著名书法家刘俊京，是中国书法家协会理事、北京书法家协会副主席，中华养生书画研究院院长，中央国家机关美术家协会副主席，中国禅佛书画院副院长，北京林业大学MBA专家委员，北京书法学校特聘教授，中华书画协会副主席、解放军铁军书画院艺术顾问、中国书画家协会理事、北京书法家协会副主席。中书协实力派书法家典型代表人物之一，其作品升值收藏作品潜力巨大，被业界所看好。

著名书法家刘俊京的书法师从著名书法家欧阳中石先生，其作品获中国文联“第二届中国书法兰亭奖”创作奖，并在中国书协举办的八届国展、九届国展、第四届正书展、第八届国际书法交流展、中国书法家五百强展、第十五届中日自作诗书法展、纪念邓小平诞辰100周年书法展、“冼夫人杯”书法展、“梁披云杯”等多次书法展中入。

著名书法家刘俊京的书法作品在中国书协举办的“杏花村汾酒杯”电视大赛获银奖、“三晋杯”公务员书法大赛获铜奖、“复圣杯”、“高桓杯”、“羲之杯”、“皖北煤电杯”大赛中获优秀奖。同时在北京“双鹤E.C杯”电视大赛获一等奖,

著名书法家刘俊京的书法作品随神舟八号上太空并被毛主席纪念堂、中办管理局、国务院管理局、人民大会堂、抗日战争纪念馆、中国文字博物馆等多家机构及海内外广泛收藏。

 其作品获中国文联“第二届中国书法兰亭奖”创作提名奖，并在中国书协举办的八届国展、九届国展。第四届正书展、第八届国际书法交流展，中国书法家五百强展，第十五届中日自作诗书法展、纪念邓小平诞辰100周年书法展、“冼夫人杯”书法展、“梁披云杯”等多次书法展中入展；并在中国书协举办的“杏花村汾酒杯”电视大赛获银奖，“三晋杯”公务员书法大赛获铜奖，"复圣杯","高桓杯","羲之杯","皖北煤电杯"大赛中获优秀奖.同时在北京"双鹤E.C杯"电视大赛获一等奖,第九届全国文代会代表，并获北京市第三届文艺工作者“德艺双馨”奖，北京市文联文艺作品最高奖及北京十佳中青年书法家，北京旅游文化使者等称号。书法作品随神舟八号上太空并被毛主席纪念堂,中办管理局，国务院管理局,人民大会堂，抗日战争纪念馆,中国文字博物馆等多家机构及海内外广泛收藏.曾出版《中国百名书法家---刘俊京卷》《年度水墨---刘俊京》《中国美术家---刘俊京》《刘俊京多体敬录心经》《墨品---刘俊京》《刘俊京养生书画》《人民艺术----刘俊京》等多部专集。

刘俊京书法作品

 踏步古今刚柔结合

—读刘俊京书法作品（史向阳）

发表于水墨籣亭2012年3月20日

壬辰新岁，《水墨兰亭》主编牛帅兵兄，赠我《当代著名书法家经典作品集，刘俊京》卷，连夜展读，手不释卷。

今人张海先生曾言：学书“先于古人合，后于古人离”。品读刘俊京书作可解其语。踏步古今，融百体为一体，自成面目，独具特色，这正是人们喜欢刘俊京书法原因之所在。

刘君俊京言：“博观广取，宗法汉唐”。他四体兼备，尤擅碑体行楷、碑体行书和行草。我尤爱其以“刘家笔法”的碑体行书。如：书作横幅《大悲心大陀罗尼》四百余字，一气呵成，回肠荡气。其笔法精古，峻拔气畅。细品之，其用笔劲健，提按、顿挫、血脉清晰可辨。此作笔法，亦碑亦帖，碑帖一体，自然天成。我从中读到了：王羲之，读到了米南宫、康南海，........可见，俊京君“胃口”之大，吸纳能力之强。

我一向认为，书法本质并无碑帖之分，亦无碑学帖学之别，一切划分乃人为所致。追碑者难在飘逸，写帖者难于凝重，寓飘逸于凝重难，寓凝重于飘逸更难。然刘君俊京以睿智清晰的“大脑之笔”，跨越了这个“难关”。

刘君曾言：“独守古风，顺乎自然，怎么都好，再聪明的人也比不上天地间的变化。”观其书作，可知刘君不失为知变又善变者。书作《大悲心陀罗尼》通篇几十处现“娑婆可”，几十处出现“摩啰”，几十处出现“卢”字，其线条、字态、大小，无一同者。即使文中有一百多个断句号，由于俊京君匠心处置，不露痕迹。

