大可三人（原名黃孝國），黃庭堅二十一世孫，風蝕體書法創始人，職業書法家，意象派篆刻家，散文學家，詩人。七零年生于孟子故裡，字熙賢，墨大千，無二逸人。别署峄山居士、狂野墨鬼、三生墨，戲稱黃羅鍋、小醜、木石黃、墨癡。六歲習書，幼秉庭訓，鐘情筆墨，入神化帖，融萬物之象、之氣、之意，自成一體，曰：風蝕體，具有相對獨立的筆墨語言，是過去的，也是現在的。
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.
大可三人風蝕體書法不同于古人，有别于今人，書法氣韻生動，神逸超然。他把自然與生命，技法與道法，哲學與經典，融合在一起，形成獨特的筆墨體系和筆墨靈魂，其作品是無二的，獨具的，難以模仿的。大可三人猶如當今書法界的一匹黑馬，是敢于突破經典敢于超越自我的獨行俠，是可以知見天地、道法自然、雲漢大墨的靈慧者。他有詩酒墨鬼獨具的大野神逸情懷，有舍我其誰的風蝕筆墨，有敢用小筆戳洞天的膽魄，有用靈魂生發筆墨，用筆墨輝煌靈魂的同心共和。人民日報全媒體平台兩次深入專訪大可三人，在人民日報網站播出後，反響熱烈，好評如潮！大可三人的書法藝術是熠熠生輝的，他的風蝕體書法豐富了中國書法的多樣性，為中國書法的發展注入了新樣式，風蝕體已不再是簡單的一種書體，更是一個書法符号，也是大可三人的藝術語言，更是饋贈這個時代的精品力作。
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.
大可三人是當代中國著名的書法家，他的書法風格被稱為“風蝕體”。這種風格不僅展現了他對傳統書法的深刻了解和精湛技藝，更融入了他對自然和生命的獨特感悟。大可三人是黃庭堅的後裔，自幼受到庭訓，對書法有着深厚的熱愛和執着的追求。他的書法作品充滿了個性和創新，同時也承載着深厚的文化内涵和曆史淵源。
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.
書法風格——風蝕體
Calligraphy Style - Wind Erosion Style
“風蝕體”是大可三人自創的書法風格，它既有傳統書法的韻味，又有現代審美的感受。這種風格的特點在于其筆墨間的力度、節奏和變化，以及在創作過程中對自然環境的敏感度和借鑒。大可三人人通過長期的苦修和對自然的感悟，将這些元素融入到筆墨之中，形成了獨特的藝術風貌。
"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.
創新意識與傳統融合
Innovation consciousness and integration with tradition
大可三人的書法展現了強烈的創新意識，但他并非簡單地颠覆或變革傳統，而是通過對傳統書法的深入研究和了解，進行完善、修正和深入探索。他追溯了甲骨文、象形字、魏碑、真草篆隸等不同書體的演變過程，并認識到“心象、生命與自然的結合”是書法創作的重要源泉。
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.
對自然的感悟
Perception of nature
大可三人喜歡獨處，享受心神澄澈的情感世界。他經常走進深山、森林，從大自然中獲得靈感和啟示。他認為，每一個自然景觀都可以轉化為書法創作的元素，如懸崖峭壁、深岩巨壑、古柏密林等，這些元素在他的筆下生動地展現了自然的生命力和書法的美感。
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.
書法創作的過程
The process of calligraphy creation
大可三人的書法創作不僅僅是一種技術活動，更是一種心靈的體驗和情感的表達。他在創作過程中，能夠做到心境平和，心無雜念，進而達到與自然合一的境界。他的每一筆每一劃都充滿了情感和生命力，使得他的書法作品既有深厚的文化底蘊，又有強烈的時代氣息。
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.
社會影響與評價
Social impact and evaluation
大可三人的書法作品受到了廣泛的關注和贊譽。他的“風蝕體”不僅在國内産生了深遠的影響，也在國際上赢得了認可。他的作品不僅在藝術展覽中展出，也被用于商标設計等領域，顯示了他的書法不僅具有高度的藝術價值，也具有廣泛的實用價值。
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.
