，融生儒雅撲面的書卷氣息，既是我們平常随口可講，卻未必可得的“剛柔相濟”。他的書法勁道十足，卻不失質如帛緞的質感，正是因為映帶絲連的細膩逸動與鐵錐畫沙的力透紙背同時得到了完美塑造，這就是筆法得真訣的極緻表現！
張執權的魏碑書法，第一印象便是原碑原質，筆勁雄渾，筆畫如削，是以如舊碑拓寫的質感，這就是魏碑得其形的原因。再看，他的書法與原碑進一步對照，又有許多值得審美琢磨的新意象。碑字刻成，雖然雄勁，得是滞是難免。張執權寫魏碑，大處着手謹尊其形，但是細處之法多生變化，筆法以方整為顯像，再以圓潤為潛意，是以魏碑的書寫性得到非常好的提質強化，書法的筆墨意味更加鮮明，氣韻生動，這便是書寫而生的性靈，并不是照碑描碑的生硬。
他的書法諸書皆修，功顯魏碑。魏碑是隸書楷化程序中的重要承啟關接，在書法源變史上的地位相當重要，是以能成書法大功者，必然要對魏碑精琢深修。也正是基于這種認識，清代興起了碑學之風，成為與帖學并立垢書法修養路徑。隻是當代書壇魏碑因其難以習成，筆法筋骨化無窮，很難有人能像張執權前輩這樣，有才華并且有定力深師碑學，修得魏碑得筋立骨的正大氣象。
Zhang Zhiquan, pen name: Zhiquan, also known as Liangyi Zhai, practiced martial arts during his teenage years. He studied under two famous martial arts masters, He Guang, a fourth generation Bagua Zhang master from Louzizhuang Village in Beijing, and Mr. Zhang Ziheng, a third generation Bagua Zhang master from Shenzhou, Hebei (a closed door disciple of Master Cheng Dianhua). A few years later, he studied calligraphy under the guidance of Professor Lv Yunfeng from Beijing Institute of Technology and Mr. Xu Lincun, a librarian at the Cultural and Historical Museum, to learn running script, clerical script, and Wei steles, with a particular emphasis on Wei steles
Long, deeply favored by teachers.
Vice President of Ink Painting Academy
Member of the Farmers Poetry, Calligraphy and Painting Association in Chaoyang District, Beijing
Member of China National Classic Painting and Calligraphy Academy
Member of China Huaxia Wanli Calligraphy and Painting Association
Specially hired artist from Qufu Hongru Calligraphy and Painting Academy
Member of China Academy of Painting and Calligraphy
Director of Chaoyang District Calligraphy and Painting Association in Beijing
Examination and assessment of calligraphers in three national ministries and commissions
The signed artist works of the programs "Ink Painting" and "Famous Lectures" on China Education Television were auctioned off for 46000 yuan on a four foot paper (eight square foot) in Hanhai.
The three foot paper piece (five square foot) in Poly Building was auctioned off for 32000 yuan.
The four foot paper (eight square foot) artwork was auctioned off for 138000 yuan at the National Library.
All of the above are recorded and published in newspapers.
In 2019, participated in the "Splashing Chinese Emotions" Calligraphy and Painting Gala of CETV China Education Television and won the 40th anniversary of reform and opening up
Excellent work award. China Education Television's "Ink Splashing China Sentiment Organizing Committee" won the second prize in the 70th anniversary work selection competition of the founding of the People's Republic of China. The 60th Anniversary of the Founding of the People's Republic of China National Calligraphy and Painting Grand Prix won the calligraphy gold award, and was invited by the Chinese Calligraphy and Painting Artists Magazine as a special consultant for the work to be included in the 60th Anniversary Jiazi Ceremony.