下面就具体来谈“啰、帝”二字：此作从发端起，每行都有“啰”字。第一个“啰”字用“二王”笔法为之，轻松内敛，重心向下；第二个“啰”字用行楷法，特别注意偏旁左让右，即左小右大；第三个略带章味；第四个结体紧密刚断；第五个“啰”字宽博大气，纯以北碑笔法为之。这五个“啰”字与全篇和谐统一。再者，通篇几个草书“帝”字，也处置得见性见情。

稍感遗憾的是：第三行“谛”字，和第六行、十行、十五行及倒数第三行的“帝”字，皆是纯草书，较之通篇行书，动静差别过大，略显“顶眼”。然作者注意到了几个“帝”字的前后顾盼呼应，与整体无大碍，仍不失为一件上乘之作。“违而不犯，和而不同”。融百体为一体，浑然天成，这正是刘君俊京是发的灵魂所在。

庄子曰：“风之积也不厚，则其负大翼也无力”，只有积累到一定程度才能“风雨兴焉”。读刘君其他书画小品，能读到他那几份自信与散淡。见识与学养到一定程度，玩什么都成，刘君俊京“玩”到了。

（史向阳：第三届兰亭奖教育奖提名）

敬·净·静

——读刘俊京养生书法的三境界

■彭一超

记得那是2004年夏秋之际，中国楹联界首届自撰楹联书法展在北京中国人民革命军事博物馆成功举办，刘俊京的名字深深地印在我的脑海了，他创作的一幅“五味清鲜身康体健；七情稳敛络畅经通”自撰魏碑八言联，从全国各地的两千多幅来搞中脱颖而出，一举摘得十名银奖中之次席，这无疑显示了他书法创作上不俗的实力和过硬的功夫。近几年来，他在经历了获“兰亭奖获奖提名”，全国第八届、第九届书展，北京国际书法双年展入展，北京电视书法大赛获银奖等系列颇有影响的书法展赛活动的历练之后，他的书法创作逐渐成熟起来，成为以追求碑学为间架，以二王帖学为意蕴，碑帖结合的书风。大约是2007年，他正式提出了“养生书法”的理念，我眼前为之一亮。现 在回过头来看他五 年前的那件获中国楹联界首届自撰楹联书法展银奖的对联，我猛然发现那其实就是一件地道“养生书法”。

己丑年孟春一日晚上，他来寒舍串门，出示了一张刻有他近百幅“养生书法”作品的光盘给笔者欣赏，并希望我能提出一些参考意见。后来我认真拜读了俊京君的那一幅幅充满鲜活张力与灵动气息的“养生书法”新作，便激发了想为他写点文字客观记录他这段书风的蜕变轨迹。当时，他提出其书法创作追求的是三个字：“敬、净、静”；我说晚清国学大师王国维有治学三境界，他在《人间词话》说：“古今之成大事业、大学问者，必经过如下三种境界：‘昨夜西风凋碧树。独上高楼，望尽天涯路’。此第一境也。‘衣带渐宽终不悔，为伊消得人憔悴。’此第二境也。‘众里寻她千百度，蓦然回首，那人却在，灯火阑珊处’。此第三境也。”对于刘俊京来说，我联想到他的“敬、净、静”书学三境界，也许这正暗合了刘俊京“养生书法”的三境界。我当即问俊京君，这能否概括其多年来探索“养生书法”的演变历程，他欣然应诺。

“敬”是俊京君的书学实践的第一个境界。表明他对人生观、价值观、世界观的态度，也是儒家提倡的一种积极向上的、入世的态度。他把“敬”摆在了为人处世的首位。可先从源头来说说“敬”的含义。东汉许慎《说文解字》云：“敬，肃也。从攴茍。居庆切。”是会意字。从攴(pū),以手执杖或执鞭,表示敲打；从苟(jí),有紧急、急迫之义。其本义是恭敬、端肃。也有“恭在外表,敬存内心”之意。他在当今社会上扮演了不同的角色，无论是企业管理者、还是书界书法家，他对待不同界别和层面的人，俊京君总是恭敬有加，言必信、行必果。虚心学习别人的长处，彰显一派谦谦君子之风范。这从他以严谨、整肃、规范见长的养生书法作品中可窥其对书学的“恭敬”与虔诚。他的书法作品风格多样，无论是他所吸取的赵之谦笔意的魏碑书体，金冬心古拙厚重的隶书样式，还是飘逸流畅的“二王”书风，总体上均属于正书系列，彰显其工整儒雅、正大气象的一面。

