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张维忠作品
由笔势纵横，无所羁系，构成性情体态；由字势灵动，欹侧变化，构成势欲凌飞；由气势放逸，劲健自然，构成精神洒落，是张维忠楷书带给我的深刻印象。
张维忠楷书，走碑帖结合之路，从传统楷书中拓放出来，赋予楷书新的生命意趣，并紧随时代，其楷书具备多元的审美追求和宽广的审美包容，展现出独有特色。
劲健放逸，内涵丰富。张维忠数十年手临北魏《张猛龙碑》 《元思墓志》 、东魏《敬使君碑》等，同时，心慕东晋小楷，目窥唐楷气象。故其楷书，既有碑的雄峻，又有帖的雅逸。他将魏楷之雄伟、颜楷之雄厚、“二王”楷书之妍美，融变于一体。其楷书，结构变化多端，字势千姿百态，短长俯仰，奇峭叠现；聚散离合，对比强烈，提按节奏悦目，往往呈现生动审美意境，可见遒丽、宽和、朗润的君子气度，可窥劲健、洒脱、放逸的书者风范。
楷书放逸，是对楷书审美常态的变革。张维忠楷书放逸，表现在他敢于打破楷书结字样态，简化古法程式，淡化古穆森严，彰显个性特征；破中宫紧敛惯例，令其疏朗畅达；结字收放开合关系中放不枉之，收不过之，欲收不收，欲放不放，既在意料之外，又在情理之中。故其楷书，常能俯仰造势，顾盼生情，化平正为险绝，度寂静为雀跃。他作楷的艺术思辨是：楷欲遒劲，而不以生硬为之；楷欲飘逸，而不以轻薄为之；楷欲精爽，而不以雕琢为之。
以行入楷，跌宕生动。以行入楷的意义，在于速度与笔致能够表现出一种典型的艺术质趣。张维忠以行入楷，一是将楷书中提按、留驻和匀速运动留下的显著特征以及魏碑中的方峻、沉雄、静穆的传统样式，在经过漫长的吸收、消化之后，又大胆地把它过滤掉，让人觉得既不重复某家某帖，又有深厚的传统渊源。二是融入篆、隶笔意，丰富用笔内涵。他写楷，点画起始，时而逆锋起笔，时而方笔开路，时而尖笔入纸；每至收笔，时见露锋劲挺，或作杀笔取势，也作驻笔含蓄；横有一波三折，竖有曲度弹力，折有篆意圆转，凌厉笔法，跃然纸上，使其楷书进入一种自然洒脱、跌宕生动的审美境界。三是强化线条运动的快速性，打破楷书线条运动中常常被分割成琐碎的片断一一组合之情形，以使运笔疾驰，疾而不浮，疾而稳健，疾而不损其质，别具天然苍茫气质。他以行入楷，通变出行楷、行草，所追求的正如孙过庭《书谱》所言“然后凛之以风神，温之以妍润，鼓之以枯劲,和之以闲雅。 ”
以小见大，精神洒落。苏东坡《论书》曰：“真书难于飘扬”“小字难于宽绰而有余” 。此“二难” ，张维忠皆努力突破。他除能事大楷气势磅礴之外，也能事小楷之精妙。其小楷，既劲挺婉丽，又散逸朴辣；宽绰中见气宏，精密中见疏朗；宽绰而有气凝，疏朗而导引气畅。
如何使楷书生动起来、活跃起来、飘扬起来？如何最大程度地赋予楷书的抒情空间、获得精神洒落？张维忠的表现手段是，一方面，返回到楷书出炉前的“草”写，在“二王” 、东坡的行书中，汲取养分，把行书中的笔画牵丝部分删掉，用笔断意连保留线条连续运动的轨迹。另一方面，强化突出某些笔画意态，向四方辐射挺出，许多悬针笔画，精劲、放逸，忽见拔鞘于起始，忽见横飞于中间，忽见毕露于收尾，无不生动恣肆。再是，把楷书作品章法布局的触角往行草方面延伸，字距、行距，打破楷书章法布局常规，使人体验到楷书章法布局的多样性、空灵性、生动性。
张维忠令小楷宽绰有余，以小见大，探索楷书结字内部之间映照关系之多元，赋予楷书因势造形、攲侧有度、大小任意、粗细随心、精巧厚重有别之奇趣，引人体味其生机盎然，神采飞扬，精神洒落。
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