* Yan Xuezhang's Commentary Collection, published by China Federation of Literary and Art Circles Press in 2004. This book contains more than 100 review articles on crab art written by painters and critics. Critics rationally analyzed Yan Xuezhang and his art from different angles, and comprehensively and stereoscopically analyzed its ideological, artistic and unique features.
The book "Walking horizontally or vertically" published by Culture and Art Publishing House reflects Yan Xuezhang's academic views on calligraphy and painting theory. This book contains more than 70 theories and comments published by Yan Xuezhang in academic journals over the years, which reflects Yan Xuezhang's unique thinking on China's painting and calligraphy art. Yan Xuezhang's academic thoughts are used to criticism and have unique views, which often cause controversy. The main academic viewpoints are:
* The paper "Popular Calligraphy Style and Its Systematic Criticism" was published in the fourth issue of Calligraphy Research 1993. This paper examines the popular book style from a historical perspective, understands the integration mechanism of the popular book style with a systematic thinking method, and analyzes four reasons for the emergence of the popular book style: realistic reasons; Aesthetic reasons; Utilitarianism; Material reasons. Four laws of popular book style are found out: holographic law; Recursive law; Law of interaction; Law of transformation. Therefore, it is put forward that "a history of calligraphy is a popular history of popular calligraphy style". This assertion is widely quoted.
* The paper "On Calligraphy Ontology-A Discussion with Mr. Sheng" was published in Calligraphy Research No.3 1997. This paper systematically criticizes the reflection theory, abstraction theory, symbolism theory, expression theory, philosophy theory, emotion theory and ontology theory put forward in the discussion of calligraphy ontology, and puts forward the conclusion that calligraphy is the art of writing Chinese characters, that is, Chinese characters-the essential core of calligraphy and writing, which has attracted academic attention.
* The paper "Mistakes in Contemporary Calligraphy Education" was published in the 3rd issue of Calligraphy Research in 2000, and was reprinted in China Calligraphy Education. In this paper, the chaos in calligraphy education is deeply analyzed, which is caused by the popularization of hard pen instead of brush and computer in practical field. It is pointed out that "the unity of practicality and artistry is the essential regulation of the emergence, survival and development of calligraphy and the objective embodiment of calligraphy itself". On this basis, SY teaching method of painting and calligraphy was founded, which won the national invention patent, compiled a series of teaching materials of SY teaching method of painting and calligraphy, and personally presided over the training course of painting and calligraphy teaching, which had a wide influence.
* The paper "Calligraphy Neoclassicism is retrogression" was published in Calligraphy Research 200 1 the first issue. After the paper was published, it immediately aroused strong repercussions in China painting and calligraphy circles, and more than 50 articles participated in the discussion, which had far-reaching influence. This paper mercilessly criticizes the so-called neo-classical calligraphy theory, who ruled the calligraphy circle in China for many years, and the neo-classical calligraphy practice under this theory. The conclusion that "immaturity is beauty" and "madness is innovation" put forward in this paper has played a backwash role on the phenomenon that China book circles blindly returned to tradition and imitated repeatedly at that time.
* In the 6th issue of China Painting Research in 2002, he published the paper "Drawing Sword in the Field —— An Answer to the Return of Calligraphy Neoclassicism". This paper refutes the great discussion caused by "neoclassicism of calligraphy is retrogression": 1, and all critical articles repeat "forever correct nonsense" in the same tone; 2. The critical articles are all based on the image of a guardian-intoxicated with "braids and foot binding"; 3. The critical articles all hold the same position-those who wear dresses scold those who wear suits. Put forward three conclusions of calligraphy innovation: 1, the real calligraphy innovation points to the modern form of calligraphy, not the classical form, and the truly "new" calligraphy is the calligraphy that completes the modern transformation, not the calligraphy that returns to the classical form; 2. The real innovation of calligraphy is "difference" rather than "transcendence" of calligraphy tradition; 3. The real innovation of calligraphy is individual, not group.
* The paper "Popular Calligraphy Style and Calligraphy Neoclassicism" is linked to the 30th and 3rd1issues of Calligraphy Newspaper in 2002. This paper holds that popular calligraphy style and neoclassicism are essentially the same thing, and puts forward the aesthetic essence of popular calligraphy style: on the one hand, it is vulgarization of classical calligraphy, on the other hand, it is elegance of folk calligraphy, which has been widely quoted.
* The paper "Wang Xizhi's Rebellion and Rebellion Wang Xizhi" was published in the sixth issue of Chinese Painting Research in 2003. It was read at the academic seminar of the first Scholar Culture Festival in Linyi, China, which aroused strong repercussions and was later reprinted by many media such as Art Newspaper. The top ten questions raised in this paper are pertinent and thought-provoking. For details, please refer to the report in Art Newspaper:
* The paper "No innovation equals zero" was published in the first issue of Art Newspaper in 2009. This paper deeply reflects on the display mechanism, evaluation mechanism and creation mechanism of artistic calligraphy, and puts forward a series of academic opinions, which has aroused extensive discussion. The document states that:
The theme of China society in the new era is reform and innovation. The theme of China fine arts calligraphy in the new period is also reform and innovation. Innovation is the primary productive force of art. At present, the creative mechanism and evaluation mechanism of artistic calligraphy centered on exhibition restrict the innovative development of art and the liberation of artistic productive forces, and the overall artistic value of its display, evaluation and creation is equal to zero. Change "exhibition-centered art calligraphy creation" into "creation-centered art calligraphy exhibition", and implement "academic topic system", "genre evaluation system" and "genre exhibition system" to realize the reform of exhibition, evaluation and creation mechanism. We should change the creative idea of "innovating on the basis of inheriting tradition" into the creative idea of "deconstructing tradition on the basis of innovation", from "taking the ancient as the new" to "taking the time as the new" until "taking me as the new", and from "keeping pen and ink with the times" to "leading the times with pen and ink" to realize the modern transformation of artistic calligraphy creation.