“净”是俊京君的书学实践的第二个境界。他崇尚“净”，却映射出他心底里的纯净，洁净。这也是他修身养性、做人从艺的基本准则之一。《说文》云：“净,鲁北城门池也。”形声字。可假借为“瀞”。从水,争声。本义是指春秋时鲁国北城门“争门”的护城河。赏读他的书法作品，使人品味到一种“净”的信息，无论是创作哪种书体，他的运笔轨迹仍然是一丝不苟、干净利索，毫无拖泥带水之痕迹，通篇字体讲究造型的变化，凸显其用笔的节奏韵律感，笔力遒劲，章法气息连贯、浑然一体。大凡书家能够做到作品“卷面干净”并不容易。观俊京君书作的第一印象是清新、干净、悦目，呈现给观众的是一种“净”的境界。

“静”是俊京君的书学实践的第三个境界。这与他的人生阅历、个性风格不无关系，也与他曾经从事过医务工作很有关系。现 在他的书斋名号还是“静医斋”。《说文解字》云：“静，审也。从青争声，疾郢切。”静是形声字，青是形旁，争为声旁。徐锴注：“丹青明审也”；王筠句读：“采色详审得其宜谓之静”。审美之“审”字的本义是——色彩思维，或视觉思维。因此，“静”的原意不是安静，意思是：色彩安排很合理，很有章法。静的本意是不争，不争则能知足常乐。不争意味着不贪求名利，顺守自然。“静”的引申义是指一种悠远的境界，宁静可以致远，可以获得智慧灵感；一个静字，蕴含了古人圆融通达的智慧，更让我们感念到传统文化的博大精深。有哲人云：“有求皆苦，无欲则刚”，如果能不争，心就能静，静是一种安详平和之态，是一份怡然自得。所以古人赞赏：静居则安。这大概也是养生学主张的观点。

俊京君现避居北京西山脚下一隅，笔者曾有幸拜访，此处远离市区，居所背枕燕山山脉，四面开阔，沃野纵横，这里无都市车马喧嚣之声，却时闻鸟语嘤鸣，显得格外宁静，堪称修身养性、读书游艺之所，难怪他钟情于此。当今快节奏高压力的社会，任何人往往难免处在紧张急躁的心绪之中。因此只有夜阑人静时，他便能安处静医斋中，享受几许入静之闲逸与自在，或任情恣肆地挑灯夜读，或纵情挥毫抒写心中之快慰……诚哉。每当品读俊京君的养生书法时，笔者脑海里总会蹦出三个字来——“敬、净、静”！难能可贵之三境界也。

2009年6月16日于北京攀古斋

归回经典入古出新——观刘俊京书法有感

认真拜读了刘俊京老师作品，感到非常兴奋，宛如一道书法大餐，让人大饱眼福。

刘俊京老师书法回归经典，继承古人，传统功力深厚、个性书风独具，真、篆、隶、草诸体皆擅，是真正的实力派中青年书法家。

作品多次获国家级重量奖，他注重修行，遍临百帖，嗜好“张迁碑”“张玄墓志”“郑文公碑”“张猛龙碑”“勤礼碑”“石门颂”“米芾行书”“二王”行书、草书等，潜移默化，深得其妙，功夫不负有心人，久而久之，诸体深得奇妙，悟其真谛，深的古法！

其书法追求碑学为间架，以二王帖学为意蕴，碑帖结合，以严谨、整肃、规范见长，作品潇洒自如，结构的段落和层次为突出，结构严谨，笔法多变，运用自如，典雅而不柔弱，刚强内含儒雅和气度。

他的作品入古出新，师古不泥，有创新，有思想，有想法。作品充满鲜活张力与灵动气息，其书法创作追求：“敬、净、静”；其作品吸取的赵之谦笔意的魏碑书体、金冬心古拙厚重的隶书样式、飘逸流畅不激不励的“二王”书风，作品彰显其工整儒雅、正大气象。运笔轨迹一丝不苟、干净利索，毫无拖泥带水 之痕迹，通篇字体 讲究造型的变化，凸显其用笔的节奏韵律感，笔力遒劲，章法气息连贯、浑然一体。给人印象是清新、干净、悦目，境界高雅！