大可三人是一位在書法領域有着卓越成就和深刻見解的藝術家。他的“風蝕體”不僅是對他個人藝術追求的展現，也是對中國傳統文化的一種創新和發展。
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 筆随意動
Miao Wu's natural pen moves freely
“田楷”寫的規矩，受大衆追捧，也引來很多非議，“吼書”寫的狂野，備受批評，也開拓了大衆的審美視野。兩種書寫樣式，兩個世界，引起多種思考，其中最受關注的話題，莫過于：“能否找到一種平衡？能否出現一種新的可能？”帶着大衆多年的期待，走近大可三人的書法，走近他的藝術人生，讓人眼前一亮。（由于篆刻和書法是大可三人相輔相成的藝術，是以在此，僅以他的書法為例。）
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.)
創新是文化發展的動力，創新是人類智慧的靈魂，大可三人的書法也展現出一種創新意識，但是，不是颠覆、變革，更不是推到重來，而是，在傳統書法中，進行完善、修正、深入所形成的創新風貌。
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.
甲骨文從哪裡來？象形字源于何處？魏碑的時代背景？真草篆隸的演變過程？追根溯源，雖然成因很多，然而，最不能忽視的是“心象、生命與自然的結合”。大可三人喜歡獨處，喜歡面對内心，享受心神澄澈的情感世界，他曾多次走進深山、森林，每每置身于大自然的神奇之中，飄逸的遐想總是情不自禁，油然而生，那懸崖峭壁的走勢、那深岩巨壑的體量、那古柏密林的華滋、那樹幹樹根的蒼勁……，無不在情感的交融中，迸發出遷想妙得的感悟，“樹幹的斑斑駁駁與篆刻的千年風化，有點神似”；“棱角分明的巨石轉換面與魏碑的碑刻，有異曲同工之妙”；“穿插錯落的樹根與遒勁縱橫的草書，讓人折服”；“樹葉的紛飛與飄舞，如跳躍的音符，美妙和諧”；“飛瀑流泉，也正演繹着高亢的旋律”……，大可三人在妙悟自然中，印證了傳統書法“點如高峰墜石；橫似千裡陣雲；豎像萬歲枯藤”等等筆法的描述。尤其在面對自然之時，他一次次考量生命的意義、生命的色彩和生命的内涵，他想的很多，也走得很遠。
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.
幾十年以來，他一直希望通過書法的形式去演繹一種濃縮的主題——生命與書法，這個主題随着時間的推移，愈加清晰，也更讓他不能自拔，日月交替、歲月流逝，大可三人始終帶着執拗一般的書法追求，一次次夢寐中的驚醒、一次次苦思冥想的掙紮，他以常人無法了解的堅韌，在傳統與現代、形式與内涵等等書法審美結構中，捕捉遊離的藝術胎息，然後，以心象為橋梁承接書法與自然生命之間的過渡，通過外師造化到中得心源再到筆底風華的轉換，讓眼中的自然生命融進書法内涵、書法形式、書法審美之中，力圖尋找一種新的表達方式，他也似若找到屬于自己的精彩——風蝕體。
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.
“風蝕體”？這是一個寥寥長空的名字，難道有刀刻斧鑿的内涵、有飽經風霜的故事？難道有跨越時空的深度、有心路曆程的融合？應該都有，而且，還應該有超塵脫俗的時代感、有氣象渾穆的生活氣息。
"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“風蝕體”是熔鑄百家之長的質變，更是生命的色彩、人生的感悟、書法真谛的結晶，大可三人的“風蝕體”，凝聚着積年苦修的滄桑，充盈着潇散疏朗的風采，又彰顯着一種舍我其誰的氣勢。
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.
事實上，大可三人的“風蝕體”是面對一切自然生命的筆底升華，這種筆底升華的狀态正是踐行了“書畫同源”的藝術本體——源于自然，隻是這種筆底升華唯有高水準的畫家才能懂得其味，而書法家或受悟性的限制，或受筆底功夫的限制，想而不能達，用而不能盡，于是，隻能望而卻步，或者說，這種“源于自然”而歸依于“書畫同源”的筆底升華過程，隻有極少的頂尖級書法家用到章法布局之中，使其書法達到了“書法如畫”的妙境，如沈鵬、李铎，卻很少有書法家用到字型的間架結構之中，因為這需要超邁的才情，尤其把“源于自然”的“書法如畫”用到字型間架結構與章法布局的結合之中，更是鳳毛麟角。大可三人正是巧妙地把情境、心象、筆法融為一體，形成互生奇妙之勢，正是合理地把“源于自然”的“書法如畫”用到間架結構之中，用到章法布局之中，并在章法布局與字型間架結構之間，形成獨特的藝術韻緻，才演繹出“風蝕體”的風貌。從中分展現出大可三人的高明之處。
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.