In June 2021, participated in the Splash Ink Chinese Sentiment Sailing New Journey Activity and won an award for on-site calligraphy creation. The work has been exhibited in multiple provinces and cities in China, winning various awards, frequently appearing in newspapers, and frequently participating in national exhibitions of outstanding art masters held by the National Academy of Painting. For example, exhibitions such as the National Library and the Century Altar have also been presented multiple times to senior leaders, generals, friends from Hong Kong, Macao, Taiwan, South Korea, Germany, and professors from the Royal Academy of Painting in Russia. They have been collected by some celebrities and entrepreneurs. I am willing to contribute my humble efforts to the Chinese national treasure of calligraphy, and I am willing to make friends with all my hobbies and peers to encourage them together.
Comments from the Expert Jury of the Guangming Daily Art Organizing Committee:
Zhang Zhiquan, a giant of contemporary Chinese art
The secret to ancient Chinese calligraphy was the technique of brushwork. The intricacies of brushwork were either obtained by encountering famous masters and passing on the teachings of the Heart Technique, or by being gifted with the ability to read inscriptions and understand them in secret. Zhang Zhiquan's calligraphy strokes are wonderful, with countless changes, corresponding to heaviness and ease, with coarse and fine attention, interweaving and blending, with a mix of illness and astringency. Through the perfect coordination of the center and side forwards, flipping and hinge rotation, one can complete the stroke with one breath, and can also suddenly accumulate momentum. If one is sick, they will be sick, and if needed, they will be slow. Through the mutual promotion and rotation of smoothness and astringency, the calligraphy lines are fully formed in a natural and diverse form, guiding them like a spring, stopping them like a mountain, hanging needles hanging in the air, and thunder rushing towards the stone! The beauty of calligraphy objects described in the book manual is fully presented in his brushwork, and he can be said to be a close friend of Sun Guoting's brush and ink for thousands of years.This indicates that Mr. Zhang Zhiquan's calligraphy is a cultivation achievement that fully embodies the essence of his brushwork. The success of his brushwork is due to his diligent pursuit of ancient calligraphy. Regular script, with its beautiful appearance, willow tendons and bones, also embodies the soft and elegant style of Zhao's body. Moving forward, he builds his own calligraphy philosophy system that combines luck and virtuality in his strokes, based on the stroke technique of the two kings' calligraphy, which involves turning the oar and hitting the water in the middle row. This allows calligraphy to be shaped in a vigorous and vigorous manner, The blending of elegance and elegance in books is not only something we can talk about casually, but also a balance of strength and softness that we may not necessarily achieve. His calligraphy is full of strength, but it does not lose the texture of silk. It is precisely because of the delicate and flowing reflection of the ribbon and the penetrating power of the iron cone drawing sand on the back of the paper that it is perfectly shaped. This is the ultimate expression of the true essence of brushwork!
The first impression of Zhang Zhiquan's calligraphy on the Wei stele is the original quality of the stele, with powerful and sharp strokes, resulting in a texture similar to that of an old stele. This is why the Wei stele takes its shape. Looking again, his calligraphy further contrasts with the original monument, and there are many new images worth aesthetic contemplation. The inscription on the monument, although majestic, is inevitably stagnant. Zhang Zhiquan wrote the Wei stele and respectfully honored its shape, butThe method of meticulousness often undergoes changes, and the brushwork is based on square and rounded strokes, with rounded strokes as the underlying meaning. Therefore, the writing quality of Wei steles has been greatly enhanced, and the brushwork meaning of calligraphy is more distinct and vivid. This is the spirit born from writing, rather than the hardness of depicting steles based on them.
His calligraphy has been extensively studied, and his achievements are outstanding on the Wei stele. The Wei stele is an important link in the process of the transformation of clerical script into regular script, and its position in the history of calligraphy is quite important. Therefore, those who can achieve great success in calligraphy must carefully polish and deeply cultivate the Wei stele. It is precisely based on this understanding that the trend of stele study emerged in the Qing Dynasty as a path for cultivating calligraphy alongside calligraphy calligraphy. However, in the contemporary literary world, Wei steles are difficult to cultivate due to their intricate brushwork. It is difficult for anyone to have the talent and determination of Zhang Zhiquan's senior to deeply study and cultivate Wei steles with a strong and upright atmosphere.