聆听时代强音，坚定文化自信。
文化是一个国家，一个民族的灵魂。中国特色社会主义进入新时代，人民有信仰，国家有力量，民族则有希望。值此两会召开之际，著名书画艺术家代表纷纷献礼献策，为实现中华民族的伟大复兴贡献力量
Listen to the strong voice of the times and strengthen cultural self-confidence.
Culture is the soul of a country and a nation. Socialism with Chinese characteristics has entered a new era. The people have faith, the country has strength, and the nation has hope. On the occasion of the two sessions, representatives of famous painting and calligraphy artists offered gifts and suggestions to contribute to the great rejuvenation of the Chinese nation.
许俊鹏作品1
许俊鹏，字炳章，斋号紫玉斋，自号“紫玉斋翁”，1948年生，广东潮州人。中央国家机关书法家协会会员。中国书法家协会会员，著名书法家，人民美术艺术家委员会委员，中国当代国学大师国礼艺术家，文化部文化艺术人才中心特邀艺术家。
Xu Junpeng, Bingzhang, Zhai Ziyuzhai, Ziyuzhai Weng, born in 1948 in Chaozhou, Guangdong Province. Member of Calligrapher's Association of Central State Organs. He is a member of the Chinese Calligrapher Association, a famous calligrapher, a member of the People's Art Artists Committee, a master of contemporary Chinese culture, an artist specially invited by the Cultural and Art Talents Center of the Ministry of Culture.
许俊鹏作品2
自小受潮州文化薫陶，酷爱书法艺术，擅长草书。师法王羲之、怀素、孙过庭，并学习毛泽东的豪雄大气质。作品遒劲刚健，纵逸奔放又显磅礴大气，更充满着浑厚的文化底蕴。从艺数十年，多次参加全国性重要比赛和中国书画家赴韩国、新加坡、美国(联合国)交流展、精品展并获一等奖、金奖、特等金奖等奖项。
Since childhood, he has been influenced by Chaozhou culture and pottery. He loves the art of calligraphy and is good at cursive writing. To learn from Wang Xizhi, Huai Su and Sun Guoting, and to learn from Mao Zedong's heroic temperament. The works are vigorous and vigorous, free and unrestrained and show great atmosphere, and are full of rich cultural connotations. Over the past decades, he has participated in important national competitions and visited exchanges and exhibitions of Chinese calligraphers and painters in Korea, Singapore, the United States (United Nations), and won first prize, gold prize and special gold prize.
许俊鹏作品3
2013年，作为文化部特邀艺术家，入编由文化部文化艺术人才中心主编，中央文献出版社出版的《一代翘楚》五大家书法作品集(包括欧阳中石、沈鹏、许俊鹏、张海、王庆元五人)。
2016年12月，经中华人民共和国文化部批准，文化部文化艺术人才中心主办，成功在北京中国国家画院国展美术中心举办“书写人生绘出风采”——许俊鹏书法展。
In 2013, as an invited artist of the Ministry of Culture, he was edited by the Center for Cultural and Artistic Talents of the Ministry of Culture and published by the Central Documents Publishing House five collections of calligraphy works (including Ouyang Zhongshi, Shen Peng, Xu Junpeng, Zhang Hai and Wang Qingyuan).
In December 2016, with the approval of the Ministry of Culture of the People's Republic of China and sponsored by the Cultural and Art Talents Center of the Ministry of Culture, Xu Junpeng successfully held the "Writing Life and Drawing Style" Calligraphy Exhibition at the National Exhibition Art Center of the Chinese National Academy of Painting in Beijing.
许俊鹏作品4
2017年，入编由中国当代美术出版社出版的《中国当代国学大师国礼艺术家》(包括书法家欧阳中石、沈鹏、许俊鹏、李铎四人和画家靳尚宜、刘大为、范曾、黄永玉、姚治华、何家英六人)。并荣登《人民美术艺术家》报新春特刊封面人物和《中国文艺家》杂志、《中国国际财经》杂志封底人物。
2018年全国两会期间《人民代表报》两会特刊整版刊登许俊鹏作品。作品被制作为邮票、钱币卡和电话卡珍藏邮册在全国发行。个人艺术人生还被《中国文化报》、《南方日报》、《企业家日报》、《中央电视台》书画频道、中国网、中华网、央视网等中央和地方媒体报道。被授予“中华文化名人”、“人民艺本家”、“中华民族杰出艺术家”等荣誉称号。
In 2017, it was published by China Contemporary Art Publishing House as "Artists of National Rites, Masters of Contemporary Chinese Studies" (including calligraphers Ouyang Zhongshi, Shen Peng, Xu Junpeng, Li Duo and painters Jin Shangyi, Liu Dawei, Fan Zeng, Huang Yongyu, Yao Zhihua and He Jiaying). He was also honored as the cover person of the New Year special issue of People's Art Artists and the cover person of the magazines of Chinese Artists and China International Finance and Economics.