在深山老林中攏天地精華，大可三人得到了靈魂的浸潤，然而，為了得到更多風浪的洗濯，大可三人還在集市中，在川流不息的人群中，跳着舞、唱着歌、打着太極、寫着舞一般的心性，飛動的線條伴随着湛發的靈心，他凝神靜氣，鬧中，漸入佳境，亂中，物我兩忘，書法與場景的互動，他境由心生，心随意轉，字裡行間裡流露出放浪形骸的暢快，流露出怦然心動的亢奮，流露出心滿意足的惬意……，一切情緒都在筆端流淌，默默無聲，情感與風神齊飛。在車水馬龍之中，大可三人心無旁骛地享受着自己的精神獨處，提煉着源于生活，源于自然而服務于書法如畫的元素，這是否就契合了鐘繇、張旭、懷素等書法巨匠的神采呢？答案是肯定的。當然，也有人會說“故弄玄虛”，可是，沒有幾把刷子，從何而“玄”？不服，麻煩您“玄”一個試試。遙想當年，鐘繇“闊談疾書”，張旭“始聞公主與擔夫争道而得筆法,後觀公孫大娘舞劍而入妙”，懷素“忽然絕叫三五聲，滿壁縱橫千萬字”，也一定遇到如此這般的質疑，結果呢？時間老人給出了一個客觀的評判标準。
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，神往天地之間，在繁華的人群中，求索人間百态，他還在夜幕清燈下，從傳統文化中，尋找答案，比如，他從太極中，探尋一種平衡的力量，剛與柔、動與靜、虛與實，他汲取滋養，吐納精神。
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，沒有捷徑可言，必須腳踏實地，通往成功的道路上，也一定不要駐足于前人停下腳步的地方，要勇敢地開荒拓土，尋找不被發現的領域，哪怕走偏了，也濃縮着人生的智慧。大可三人恪守着傳統正脈之路，不斷從自然生命狀态中、從生活中汲取各種元素融入自己的藝術之中，耐住獨上高樓的冷清和寂寞，收獲了“說不完、道不盡”的經驗，領略了“無限風光在險峰”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".
如果說傳統文化、書法功力是大可三人的藝術根基，生活、自然、生命、精神是大可三人的藝術源泉，那麼，如何演繹出筆端風華，才是大可三人的立足之本。帶着百般挑剔的眼神，去審視大可三人的“風蝕體”。
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.
從章法布局中，看大可三人的書法，如詩、如畫的藝術氣息使觀者油然而生秋水視底的心境，沁人、醉心。筆尖在宣紙上遊走，充滿視覺張力，施墨如泉，有張旭之意；變化多端，有懷素之品；充沛流暢，有蘇轼之姿；調配自如，有米芾之貌……，賞心悅目，品質進階。字裡行間裡，有情、有景，爽爽朗朗，大大方方，章法布局裡，有陰陽、有哲學、有人生，這是孔孟之道、老莊精神，這也是心境、人品、修養的折射。
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.
透過章法布局，細品每一個字，有華美卓絕的，如窈窕淑女；有神采飄舉的，如謙謙君子；有憨态可掬的，如髫韶童稚……，形态各有側重，各呈風采，即便把各具形态的字型組成一篇創作，大可三人也可以做到因地制宜，布局得當，不局促、不跳躍、不嬌柔、不做作，遊刃有餘，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.
