黄映元，男，汉族，1955年生于四川南江，大学本科，学士学位，中共党员，退伍军人。中国硬笔书法协会会员，中国书法家协会理事，中国书法家协会篆书委员会副主任，中国文联书画艺术中心顾问，中国高级书画家协会会员，中国书画家联谊会会员，中国书画家联谊会新文艺群体书画家工作委员会会员，中国楹联学会会员，中国楹联学会书法艺术研究会常务理事会副主席，中国行业发展研究中心传统文化艺术行业高级研究员，中国行业发展研究中心专家委员会荣誉副理事长，国家文化研究院理事，中南海国礼中心国礼艺术家，中国国宾礼特供艺术家，商务部中国服务贸易协会国际工作委员会委员，中央美术学院客座教授，国家高级书法师。荣获“全国劳动英模”和“全国首批传统文化艺术行业优秀人才模范”荣誉勋章。
黄映元自幼喜爱书画，9岁习字，篆隶楷行兼修，后专攻篆书一体。篆书创作以中华文化、中国文字和中国书法的综合研习为基础，以中华文化的审美思想为创意，集古今篆书精华于一体，自成风格，独树一帜。书法作品先后入选2009年中国文化艺术交流展在欧洲多国展出和交流，荣获“中欧文化艺术特使”和作品“金奖”。荣获2009年“和平女神杯”首届国际书画大展赛“和平奖”和第一届国际书画艺术大奖赛“荣誉金奖”。入选2010年中国上海世博会国礼采购作品和2011年献礼奥地利国庆大典的中国国礼。2015年在北京国粹园文化艺术交流中心举办个人作品展，接受中央电视台《魅力故乡》栏目组专访。2016年作品先后被北京八达岭长城、人民大会堂、中南海国礼中心、中韩日交流协会等收藏，并镌刻在北京八达岭新长城。个人被聘为中南海国礼中心“国礼艺术家”，被中国教育电视台评选为“中国十大最具社会责任感艺术家”。2017年作品献礼全国“两会”在全国人大会议中心展出。2019年作品先后被中国书画家联谊会和中华人民共和国外交部收藏；入选献礼全国“两会”在全国政协礼堂展出；入编《人民代表报》艺术专刊——《我为两会代言特邀艺术代表》献礼全国两会；入编中央美术学院《中国高等美术院校教学范本》；入选“庆祝中国和匈牙利建交70周年艺术展”在匈牙利国会大厦展出；入选庆祝中华人民共和国成立70周年“国礼玉璧”书画图案，荣获庆祝中华人民共和国成立70周年“特殊贡献奖”和庆祝建国70周年国庆阅兵“受阅纪念章”。2020年作品毛泽东诗词《沁园春.雪》先后被中国国家博物馆和中国美术馆收藏。2021年出版个人作品专集《特邀艺术代表献礼全国两会专刊》献礼全国两会；作品《中国梦》和《不忘初心，牢记使命》入选“中华国礼，传世国瓷”国礼瓷盘文化图案，献礼庆祝中国共产党成立100周年。2022年作品入选中央电视台《时代焦点人物》和中国邮政《一带一路首届中欧艺术邮票鉴藏年》邮票图案。2023年作品入编《中国书法教育名师名作教学范本》个人专集，作品毛泽东词巜沁园春 . 雪》被国家人民大会堂收藏；参加中央电视台特邀艺术家代表“助力乡村振兴全国巡回”公益活动并捐献作品。
Huang Yingyuan, male, Han ethnicity, born in 1955 in Nanjiang, Sichuan. He holds a bachelor's degree and a bachelor's degree from a university. He is a member of the Communist Party of China and a retired soldier. Member of the China Hard Pen Calligraphy Association, Director of the China Calligraphers Association, Deputy Director of the Seal Script Committee of the China Calligraphers Association, Consultant of the Calligraphy and Painting Art Center of the China Federation of Literary and Art Circles, Member of the China Advanced Calligraphers and Painters Association, Member of the Chinese Calligraphers and Painters Association, Member of the New Art Group Calligraphers and Painters Working Committee of the Chinese Calligraphers and Painters Association, Member of the Chinese Couplet Society, and Vice Chairman of the Executive Council of the Calligraphy Art Research Association of the China Couplet Society, Senior Researcher in the Traditional Culture and Art Industry at the China Industry Development Research Center, Honorary Vice Chairman of the Expert Committee of the China Industry Development Research Center, Director of the National Cultural Research Institute, National Ritual Artist at the Zhongnanhai National Ritual Center, Special Artist for Chinese State Guests, Member of the International Working Committee of the China Service Trade Association under the Ministry of Commerce, Visiting Professor at the Central Academy of Fine Arts, and National Senior Calligrapher. Received the Honorary Medal of "National Labor Model" and "National First Batch of Excellent Talents Model in Traditional Culture and Art Industry".
