书道发端远古，至魏晋而巍然成柱，钟张竞爽，二王垂范，开宗立派。自此碑帖并峙，各有所宗，而能兼综其妙者，历来寥寥。王元军得齐鲁之气质，兼稷下之风流，少承庭训，长游艺林，既精碑之筋骨，又得帖之韵致，于法度严谨中自生奇趣，于传统根柢间融入新意。其书笔法精妙，点画筋骨与灵韵并见，流转之间，碑骨帖神浑然一体。
王元军宗米南宫之洒脱，参欧阳率更之端严，从《张猛龙碑》得峻拔之势，自《圣教序》取流丽之姿。观其行草，若飞泉激石，抑扬顿挫，起伏自如;锋杪转折处，纤毫无失，竖画如孤松，横捺如横舟，既见碑之浑朴，又具帖之婉丽。先生书艺刚柔相济，方圆兼容，法中有度，意中有势，得碑帖合一之奥旨，可谓书道中之通才。
夫书以字显形，以笔传神。王元军之书，气脉贯古今，筋骨得碑学之厚，血肉取帖艺之精，既精临古帖，亦创自家面目。尝观其临《兰亭》残卷，纤毫毕现，神采自出;其自运之作，笔势遒劲如屈铁，墨色湛然若沉璧。观其点画，一字之内疏密互映，浓淡相参;一篇之间神气贯通，气韵生动。其书不但形神兼备，亦于点画间含蓄文心，映现深厚之文化底蕴，诚碑帖融汇、古今通合之大成者。
王元军不以技自炫，重在文心涵养。常言书法乃文明之脉，染翰必考钟鼎，究简牍遗文。商周甲金、秦汉刻石，多有所获;著作阐刀笔相生之理，扬书文互证之道。其篆隶作品非徒摹形追貌，三代吉金之朴茂，汉碑摩崖之雄浑，融而为一，字间郁然金石气勃。
王氏书风以儒雅为宗，内涵刚健。昔刘彦和评文，谓“风清骨峻”，移评其书，亦当此语。小楷精严似虞永兴，别具松雪道人冲和之致;擘窠大字浑厚如颜鲁公，复得徐季海飞动之姿。虽深谙古法，然不拘陈迹，融现代审美于传统形式。枯笔作飞白，效汉简率意;涨墨求氤氲，得敦煌写经之韵，妙化古意，独具匠心。
传承书学，王元军尤具深心。昔蔡中郎创飞白，卫夫人授笔阵图，皆以承启为任。王元军重技法传授，倡文化自觉，授徒先读《说文》，次临碑帖，终求创变。常谓“学书如酿蜜，广采百花自成一味。”门下弟子虽同出一源，各具面貌，和而不同，教化功深。理论实践相得益彰，孙过庭《书谱》开后世书论先河，王元军倡“三复”之法：复观天地象，复追古贤妙，复归心手畅，深得书道三昧。
王元军变法之作，炉火纯青。观其作若乱石铺街，审则法度井然：长线似大娘剑舞，寒光凛冽;短点如道韫咏絮，轻灵曼妙。章法疏密得宜，墨色枯润相生，端庄杂流丽，刚健含婀娜。此非仅技艺所至，乃学问涵养之外现。
张怀瓘以风神骨气为书道上品，王氏技法精能不拘于法，风神超迈入于雅，融碑铸帖，会古通今，文心滋养艺魄。数十载沉潜，终成一家气象。观其书作，初觉平淡，久味乃醇。后人览之，必得书道真谛，悟艺非止技艺，实关文脉传承与心灵修养。
Wang Yuanjun: Clear in Spirit, Lofty in Character, with Graceful Demeanor and a Steady, Serene Mind
Calligraphy began in ancient times and reached its zenith during the Wei and Jin dynasties, when it became a prominent cultural pillar. The calligraphy of Zhong and Zhang competed in brilliance, and the two Wang brothers set exemplary models, establishing schools and styles. From then on, steles and copies coexisted, each with its own tradition, though those who could master both were rare. Mr. Wang Yuanjun inherits the essence of the Qi and Lu regions and the elegance of the Jixia Academy. He was trained from a young age in family traditions and spent much time immersed in the world of art. He has mastered both the structure and elegance of steles and the grace of regular script, blending traditional rigor with innovative flair. His calligraphy is marked by a fine balance between the muscles and bones of steles and the graceful spirit of regular scripts, creating an integrated unity.