Xu Junpeng's works were published in the full edition of the special issue of the People's Representatives during the 2018 NPC and CPPCC sessions. The works are produced as stamps, coin cards and telephone cards, and are distributed nationwide. Personal artistic life has also been reported by the central and local media such as China Culture Daily, Nanfang Daily, Entrepreneur Daily, CCTV Calligraphy and Painting Channel, China Net, China Net and CCTV Net. He has been awarded the honorary titles of "celebrities of Chinese culture", "masters of people's art" and "outstanding artists of the Chinese nation"。
许俊鹏作品5
书林才俊 艺海鲲鹏
——浅读许俊鹏先生毛体书法
沈鹏先生说：“其实书法只是中国文人全部品格的一道辉光，这里既有诗琴书画的工夫，也有三步成吟、倚马可待的才气。但最终决定书法艺术的，不在技巧，而是感情、性分、气质的充分表露。草书的意境表现出来的这种朦胧美，除了其勤奋刻苦、高超的驾驭书写能力以外，还与其天分性格有关。”
Shulin Caijunyi Haikuipeng
A Brief Reading of Mr. Xu Junpeng's Mao-style Calligraphy
Mr. Shen Peng said: "Actually, calligraphy is only a glory of the whole character of Chinese literati. There are not only the time of poetry, piano, calligraphy and painting, but also the talent of three-step chanting and relying on horses. But ultimately, the art of calligraphy is determined not by skills, but by the full expression of feelings, sexuality and temperament. The hazy beauty shown in the artistic conception of cursive script is not only related to its diligent, hard-working and superb writing ability, but also to its talent and personality .
许俊鹏作品6
许俊鹏先生的作品的线条和点画主要是通过墨色浓淡、枯湿甜润表现出来的。有时方笔起笔，有时圆笔起笔，有藏有露，有圆有方，有粗有细，有大有小，有黑有白，有长有短，质感凝重，静若次子，动如脱兔，引带虽如游丝萦绕，却飘逸而不浮；若云行雨施，然流走而不滑。沉着痛快，笔法精妙。排列上参差错落，笔势动荡，仪态万千。行与行之间相互避让，左右飞动；字与字之间连绵不断，顾盼生情。观许先生作品犹如欣赏一首音乐，有时如万马奔腾，有时似小桥流水，有时又戛然而止，流离顿挫。书写时有的一气呵成，忽大忽小，时快时慢，笔力雄强，气势开阔，风神潇洒，险峻跌宕，表现出娴熟的草法、富于节奏的韵律和连绵不断的恢弘气势。
The lines and dots in Mr. Xu Junpeng's works are mainly expressed through the dark, dry and sweet color. Sometimes square pen, sometimes round pen, hidden dew, round square, thick and thin, big and small, black and white, long and short, dignified texture, quiet as the second son, moving like a rabbit, the lead is lingering like silk, but elegant and not floating; if clouds and rain, but flow away and not slippery. Calm and happy, exquisite brushwork. Arrangements are erroneous, the style is turbulent, and the manner is varied. Lines and lines avoid each other, flying left and right; words and words are continuous, looking forward to life. Mr. Guanxu's works are like enjoying a piece of music. Sometimes they are like ten thousand horses galloping, sometimes they are like bridges running, sometimes they stop abruptly, and they are drifting away and frustrated. Writing is sometimes accomplished at one go, sometimes big or small, sometimes fast or slow, with strong brushwork, broad momentum, elegant wind and spirit, precipitous and downward, showing skilled grass, rhythmic rhythm and continuous grand momentum.