Huang Yingyuan has been fond of calligraphy and painting since childhood. At the age of 9, he practiced calligraphy and practiced both seal script, clerical script, and regular script. Later, he specialized in the integration of seal script. The creation of seal script is based on the comprehensive study of Chinese culture, Chinese characters and Chinese calligraphy. It takes the aesthetic thought of Chinese culture as its creativity, and integrates the essence of ancient and modern seal script. It has its own style and is unique. Calligraphy works have been selected for exhibition and exchange in multiple European countries at the 2009 China Cultural and Art Exchange Exhibition, and have won the "China Europe Cultural and Art Envoy" and the "Gold Award" for their works. Received the "Peace Award" at the first International Painting and Calligraphy Exhibition and the "Honorary Gold Award" at the first International Painting and Calligraphy Art Grand Prix in 2009. Selected as a national gift procurement work for the 2010 Shanghai World Expo and a Chinese national gift for the 2011 Austrian National Day Ceremony. In 2015, a personal work exhibition was held at the Beijing Guocuiyuan Cultural and Art Exchange Center, and I was interviewed by the CCTV program "Charming Hometown". In 2016, his works were successively collected by the Beijing Badaling Great Wall, the Great Hall of the People, the Zhongnanhai National Ritual Center, the China South Korea Japan Exchange Association, and engraved on the Beijing Badaling New Great Wall. I was hired as a "National Ritual Artist" at the Zhongnanhai National Ritual Center and was selected by China Education Television as one of the "Top 10 Most Socially Responsible Artists in China". The 2017 work presented as a gift to the National People's Congress and Chinese People's Political Consultative Conference was exhibited at the National People's Congress Center. In 2019, his works were successively collected by the Chinese Calligraphers and Painters Association and the Ministry of Foreign Affairs of the People's Republic of China; Selected to present gifts to the National "Two Sessions" and exhibited in the National Hall of the Chinese People's Political Consultative Conference; Joined the art special issue of the People's Representative Daily - "I am a special invited art representative to endorse the Two Sessions" as a gift to the National Two Sessions; Incorporated into the Teaching Model of Chinese Higher Art Institutions at the Central Academy of Fine Arts;
Selected for the "Art Exhibition Celebrating the 70th Anniversary of Diplomatic Relations between China and Hungary" to be exhibited at the Hungarian Parliament Building; Selected to celebrate the 70th anniversary of the founding of the People's Republic of China with the "National Gift Jade Bi" calligraphy and painting pattern, awarded the "Special Contribution Award" to celebrate the 70th anniversary of the founding of the People's Republic of China and the "Reading Memorial Medal" to celebrate the 70th anniversary of the founding of the People's Republic of China. In 2020, Mao Zedong's poem "Spring and Snow in Qinyuan" was collected by the National Museum of China and the National Art Museum of China. In 2021, I published a special collection of my personal works titled "Special Invitation of Art Representatives to Present to the National People's Congress and Chinese People's Political Consultative Conference" to present to the National People's Political Consultative Conference and Chinese People's Political Consultative Conference; The works "Chinese Dream" and "Never forget the original intention, remember the mission" were selected into the national ritual porcelain plate cultural pattern of "Chinese national ritual, handed down national porcelain" to celebrate the 100th anniversary of the founding of the CPC. In 2022, the work was selected as the stamp pattern of CCTV's "Focus of the Times" and China Post's "the Belt and Road First Sino European Art Stamp Collection Year". In 2023, the work was included in the personal collection of "Teaching Models of Famous Chinese Calligraphy Education Masters", with Mao Zedong's Ci Zhi Qin Yuan Chun Snow has been collected by the Great Hall of the People of China; Participated in the CCTV invited artist representative's "National Tour to Assist Rural Revitalization" public welfare activity and donated works.