俊京先生书法尽管已经达到较高的境界，但他仍不断进取，继续辛勤登攀，始终站在当代书坛的潮头，站在艺术领域的了潮头，执着地追求自己的艺术目标和艺术境界，起到了一个真正艺术家的典范作用！

我们深信他更上一层楼，在中国书法史上留下更加辉煌的一页，成为中国书法的经典！

江西书协会员、书法.书坛版主，上犹书法绘画网版主，书法天下网版主胡本汉

 Liu Junjing, Director of China Calligrapher Association, Vice-Chairman of Beijing Calligrapher Association, Vice-Chairman of Art Association of Central Government Organs, President of China Buddhist Art Research Institute, President of China Health Care Calligraphy and Painting Research Institute, Chairman of Beijing Dongcheng Calligrapher Association, Member of Beijing Haidian Political Consultative Conference; Calligrapher from Ouyang Zhongshi, a famous calligrapher Sir.

Personal Profile

Liu Junjing, a famous calligrapher, is the director of the Chinese Calligrapher Association, the vice-chairman of the Beijing Calligrapher Association, the president of the Chinese Academy of Health-preserving Calligraphy and Painting, the vice-chairman of the Artists Association of the Central Government Organs, the vice-chairman of the Chinese Zen Buddhist Academy of Calligraphy and Painting, the expert member of MBA of Beijing Forestry University, the special professor of Beijing Calligraphy School, and the vice-chairman of the Chairman, Art Consultant of the People's Liberation Army Tiejun Academy of Calligraphy and Painting, Director of the Chinese Calligrapher and Painter Association and Vice-Chairman of the Beijing Calligrapher Association. As one of the typical representatives of the Chinese Calligraphers'Association, the potential of its works to appreciate and collect works is enormous, which is highly regarded by the industry.

Liu Junjing, a famous calligrapher, was awarded the Second Chinese Calligraphy Flange Pavilion Award by the Chinese Federation of Calligraphers. His works were also presented at the Eighth National Exhibition, the Ninth National Exhibition, the Fourth Main Calligraphy Exhibition, the Eighth International Calligraphy Exchange Exhibition, the Fifth Top 500 Chinese Calligraphers Exhibition and the Fifteenth Fifteenth National Exhibition by the Chinese Calligraphers Association. The exhibition of self-composing poetry and calligraphy in China and Japan, the exhibition of calligraphy commemorating the 100th anniversary of Deng Xiaoping's birth, the exhibition of "Madame Xian Cup" and "Liang Piyun Cup" have been introduced into many calligraphy exhibitions.

Liu Junjing, a famous calligrapher, won silver prize in the "Fenjiu Cup of Xinghua Village" TV Competition, bronze prize in the "Sanjin Cup" Civil Service Calligraphy Competition, the "Holy Grail", "Gaohuan Cup", "Xizhi Cup" and "Coal and Electricity Cup of Northern Anhui" Competition held by the Chinese Calligraphy Association. At the same time, he won the first prize in the "Double Crane E.C Cup" TV Competition in Beijing.

Liu Junjing, a famous calligrapher, went into space with Shenzhou 8 and was widely collected by Chairman Mao's Memorial Hall, the Central Administration Bureau, the State Council Administration, the Great Hall of the People, the Memorial Museum of the War of Resistance Against Japan, the Museum of Chinese Literature and other institutions at home and abroad.

Artistic Achievements

His works were nominated for the Second Chinese Book Flange Pavilion Award by the Chinese Federation of Sciences, and were held at the Eighth and Ninth National Exhibitions by the Chinese Book Association. Fourth formal calligraphy exhibition, 8th International Calligraphy Exchange Exhibition, Top 500 Chinese Calligraphers Exhibition, 15th Sino-Japanese Self-Writing Poetry and Calligraphy Exhibition, Calligraphy Exhibition in Commemoration of the 100th Anniversary of Deng Xiaoping's Birthday, Lady Xian Cup Calligraphy Exhibition, Liang Piyun Cup and many other Calligraphy Exhibitions; and the "Fenjiu Cup in Xinghua Village" held by the Chinese Calligraphy Association. According to the silver award, the "Sanjin Cup" Civil Servant Calligraphy Competition won the bronze award, the "Restoration Grail", "Gaohuan Cup", "Xizhi Cup", "Northern Anhui Coal and Electricity Cup" and the excellent award. At the same time, it won the first prize in the "Shuanghe E.C Cup" TV Competition in Beijing, the representative of the Ninth National Literary Congress and won the "Deyi Shuangxin" Award for the third Beijing literary and artistic workers. Beijing Municipal Literary and Artistic Works Award, Beijing Top Ten Young and Middle-aged Calligraphers, Beijing Tourism and Culture Messenger and other titles. Calligraphy works were put into space with Shenzhou 8 and widely collected by Chairman Mao Memorial Hall, China Administration Bureau, State Council Administration, Great Hall of the People, Anti-Japanese War Memorial Hall, Chinese Literature Museum and other institutions at home and abroad. He has published 100 Chinese Calligraphers - Liu Junjing Volume, Annual Ink - Liu Junjing, and Chinese Artists.- Liu Junjing, Liu Junjing's Multidimensional Jinglu Xinjing Jing, Ink - Liu Junjing, Liu Junjing's Health Care Calligraphy and Painting, People's Art - Liu Junjing, etc.