许俊鹏作品7
毛体书法笔墨酣畅淋漓，雄健豪放，字里行间展现出伟人的独特气韵。许俊鹏先生写了很多毛主席诗词的作品，他不仅将毛主席的豪放大气展现的淋漓尽致，而且将毛体书法表现的更加细腻、雅致，那扑面而来的大气磅礴、跌宕起伏的气势，飘逸、飞流直下的整体美感如诗如画，具有强烈的视觉冲击力、震撼力和感染力，真正达到了“造我神韵，有我无人”的境界，他能以一种文字的书写方式和笔迹的律动，表现出书者的情绪和审美的追求，从而使他的作品升华为一种艺术的形式，这就是许俊鹏书法的魅力所在。
任何事物都是仁者见仁，智者见智，对艺术的欣赏应有标准，但不能强求绝对统一，苛求一致。仁者不能责之以不智，智者不应责之以不仁，这才是君子之道。此为我观有所得，独家之言，以求方家们矫正而已矣。
Mao's calligraphy is vigorous and bold, showing the unique charm of great men between lines. Mr. Xu Junpeng wrote many works of Chairman Mao's poems. He not only displayed Chairman Mao's magnificence thoroughly, but also expressed Mao's calligraphy more exquisitely and elegantly. The majestic, ups and downs momentum, elegant and flowing beauty, like poetry and pictures, had a strong visual impact, shock and appeal, and really achieved it. The realm of "making me charm, having me and nobody" can show the emotional and aesthetic pursuit of the calligrapher by means of a writing style and the rhythm of handwriting, thus sublimating his works to an artistic form, which is the charm of Xu Junpeng's calligraphy.
Everything is benevolent, wise and wise. There should be standards for appreciation of art, but absolute unity and consistency can not be demanded. The benevolent cannot be blamed for being unwise, and the wise cannot be blamed for being unkind, which is the way of a gentleman. This is my view, exclusive words, in order to rectify the Fangjia.
许俊鹏作品8
权希军对许俊鹏的作品点评：
——权希军
观许俊鹏先生书法作品，融合百家之长，融汇古今，行、草书别有建树，自成一体。许俊鹏先生习“毛体”，与众不同，他会从古法中去发现和寻找相通的规律，而非从“毛体”字形本身去临摹，后又融于自我感悟，形成古意悠然，又今韵生动的“许氏书风”。
许俊鹏先生坦言，自己喜欢行、草书的风格，书写起来快意酣畅。其行、草书风，运笔遒劲，笔画连绵，功力浑厚。字里行间内蕴无穷，古趣盎然，充满张力磁性。行笔出神入化，给人仪态万千之感，笔断意连，令人遐想无限。笔法字体方中有圆，书写中提按、使转、虚实相间。其结字隽永，章法严谨、行间布局疏密呼应、错落有致、刚柔相济、浑然一体。通篇气势磅礴，布局大开大合，落笔千钧，狂而不怪，书法气势奔放纵逸。无论从全局还是局部单字来看，都会被流动、曲折，藏锋使转直入，动人心魄的阳刚线条所打动。如龙蚪腾霄，雄强而不失于清雅。用简单的笔墨线条表现着具有郁勃生命力，跃动节奏感的一幅幅佳作。
若以书法创作来讲，可以说许俊鹏先生已达风华正茂之时，他每天仍不怠临池，乐此不疲，已把书法艺术和自己的灵魂生命紧紧“捆绑”在一起，许俊鹏先生即如是之人，踏实勤勉，专注且不忘初心，书画界也将更有信心期待又一颗灿烂星宿的诞生。
Quan Xijun's comments on Xu Junpeng's works:
Quan Xijun
Looking at Mr. Xu Junpeng's calligraphy works, we can integrate the strengths of hundreds of schools, the ancient and modern, the line and cursive calligraphy have their own achievements. Mr. Xu Junpeng is different from others in his study of "Mao Tie". He will discover and find the interrelated laws from ancient law, instead of copying the "Mao Tie" shape itself, and then merge into self-perception to form a leisurely and vivid "Xu's style of calligraphy".
Mr. Xu Junpeng admits that he likes the style of cursive writing and is happy to write. His trip, cursive style, strong brush, continuous strokes, strong skills. There are infinite connotations between the lines, full of ancient interest and tension magnetism. The style of writing is fascinating, gives people a sense of immense manners, and makes people reverie indefinitely. There is a circle in the square of the pen style font. In writing, press, rotate, virtual and real are intermingled. Its characters are meaningful, the rules are rigorous, the layout between the lines is closely echoed, the scattering is delicate, the combination of rigidity and softness is integrated. The whole article is full of momentum, the layout is open and close, the pen is very close, crazy but not strange, the calligraphy momentum is unrestrained and unrestrained. Regardless of the overall situation or the local words, they will be moved by the flow and tortuosity, the Tibetan front makes them turn straight into the moving masculine line. If the Dragon scales rise to the skies, they are strong and elegant. With simple lines of pen and ink, the works with vigorous vitality and a sense of jumping rhythm are presented.