不遗余力修文化，功成高古传龙脉
一一记著名书法家黄映元先生的篆书艺术
黄映元先生的篆书以深厚的中华文化、中国文字和中国书法的综合研习为基础，以中华文化的审美思想为创意，集古今书体精华于一体，自成风格，独树一帜。他极具思想感染力和艺术欣赏性的篆书作品，总是让人赏心悦目，意味无穷，给人以精神力量和美感享受。中华文化的阴阳中和之意，中国文字笔墨线条的曲直虚实之美，均在他篆书的结构意境和笔墨挥运中完美体现，感之灵动，品之神韵，其造诣之深，功力之厚，应为引领古今篆风的时代美品 。他取法篆书成熟之前的甲骨风格，重拟龟文，再现龙鳞，将笔迹收放行于篆书，又跨越式地将楷书方正古直的结体方式引于篆书之中，把篆书的气韵美感从单一的宽和引向了多重的对比，产生了更加多元的篆书至美元素。 所以说，精于篆书的高古创作，不仅仅是他个人的书法造诣，也是民族文化得以承源的功德。
他修炼篆书，有着非常开阔的广纳视野，在碑学严谨的基础上，左右寻源，前后取法，不把篆书作为孤立的存在而进行呆板的复现，而是把篆书当成一个可以绕而公转的文化核心，有意把甲骨文、钟鼎文、隶书、魏碑、楷书、行草等诸多精妙的笔法融合进篆书的创作，让篆书一体在核心的位置上神姿换发，再现奇观。所以，我们看他的篆书在结体对称法度严谨的基础上，会显观笔法和墨韵的丰富多彩。
篆书融入隶书、魏碑、楷书、行草的顿挫节奏，行运有绞转，通过熟练的调锋之法，全面体现出中锋行笔的劲道圆厚。笔法的变化，让篆书在规整的框架内，又显示出磅礴的笔品张力。而这种张力的存在，在当代书坛并没有第二位书法家得成这种造诣，向前推吴昌硕与赵之谦的书法有此功力显成。当代写篆书，一般就是注意了笔法的柔性与圆性，他的书法却是刚柔相济，方圆通能，丰富的笔法正是汲取诸体的功成。所以黄映元先生的篆书一体，对当代书坛来说，具有鲜明的承前启后的集成要素。这就是他持开放的思路，酝酿篆书新风，食古而化进取开拓的标高造诣。
更为可贵的是，他的篆书有用墨上更显独树一帜的表现水准。篆书不讲墨感事实上是一种书法的流弊，流弊的产生有客观的原因，主要是篆书缺少原状帖本供观瞻墨韵，无法可师。主观原因则是书法家感触能力不足，不能通过入心的揣摩去断想篆书墨韵的本来面貌。黄映元修炼篆书，虽然无帖本，但是他对碑字刻迹中的篆书有着极其通心的墨韵触生能力，观碑而悟墨，利用文化修养的极致功夫，把篆书本来应该有的韵墨变化揣摩成功，所以执笔写篆书，不但工于结体和笔法，也精彩于墨色的干湿浓淡变化，篆书得墨韵五彩，飞白苍劲，可谓前无古人，今是来者！他的墨韵篆书，找到了书法基于碑学而创帖学气脉的通路，不仅仅是书法的成就，也是文化的功成！
不遗余力修文化，功成高古传龙脉。他的篆书整体观感结体中正端庄，用笔平稳流畅，墨显气韵生动，在简捷爽约中写气魄宏大，举重若轻，流利飘逸。篆书传承秦风的威严，又加注个人书风的雄奇神采，仰观笔墨入庙堂，径入强劲最骨力，作为诸书之祖，显成千古不易之法。
著名书画评论家 央视评论员：史峰
2021年11月21日于北京
Spare no effort in cultivating culture, and pass down the ancient dragon vein with great achievements A Record of the Seal Script Art of Famous Calligrapher Mr. Huang Yingyuan
Mr. Huang Yingyuan's seal script is based on the comprehensive study of profound Chinese culture, Chinese characters and Chinese calligraphy, and is creative with the aesthetic thought of Chinese culture. It integrates the essence of ancient and modern calligraphy, and has its own style. His highly intellectual and artistic seal script works are always pleasing to the eye, with infinite meaning, giving people spiritual power and aesthetic enjoyment. The meaning of the balance of yin and yang in Chinese culture, as well as the beauty of the curvature, virtuality, and reality in the strokes and lines of Chinese characters, are perfectly reflected in the structure, artistic conception, and brushstrokes of his seal script. The sense of agility, the quality, and the depth of his expertise and skill should be the leading beauty of the times in the style of seal script, both ancient and modern. He adopted the oracle bone style of seal script before its maturity, remade turtle script, reproduced dragon scales, and incorporated calligraphy into seal script. He also incorporated the square and ancient straight structure of regular script into seal script in a leapfrog manner, leading the aesthetic beauty of seal script from a single width to multiple comparisons, resulting in more diverse elements of seal script beauty. So, a master of seal script in ancient times is not only his personal calligraphy skills, but also a virtue that enables the inheritance of national culture.
