Basic Introduction

It is devoted to the practical exploration and theoretical research of calligraphy, painting and seal cutting. Calligraphy is based on bronze inscriptions. Every body works and likes grass. Paintings attack mountains and rivers. Seal engraving belongs to ancient seals.

The theoretical research aims at the effective elaboration of the form and internal principle of the works, and at the aesthetic level to get through the various disciplines of calligraphy, painting and seal carving. Published more than 20 academic papers, published monographs "General Guide to Chinese Flower and Bird Painting Authentic Sketching", "Image and Brush and Ink - Study on the Presentation of Chinese Painting Objects", "Study of Li Weiqing's Painting", "Looking at Six Hundred Years -"Fuchun Mountain Residence Map"Legend (co-author), works collection"Sun Tzu's Art of War Seal"and"Chalu Mountain and Water Painting Collection". "

Characteristic of Calligraphy Art

Calligraphy is based on Jinwen of Shang and Zhou Dynasties, and takes Jinwen as the foundation of the spirit of painting and calligraphy and writing technology. Li Shu's stele bamboo slips are also teachers. They are broad and profound in the Han Dynasty's stele, and show the fantastic and leisurely illusion of the Han Dynasty's stele bamboo slips. The creation of Li scripts is based on seal scripts, and the situation is based on the Han Dynasty bamboo and silk in Mawangdui. Regular script is the soul of the Northern Stele. Xiaokai created Yue Tang Chao Jin and took over its business at the place where regular script was created. He is good at cursive writing, especially in showing his soul. The most precious thing about cursive scripts, which were visited by the Ming people in Jin Dynasty, is that they were strengthened by ancient seal scripts, and that they were contemplated for centuries out of the present.

Major academic papers

Calligraphy Research

1. Zhu Yunming, Volume 1 of the Classic of Chinese Painters and Calligraphers. Zhu Boxiong, editor-in-chief of Cao Chengzhang, Zhejiang Education Press (December 1997).

2. Comparisons of Wu Changshuo, Kang Youwei, Yu Youren and Lin Sanzhi, the modern and contemporary calligraphers in the light of Ye Xicai's theory of courage and insight, were selected as the "Sixth National Symposium on Calligraphy". Host: Chinese Calligrapher Association (2004).

3. A Preliminary Study of Grass and Grass Calligraphy and Their Implications was included in the collection of papers of the Second National Calligraphy Graduate Calligraphy Academic Week Calligraphy Forum. Host: Graduate Institute of Chinese Calligraphy Culture, Capital Normal University (2005).

4. Beibei Shifa Lun was awarded the excellent thesis of "Symposium on Beibei and Kang Youwei's Calligraphy". Host: People's Government of Nanhai District, Foshan City, Guangdong Province, Guangdong Calligrapher Association (2005). Published in Chinese Calligraphy No. 8, 2006.

5. Chen Hongshou's Calligraphy Investigation was published in the third issue of Calligraphy Appreciation in 2008.

6. Two Basic Forms of Rhyme, Love and Cursive Curve Movement were published in Calligraphy Appreciation No. 2, 2009.

7. In the name of lyricism, self-depreciation of calligraphy creation was published in the 9th issue of Chinese Calligraphy in 2010.

8. Openness and Uniqueness - On Zhang Zongxiang's Calligraphy Thought and Practice was published in Calligraphy Appreciation No. 1, 2011.

9. Calligraphy in Painting and Calligraphy in Calligraphy - Shi Tao's Title Calligraphy was published in the 5th issue of Chinese Calligraphy in 2012.

Research on Chinese Painting

1. The Role of Calligraphy--On Huang Binhong's View of Brush and Ink and His Practice participated in the exchange of Huang Binhong's International Academic Seminar and was compiled into Huang Binhong's Research Collection (Zhejiang People's Fine Arts Publishing House, Shandong Fine Arts Publishing House). Host: China Academy of Art (2004). Published in Art and Design, No. 2, 2005.

2. On the Root Return of Chinese Landscape Painting Creation was selected as the Eleventh National Art Exhibition, Contemporary Art Creation Forum. Organizing Committee: Eleventh National Art Exhibition Organizing Committee (2009). Published in Chinese Painting and Calligraphy No. 4, 2010.

3. On the Problem of "Form" and "Image" of Chinese Painting was compiled into "Origin Road and Zhengwei" (Papers Collection of the First National Academy of Fine Arts Doctoral Academic Forum), Jiangxi Fine Arts Publishing House (April 2010).

4. The Self-Reasons under the Judgment of "Realism" and "Freehand Brushwork"--On the Errors and Paranoia in Liu Guosong's Painting Theory was published in the 9th issue of the World of Calligraphy and Painting in 2010 and reprinted in the 1st issue of "Copying Newspaper Materials and Plastic Arts" in 2011.

5. On the Material-Self Relations of Fuchun Mountain Jutu was published in Art and Design No. 5, 2010.

6. On Cangrun of Fuchun Mountain Jutu was published in the fifth issue of Meiyuan in 2010.

7. The Comparisons between "Futu of Hou Chibi" and "Jutu of Fuchun Mountain" were published in Art Observation No. 6, 2011.

8. An Investigation Based on Juran--A Comparison between Wang Meng and Huang Gongwang was published in Chinese Painting and Calligraphy in 2011.

9. Even if Danqing is delicate and lazy, and exploring the subtleties behind his works, Lu Zhi's paintings of the Ming Dynasty, was published in Rongbaozhai, No. 9, 2011.

10. Lao Cong-lin Gu's portrait of each pair of famous mountains before him, Dai Benxiao's paintings in the Qing Dynasty, was published in Rong Baozhai No. 2, 2012.

11. The Moon and Nizan Landscape was published in the sixth issue of Literature and Art Research in 2012.

12. Commentary on Fundamental Thoughts of Feng Zikai's Cartoon and Exchange at the 2nd International Symposium on Feng Zikai's Research were included in the collection of papers on Feng Zikai's Art and Art Education (China Social Science Press, October 2012). Host: Feng Zikai Research Center, Hongyi Master, Hangzhou Normal University, and Middle School of Aesthetics and Aesthetic Education, Peking University.

Seal Carving Research