In terms of calligraphy creation, it can be said that when Mr. Xu Junpeng has reached the peak of prosperity, he still does not idle in the pool every day and enjoys it. He has tightly tied the calligraphy art and his soul life together. Mr. Xu Junpeng is such a person, who is down-to-earth, diligent, dedicated and never forgetting his first heart. The calligraphy and painting circle will also have more confidence in expecting the birth of another brilliant star
许俊鹏作品9
两会之声 书画领军人物谏言献策
Speeches and suggestions of leading figures in calligraphy and painting during the two sessions
关于普及书法教育，提高草书文化素质的提案
——许俊鹏
我国有五千多年文明史。中国文字特别是中国书法，是中华文化最灿烂的艺术瑰宝。中国书法发展至今，已形成五种固定的书体，即：楷、行、隶、草、篆等五种。建国七十年来，特别是改革开放四十年来，书法在传承和创新上取得很大成就，但发展还存在很大的空间。例如：一般书法爱好者都能懂得书法五种书体，但对广大民众而言，懂得五种书体的比例就很少，特别是年青一代。应该说懂文化，懂中国文字、书法，是每个中国人应具备的，学好中国文化，是一种责任。但由于历史的原因，现在懂书法的人比例较少。我是1948年出生的，在书法上有经历，体会较深。记得一九五八年，我们村的雨亭墙上写有一条口号；建设一个产品无限丰富，人人有高尚道德，有高度文化，高度文明的社会主义社会。我是受这个口号激励并走过来的人。经过改革开放四十年，我们的经济建设蓬勃发展，人民生活小康，社会已经达到产品无限丰富了，但在文化建设、精神文明建设，中华文化复兴实现中国梦上，我们还需不断的努力。
在书法五种书体中，各种书体都有它的实际应用特点，其中草书是最能表现书者个人情性，最优美灿烂的书体。草书主要应用在诗词上。毛主席是应用草书的典范，他所创作的大量诗词，都是用草书书写表现的。由于他雄才大略的领袖气质，他的草书豪雄大气，气势磅礴，达到草书表现的辉煌高度，给我们留下无限辉煌灿烂的文化遗产。在学习毛主席草书和创作活动中，我了解到现阶段社会懂草书的人较少，很多人不能欣赏草书以及毛主席诗词草书作品，我觉得很可惜，很遗憾。我从小学三年级开始学书法，至今六十年，创作了大量的作品。我的作品，大部分是草书作品。2016年12月，经文化部批准，文化部文化艺术人才中心主办，我在北京中国国家画院举办“书写人生，绘出风采”——许俊鹏书法展，展出八十幅作品也大部分是草书作品。我想，社会虽然懂草书的人较少，我还是要写草书，因为如果没有人写草书，社会就更无人看草书了。我认为，根据目前社会的状况，为了中华文化复兴，应该很好传承草书文化，因此我提议：
一、要普及书法教育，并从小学抓起。小学要从三年级的语文课就开始教授书法课和有关书法基本知识，让小学生从三年级就懂得中国文字和书法知识，懂得书法五种书体，并从最基本的楷书学起。我的体会是三年级的学生已有一定的领悟能力，从三年级——五年级，经过三年的学习，掌握最基本的小楷、中楷，学习楷书以及隶书和篆书。六年级因要升初中，可以不设课程，由学生根据自己的学习情况自己掌握学习。在小学这个阶段，教师要引导和培养学生的兴趣和爱好。到了初中，要继续加强书法的学习，要学行书和草书，使学生基本懂得行书和草书的形态和写法，要学会查书法字典。每个学生都要配发一本四体书法字典，以便终身学习查阅。初中课程可安排在语文课或美术课。
二、抓书法教育，要从师资抓起，要培养一大批懂书法的教师。现阶段因历史原因，很多老师特别是语文老师大多没受过书法教育，不能胜任对学生的书法教学，所以现阶段开始，要培养教师的书法能力。教师要从师范生抓起。师范毕业的老师肩负教学重任，老师首先要把自己的书法艺术学好，才能胜任教好学生。国家也要相应培养一批大学书法师资人才。
三、实施书法普及教育，是关系中华文化复兴的大战略，要列入教学大纲。除国家重视外，各级领导都要重视，政府要引导，开展各种书法展赛活动，丰富整个社会书法文化环境。可在社会聘用一些有书法水平的艺术人才，开办业余培训班，给那些有兴趣，能坚持的学生进行辅导培训或到校园进行必要的书法讲座。
我们相信，当我们的普及战略付诸实施数年后，全国的书法教育工作将出现崭新的局面。
Calligraphy Education and Improving the Cultural Quality of Cursive Calligraphy
Xu Junpeng
Our country has a civilization history of more than five thousand years. Chinese characters, especially Chinese calligraphy, are the most splendid artistic treasures of Chinese culture. Up to now, Chinese calligraphy has formed five kinds of fixed style, namely regular script, line script, official script, grass script and seal script. In the seventy years since the founding of the People's Republic of China, especially in the forty years of reform and opening up, great achievements have been made in the inheritance and innovation of calligraphy, but there is still much room for its development. For example, ordinary calligraphy enthusiasts can understand the five types of calligraphy, but for the general public, the proportion of the five types of calligraphy is very small, especially for the younger generation. It is the responsibility of every Chinese to understand culture and Chinese characters and calligraphy well. However, due to historical reasons, there are fewer people who understand calligraphy nowadays. I was born in 1948. I have experience in calligraphy and have a deeper understanding. I remember in 1958, a slogan was written on the wall of the rainbow in our village to build a socialist society with unlimited products, noble morality, high culture and high civilization. I was inspired by this slogan and came over. After 40 years of reform and opening up, our economic construction has developed vigorously, people's lives are well off, and society has reached infinite richness of products. However, in terms of cultural construction, spiritual civilization construction and Chinese cultural renaissance, we still need to make continuous efforts to realize the Chinese dream.