Personal Review

Stepping on the Combination of Old and Modern Rigidity and Softness

Reading Liu Junjing's Calligraphy Works (Shi Xiangyang)

Published in Ink Pavilion March 20, 2012

Renchen New Year, Brother Niu Shuaibing, Editor-in-Chief of Ink and Wash Lanting, presented me a volume of "Classic Works of Contemporary Famous Calligraphers, Liu Junjing", which was displayed overnight and could not be released.

Today, Mr. Zhang Hai once said: learning books "before the ancients get together, after the ancients leave". Reading Liu Junjing's books can help us understand his words. This is the reason why people like Liu Junjing's calligraphy.

Liu Junjun Jing said: "Wide view, patriarchal Han and Tang Dynasty". He has four bodies, especially good at stele writing, stele writing and drafting. I especially love the stele style of Liu Jia's calligraphy. Such as: the book banner "Great Sadness and Great Dharani" more than 400 words, in one breath, echo. His brushwork is exquisite and elegant. Fine, its vigorous pen, press, setbacks, blood can be clearly distinguished. This style of writing is also marked with tablets and tablets. I read from: Wang Xizhi, read Minan Palace, Kangnan Sea,......... It can be seen that Jun Jingjun's "appetite" is great, absorptive ability is strong.

I have always believed that the essence of calligraphy is not divided into stele inscriptions and stele inscriptions. All division is caused by man. It is difficult for those who pursue monuments to be elegant, for those who write posts to be dignified, for those who are elegant to be dignified, and for those who are elegant to be elegant to be more difficult. However, Liu Junjunjing has surmounted this "difficulty" with his wise and clear "brain pen".

Liu Jun once said, "It's good to stick to the old customs and follow nature alone. No smart man can compare with the changes between heaven and earth." Looking at his works, we can see that Liu Jun is a changeable and changeable person. In the book "Great Sadness Dharoni", there are dozens of "Suboke", dozens of "Moro" and dozens of "Lu", whose lines, forms and sizes are not the same. Even if there are more than one hundred breaks in the text, Junjing Junjun's ingenious disposition does not reveal any trace.

Next, we will talk about the word "Lo, Di" concretely. From the beginning of this work, every line has the word "Lo". The first "Luo" is written in the style of "Two Kings", which is relaxed and restrained, with a downward focus; the second "Luo" is written in block letters, paying special attention to the left side and the right side, that is, the left side is small and the right side is big; the third is slightly characterised; the fourth is tightly broken; the fifth "Luo" is broad and generous, which is purely based on the northern inscription. These five "lo" words are in harmony with the whole article. Moreover, the whole article of several cursive scripts "emperor" word, also dispose of visible feelings.

Regrettably, the word "meaning" in the third line and the word "emperor" in the sixth, tenth, fifteenth and penultimate lines are all pure cursive scripts. Compared with the general travel scripts, the difference between movement and silence is too big, which is slightly "eye-catching". Nevertheless, the author noticed that the word "emperor" echoes the expectations of the past and the future, which is not harmful to the whole, and is still a good work. "Violate without violating, and be different with each other". It is the soul of Liu Junjun-jun-jing that combines all kinds of things into one.

Chuang Tzu said, "If the wind is not too thick, the negative wings will be weak." Only when the wind and rain accumulate to a certain extent can we "prosper". Reading Liu Jun's other sketches of painting and calligraphy, we can read his self-confidence and indifference. To a certain extent, Liu Junjunjing "plays" everything he plays.

(Shi Xiangyang: Nomination of the Third Lanting Award for Education)