Mr. Wang Yuanjun follows the free-spirited style of Mi Fu, while drawing on the stern elegance of Ouyang Xun. He takes the towering momentum from the Zhang Menglong Stele and the fluid grace from the Holy Teaching Preface. Observing his running and cursive scripts, one is reminded of the image of a flying spring striking a rock—its rhythm and pauses are dynamic and natural. The brushwork is meticulous in every turn, and the vertical strokes stand like solitary pines, while the horizontal strokes lie like large boats. His work captures both the sturdy simplicity of steles and the delicate beauty of regular script. Mr. Wang’s calligraphy combines strength and softness, a harmony of straight and curved forms. There is balance between order and the force of meaning. He has truly captured the essence of integrating both steles and regular scripts, making him an exceptional talent in the world of calligraphy.
Calligraphy manifests form through characters and conveys spirit through brushwork. Mr. Wang Yuanjun’s calligraphy connects the past and present. The solid structure of his work draws on the weighty tradition of stele studies, while the refinement of his brushwork reflects the meticulous art of regular script. He not only excels at copying ancient calligraphic works but has also created his own unique style. For example, his rendition of the Lanting Xu (Preface to the Orchid Pavilion) reveals every fine stroke with elegance and life. His original works are powerful, like bending iron, and the ink flows deeply, resembling a dark jade stone. In terms of brush strokes, the density and sparseness of the strokes contrast and complement each other, while the work as a whole is infused with vitality. His calligraphy is not only aesthetically satisfying but also imbued with profound cultural undertones, reflecting a true fusion of traditional and contemporary styles.
Mr. Wang Yuanjun does not flaunt his technical skill but places greater emphasis on nurturing the spirit of literature. As the saying goes, calligraphy is the vein of civilization, and one must study ancient inscriptions and writings to refine one’s brushwork. From the oracle bone script of the Shang and Zhou dynasties to the stone engravings of the Qin and Han periods, he has gleaned much. His works on seal script and clerical script are not mere copies of form; instead, they combine the robust grandeur of bronze inscriptions from the Three Dynasties with the monumental and rugged style of Han stone steles, blending them into one unified whole. The atmosphere of his characters exudes the energy of stone inscriptions.
Mr. Wang Yuanjun’s calligraphy is based on Confucian elegance, with a deep inner strength. In ancient times, Liu Yanhé commented on literature, saying "the wind is clear and the bones are stark," and this also applies to his calligraphy. His small regular script is as precise as Yu Yongxing’s, yet with a unique refined serenity that recalls the style of the Pine Snow Taoist. His larger characters are solid and profound, akin to the calligraphy of Yan Zhenqing, while also incorporating the lively movements of Xu Jihai. While well-versed in ancient methods, he does not cling to them, instead blending modern aesthetics with traditional forms. His dry brush strokes create flying whites in the manner of Han script, while his ink seeks an ethereal mistiness, drawing inspiration from the Dunhuang manuscripts, yet infusing them with new life, demonstrating his unique craftsmanship.
Mr. Wang Yuanjun is deeply devoted to the inheritance of calligraphy. Historically, Cai Zhonglang created the flying white script, and Wei Fuzi introduced the brush formations. Both viewed passing down as their responsibility. Mr. Wang values the transmission of technique and promotes cultural awareness. He teaches his students to first read Shuo Wen Jie Zi (Explaining Characters) before practicing steles and regular scripts, ultimately seeking innovation. He often says, "Learning calligraphy is like making honey—gathering nectar from a hundred flowers to create a distinct flavor." His students, though sharing a common source, each possess unique styles, harmonious yet distinct. His teaching method is profoundly transformative. The practice of theory and the pursuit of skill go hand in hand. His advocacy of the "three repetitions" method—repeated observation of the forms of nature, study of ancient masters, and returning to the spontaneous freedom of the hand—has allowed him to achieve a deep understanding of the art.
Mr. Wang Yuanjun’s innovative calligraphy is flawless. Observing his works is like seeing stones scattered along a street, yet upon careful examination, the structure is meticulously arranged: long strokes flow like the dance of a great sword, cold and piercing; short strokes are light and graceful, like Dao Yun chanting poems. The composition is well-balanced, with the ink transitioning between dry and moist, creating a blend of solemnity and elegance. This is not merely a product of technical skill, but also an expression of profound intellectual and cultural cultivation.
Zhang Huaiguan regarded "wind, spirit, and bone" as the highest qualities in calligraphy, and Mr. Wang’s technique, though not confined to tradition, transcends to a level of grace and refinement. His work merges the qualities of steles with those of regular scripts, bringing together the ancient and the modern, and cultivating both the spirit of literature and artistic soul. After decades of dedication, he has developed a distinctive style. His calligraphy, at first glance, may seem simple, but with time it becomes rich and deep. Future generations who view his works will undoubtedly grasp the true essence of calligraphy, understanding that the art is not just about technique, but about the transmission of culture and the cultivation of the soul.
责任编辑：苗君