Among the five types of calligraphy, all kinds of calligraphy have their practical application characteristics. Among them, cursive calligraphy is the most beautiful and brilliant style which can best express the individual sentiment of the calligrapher. Cursive script is mainly used in poetry. Chairman Mao is a model of the application of cursive script. A large number of his poems are written in cursive script. Because of his magnificent leadership temperament, his cursive script is magnificent and magnificent, reaching the magnificent height of cursive script performance, leaving us unlimited brilliant and brilliant cultural heritage. In the study of Chairman Mao's cursive scripts and creative activities, I learned that at this stage, there are fewer people who understand cursive scripts. Many people can not appreciate cursive scripts and Chairman Mao's poetry and cursive works. I feel very regrettable and regrettable. I began to learn calligraphy in the third grade of elementary school. So far, I have created a lot of works for sixty years. Most of my works are cursive. In December 2016, with the approval of the Ministry of Culture and the sponsorship of the Cultural and Art Talents Center of the Ministry of Culture, I held an exhibition of Xu Junpeng's calligraphy in Beijing National Academy of Painting, which is called "Writing Life and Drawing Style". Eighty works were also mostly cursive works. I think that although there are fewer people in society who understand cursive script, I still have to write cursive script, because if no one writes cursive script, no one in society will read cursive script. In my opinion, according to the current social situation, cursive script culture should be well inherited for the revival of Chinese culture, so I propose that:
First, we should popularize calligraphy education and start from primary schools. Primary schools should begin to teach calligraphy and basic knowledge of calligraphy from the third grade, so that pupils can understand Chinese characters and knowledge of calligraphy from the third grade, understand five types of calligraphy, and learn from the most basic regular script. My experience is that the third grade students have a certain understanding ability. After three years of study from the third grade to the fifth grade, they have mastered the most basic regular script, middle regular script, regular script, official script and seal script. Because the sixth grade wants to be promoted to junior middle school, it is possible to set up no courses and let the students master their own learning according to their own learning situation. At this stage of primary school, teachers should guide and cultivate students'interests and hobbies. In junior high school, we should continue to strengthen the study of calligraphy. We should learn to write in cursive and running scripts, so that students can basically understand the form and writing of running scripts and cursive scripts, and learn to look up the dictionary of calligraphy. Every student has to distribute a four-body calligraphy dictionary for lifelong learning. Junior high school courses can be arranged in Chinese or art classes.
Secondly, we should start with teachers and train a large number of teachers who understand calligraphy. At present, because of historical reasons, many teachers, especially Chinese teachers, have not received calligraphy education and are not competent for the teaching of students'calligraphy. Therefore, at this stage, teachers' calligraphy ability should be trained. Teachers should start with normal students. Teachers graduated from normal schools shoulder the heavy responsibility of teaching. Teachers should first learn their own calligraphy art well, so that they can be competent to teach students well. The state should also train a number of College calligraphy teachers accordingly.
3. Implementing universal calligraphy education is a major strategy related to the revival of Chinese culture and should be included in the syllabus. In addition to national attention, leaders at all levels should attach importance to it. The government should guide and carry out various calligraphy exhibitions and competitions to enrich the cultural environment of calligraphy in the whole society. We can employ some artistic talents with calligraphy level in society, set up amateur training courses, give guidance and training to those interested and persistent students or give necessary calligraphy lectures on campus.
We believe that, several years after the implementation of our popularization strategy, a new situation will emerge in the national calligraphy education.
许俊鹏作品10