He cultivates seal script with a very broad and inclusive perspective. Based on the rigorous study of steles, he searches for the source from left to right, takes the method from front to back, and does not rigidly reproduce seal script as an isolated existence. Instead, he regards seal script as a cultural core that can be revolved around. He intends to integrate many exquisite brushwork techniques such as oracle bone script, bell and ding script, clerical script, Wei stele, regular script, and cursive script into the creation of seal script, Let the seal script be integrated in the core position with a divine transformation, reproducing the wonders. So, when we look at his seal script, on the basis of rigorous structure and symmetry, we will see the rich and colorful brushwork and ink rhyme.
The seal script incorporates the rhythmic rhythm of clerical script, Wei stele, regular script, and cursive script, with twists and turns in the strokes. Through skilled techniques of adjusting the strokes, it comprehensively reflects the strength and roundness of the center's brushstrokes. The changes in brushwork allow seal script to display a majestic tension within a regular framework. And the existence of this tension has not been achieved by a second calligrapher in the contemporary calligraphy world, pushing forward the calligraphy of Wu Changshuo and Zhao Zhiqian to show this skill. In contemporary seal script writing, attention is generally paid to the flexibility and roundness of the brushwork. However, his calligraphy is a combination of hardness and softness, and the rich brushwork is the result of absorbing the achievements of various forms. So Mr. Huang Yingyuan's seal script integration has a distinct integrated element that connects the past and opens up the future for the contemporary literary world. This is his open-minded approach, brewing a new trend in seal script, and his high level of expertise in learning from the ancients and forging ahead.
What is even more valuable is that his seal script has a more unique level of expression on ink. The fact that seal script does not emphasize ink sense is actually a flaw in calligraphy, and the emergence of these flaws has objective reasons, mainly because seal script lacks original copy for observing ink rhyme, making it difficult to master. The subjective reason is that calligraphers lack the ability to perceive and comprehend the original appearance of seal script ink rhyme through in-depth contemplation. Huang Yingyuan practiced seal script, although he did not have a copybook, he had an extremely intuitive ability to touch the ink rhyme in the inscriptions on the stele. He observed the stele and understood the ink, and used the ultimate effort of cultural cultivation to successfully figure out the changes in the ink rhyme that seal script should have. Therefore, when writing seal script, he not only worked on the structure and brushwork, but also excelled in the changes in the dry and wet color of the ink. Seal script has a colorful ink rhyme, flying white and vigorous, which can be said to be unprecedented. Today, he is the one who has come! His ink rhyme seal script has found a way for calligraphy to create a calligraphy style based on stele learning, which is not only an achievement of calligraphy, but also a cultural achievement!
Spare no effort in cultivating culture, and pass down the dragon vein from ancient times. His seal script has a positive and dignified overall appearance, with smooth and fluent brushstrokes and vivid ink. In a concise and straightforward style, he writes with great grandeur, with a light and graceful lifting, fluent and elegant. The seal script inherits the majesty of the Qin style, while also adding the majestic and extraordinary charm of personal calligraphy style. Looking up at the ink and brush entering the temple, one can see the strongest and most bone strength in the path. As the ancestor of all books, it has become an ancient and difficult method.
Famous calligraphy and painting critic, CCTV commentator: Shi Feng
On November 21, 2021, in Beijing
