容三顺,字贤道、1945年出生于广东台山,高级经济师、中国当代著名书法家、中国互联网联盟艺术总监、广东省书法家协会会员、香港书法院名誉院长、阳江市书法家协会名誉主席。

Rong Sanshun, born in Taishan, Guangdong Province in 1945, is a senior economist, a famous contemporary Chinese calligrapher, artistic director of China Internet Alliance, member of Guangdong Calligraphers Association, honorary president of Hong Kong Book Court and honorary chairman of Yangjiang Calligraphers Association.

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作品和传略被编入《百年经典一中国书法全集》、《世界名人录》、入编《<嘹望》杂志专刊,编撰的《中华脊梁》特辑、《中国美术年鉴》《新中国美术家大典》等七十多种书刊。

His works and biographies have been compiled into the Complete Works of One Hundred Years Classic Chinese Calligraphy, Who's Who in the World, the special issue of "Your Hope" magazine, the special issue of "Chinese Backbone", the Yearbook of Chinese Fine Arts, the Grand Ceremony of New China Artists and so on.

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多年来临池不辍,致力于追求继承和发展的完美结合,逐步形成了自己独特的艺术风格,深得社会各界的赞赏和好评。容三顺先生在中国当代书坛可谓卓然独步、自成一家。其书具晋法之气象正大、雄秀考究,颜体之筋骨遒劲有力、情融笔墨,草圣怀素之气势贯通、神采动人。在形式上,其书法取其笔意,即取今之“书写简约方便”,而少今之“笔画连绵同回绕”.此一形式顺应时代要求,为专业人士和普通大众所共赏,体现了文艺为人民服务的宗旨。

He has been coming for many years, devoted himself to the perfect combination of inheritance and development, and gradually formed his own unique artistic style, which won praise and praise from all walks of life. Mr. Rong Sanshun can be described as outstanding and unique in contemporary Chinese book circles. His book is characterized by the magnificent and elegant atmosphere of Jin Fa, the vigorous bones and muscles of Yan Ti, the emotion and ink, and the momentum of Cao Sheng Huai Su. In form, his calligraphy takes its pen meaning, that is, "simple and convenient writing", but less "continuous and winding strokes". This form conforms to the requirements of the times, is shared by professionals and the general public, and embodies the purpose of literature and art serving the people.

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闭户著书真岁月,挥毫落纸如云烟。容三顺老师的书法创作是其人生积累的自然流露,是其生命激情的自由表达,满纸“驰毫骤墨列奔驷”,好似笔歌墨舞,更像是灵魂与灵魂的对话。缠绵的线条,好似云龙游天。草草的逸笔,成就了满纸云烟,虽任情使然,却又顾盼生姿,有旋律、有激情、有情趣、有韵律,令人目不暇接,俨然一副大家之气象,凝神静观容三顺老师的一幅幅作品,留白处亦皆是妙意:其笔墨未到处,亦有灵气无中行,留白写满静远与幽深;整体而言彰显着空灵意境与笔墨情趣的相得益彰,连成一片气韵,在一幅幅作品中相互涌动:“文移北斗成天象,日捧南山入寿杯”写气不写形,笔笔惊风雨,辅之以四尺的“寿”字,天然去雕饰,巧拙了无痕,在温暖的阳光下,好山好水沐浴清风,最需要的就是一个身体的健康,这便是现实社会可遇不可求的一个世外桃源,“为学大益,在自求变化气质”这就是容三顺老师的气。

It's a real time to write a book in a closed house. Rong Sanshun's calligraphy creation is the natural expression of his life accumulation and the free expression of his passion for life. It is full of paper, which is like calligraphy and ink dance, more like a dialogue between soul and soul. Touching lines, like Yunlong swimming in the sky. The careless brushwork has made it full of papers and clouds. Although it is the result of feelings, it also looks forward to the appearance of life. It has melody, passion, interest and rhythm, which is dizzying. It looks like everyone's weather, and pays close attention to the works of Teacher Rong Sanshun. The blank space is also wonderful: its pen and ink are not everywhere, and there is no aura, and it is written in Man Jing far and deep; On the whole, it shows that the ethereal artistic conception and the taste of pen and ink complement each other, connecting into a charm, and surging in each other's works: "The text moves to the big dipper, and every day holds Nanshan into the birthday cup", writing is not writing, and the pen is shocked by the wind and rain, supplemented by the four-foot word "Shou", which is naturally carved and decorated, and it is self-defeating. In the warm sunshine, a body is most needed to bathe in the breeze with good mountains and water.

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中国人说气,是既抽象又形象的。所谓气,可以理解为生命之气。黄宾虹晚年时期,他早年对自然的观察、写生,对文化的研究都已成过去。所有的绚烂归于他的平实,达到了“无象无形”的主观挥洒的忘我境界。从他的画我们看到的,是大。他没有雕琢于一个小的东西,他没有拘泥于一个小的形象,然而好多意想自在其中。反观容三顺老师的作品可以看出,他以籀篆笔意写行书法是时下追求的最大成功,用笔豪迈粗狂,苍凉的飞白仿佛诉说岁月的侵蚀,笔墨的浓淡干湿显示着其个人情感和参悟,写出了简洁中的厚重,潇洒中的苍凉,与时俱进的古朴典雅。书之妙道,就是写性情,写涵养,写丰富的大自然,写变化多姿得万物景象,书法家就是应当追求这样的效果,用线条来启迪人们的心灵。

Chinese people say qi, which is both abstract and vivid. The so-called qi can be understood as the qi of life. In Huang Binhong's later years, his early observation of nature, his sketch and his study of culture have all gone. All the splendor is attributed to his simplicity, and he has reached the subjective and selfless state of "no image, no invisibility". What we can see from his paintings is big. He didn't carve in a small thing, he didn't stick to a small image, however, many intentions were at home. In contrast to Rong Sanshun's works, it can be seen that he is pursuing the greatest success by writing calligraphy with the brush seal. His pen is bold and wild, and the desolate flying white seems to tell the erosion of the years. The shade and dryness of his pen and ink show his personal feelings and understanding, and he writes the simplicity and heaviness, the desolation and the simplicity and elegance that keep pace with the times. The wonderful way of a book is to write about temperament, self-restraint, rich nature, and varied scenes of everything. Calligraphers should pursue such an effect and enlighten people's hearts with lines.

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