從“風蝕體”的間架結構中，可以發現，大可三人熔鑄多家的特點，比如碑帖融合的精華、比如“二王”連韻的氣質、比如黃庭堅的開合、比如趙孟頫的風神、傅青主的磅礴，雖無意為之，卻随處可見，這說明大可三人的“風蝕體”源于深厚的傳統功力。但是，大可三人的“風蝕體”，絕不呆闆地、拘謹地死守一家一體，而是觸類旁通，臻妙輝映。他在傳統的基礎上，憑借着純熟的書寫功底，集諸家優長，放筆于手底，然後依仗着對書法的獨到才情，加強筆法的靈動性，使字型顯得很生動，很有沖擊力，甚至很誇張，乍一看，仿佛在颠覆傳統，又仿佛在變革傳統，事實并非如此，而是在傳統中深挖，在傳統的共性審美中，挖掘出一種個性的書法藝術樣式，帶有能量、帶有穿透性。比如，他通過把探囊取物一般的傳統書法名家的特點攏于心象，讓筆尖的提按、力量、方向随着心意的變化而變化，開張、頓勢、轉使、勾挑、牽絲、欤側，自由生發，充滿豐富的意态，進而最大限度地發揮傳統書法具體筆畫的視覺張力，以此強化字型間架結構的藝術表現，讓書法成為真正的藝術，成為感人的視覺享受。毫無疑問，大可三人帶有個性的書法樣式——風蝕體，每一筆都來源于傳統，不同的是，他強化了傳統筆畫的美感，并把這種美感以精修入境的方式，凝固于自己的書法風格，然後，在幾十年的漸進、漸悟、漸變中，實作了蛻變。
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“風蝕體”的線條，筆意連連，有韻律，勁韌柔逸，有節奏，輕與緩、急與遲、快與慢，拿捏到位，恰到好處。線條的跌宕，似若飛動，又很有秩序，似若驚雷，又洋溢着強烈的視覺美感，那柔與剛的結合，在對立中，保持了和諧；那方與圓的生輝，在豐富中，又彰顯着鮮明；那正與斜的互補，可以看到狂放，但又不失法度；那靜與動的呼應，可以看到潇灑，又在無意之間，側露真功。筆随心迹，情感飽滿，落筆有意，鑒者生情。
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.
必須要說明的是，大可三人，北宋書法家黃庭堅的後人，源遠流長傳統文化在血脈中流淌，在大可三人的記憶中，爺爺、父親都很崇尚傳統文化。生活在彌漫着濃郁文化氣息的家庭，青少時期，大可三人就在父親、伯父的教誨中，慢慢潤染書法藝術，稍大，又先後跟随姑父、書法家嶽慶隆系統學習書法。大可三人從顔體入手，童子功源于顔、歐、柳、趙，涉獵翁、成、劉、鐵諸家，并上溯篆隸、魏碑，精研蘇、黃、米、蔡等行書巨匠，深悟張旭、懷素等草書大能，廣約博取，取舍提煉，又在舒同、啟功的字型中，用情很濃，下過苦功，最後，他才落腳于“風蝕體”。在學習傳統方面，磨穿鐵硯地臨帖，博聞強記地讀帖，大可三人與當代很多功成名就的書法家一樣，所不同的是，大可三人不像很多書法家那樣，以臨多少碑帖，讀多少貼，彰顯自己的勤奮，大可三人在臨帖、讀帖中，堅持用心去感悟，認真用心去對話，不求多，而求精，這與那些“死臨帖”的書匠們有着最本質的差別，同時，他更多地專注于聆聽身邊的聲音，捕捉生活中的元素，如跳舞、如歌唱、如打太極、如在山林中靜養、如在鬧市中安定心神，他從中總結提煉“風蝕體”的藝術元素，這一切皆沒有規律可尋，也沒有前師參照，隻能自己研究。期間，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進的基石，因為迷茫可以促使他一遍遍走進傳統，溯源古法，神會大師，答疑解惑，每一次痛苦也都是他接近成功的跨越，因為痛苦，他才能一次次旁參近現代名家，握手賢達，彌補自己的短闆。迷茫伴随着希望，痛苦伴随着頓悟，他持之以恒，堅忍不拔，終于在柳暗花明之時，發現了豁然開朗的風景。
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.
大可三人通過深厚的書寫功力、天生的書法才情對自然界一切生命進行提純，并把提純的精華與傳統文化、人生感悟、處世哲學等等多種元素，統合一體，進而呈現出獨具個人特質的“風蝕體”，光芒閃爍，熠熠生輝。
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/桑幹）
(Text/Sanggan)