王绪生书法印象

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　　书法之美不仅在指腕之间，而且是呼吸，是养生是性情表达，是做人处世的学习。都说字如其人、人如其字，书法就是一面镜子。是书家学养、个性的展示，是书家的自画像。只有个性明显品味高雅的书者笔下的书法作品，才会有生命力、才能震撼观赏者的心灵，让人们从中感悟到中国书法艺术永恒的魅力。
　　观王绪生先生的书法作品，真草篆隶兼擅，尤以草法最精，其师古不拘泥于古、习今又异于今，正可谓“古不同弊，今不乖时”和而不同也。其在书法创作过程中既有适度的个性张扬与潇洒、又不失含蓄内敛、浑厚淳朴、高古雅逸之美。笔墨里透着激情灵性和对诸如钟繇、二王、孙过庭、黄庭坚等古贤们精湛技法的学习、领悟与尊崇之情。

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白居易《大林寺桃花》

　　看得出绪生先生研习书法的兴趣广泛且古今并蓄遍习诸家兼工有擅，对孙过庭《书谱》更是钟爱有加。在追寻前人高古的探索中他并不是机械的、简单的形式模仿，不步古人的陈迹。而是在深刻的探索中用心灵不断去和古人对话，执着而且勤奋的耕耘着自己向往的那片乐土。他有着自己行笔流畅气势连贯，这也造就了他雅致沉雄酣畅自如的书法风格。清人梁巘云：“学书须步趣古人，勿依傍时人。学古人须得真神骨，勿以貌似。绪生的书法正是善于用笔、沉着明快清逸娴熟典范一派。其纵笔奔放的气势体现了既得化帖学、碑派，又交融古今，达到了心手双畅心手相忘的自然自由率美的高级境界，既得浪漫之形又有文静之气。不温不火不激不厉，笔意恬淡中不失高古。其结字用笔之法实为上乘之法！
　　绪生先生勤奋博学、经年临池不辍，精谙书道痴心追研其影响已日渐增广，文化艺术元素之包涵不断丰隆。斯与社会因文思而相通；结友朋于艺缘，敦笃道行积贤为道，并谦谦然以待诸贤；视书画为可种之玉田，铁画银钩镂月裁云妙造自然依仁游艺翰墨丹青蔚成大观厚积而薄发矣！

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李白《草书歌行》

　　绪生常言：“写字实属“区区小技”能乎通“道”，道技和艺相关，道和艺紧联。技是末而道则为本、艺乃叶而德是根。技艺赋予了道德形象和生命，道德给予生命和灵魂”．．．．．．
　　时下世俗之风日盛，追逐名利者趋之若鹜，胸无点墨自吹自擂、见利忘义大言不惭诸如此类，然绪生能远离世嚣潜心研艺不为名利诱惑所动，平心静气淡然处之，读有用之书交有益之友，久之必能补阙裨陋有所广益。绪生者贤也，师法古人、高其技艺、胸存道法不孤其德。已登入堂奥技近妙焉！
       我预言，绪生正在创造新的书法奇绩，必将成为持恒而集大成者、书坛之翘楚也！（周育林）

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