Appreciation of Calligraphy Works of Fuyang Calligrapher Liu Wenhua
Fuyang calligrapher Liu Wenhua calligraphy picture 1
Fuyang calligrapher Liu Wenhua's calligraphy works picture 2
Fuyang calligrapher Liu Wenhua's calligraphy works picture 3
Fuyang calligrapher Liu Wenhua's calligraphy works Figure 4
Liu Wenhua's personal data
Liu Wenhua (193 1 ~) is from Lixin, Anhui. Member of China Old-age Painting and Calligraphy Research Association, member of Anhui Calligraphers Association, vice chairman of Fuyang Calligraphers Association, and vice chairman of Fuyang Old-age Painting and Calligraphy Research Association. Calligraphy works have participated in exhibitions inside and outside the province for many times and won prizes. 1992 won the silver tripod award in the exhibition of Beijing famous works in China. 1993? Bagui cup? Special prize of international painting and calligraphy contest. His works have participated in book fairs in seven provinces and cities, calligraphy exhibitions in China, and book fairs in China and Japan, and have been collected and engraved by Yellow River Forest of Steles and Silent Forest of Steles. Calligraphy works were selected into China International Literature and Art Fair, International Modern Calligraphy Works Collection, and Chinese and Japanese Calligraphy Works Collection. Some works are collected. Biographies are compiled into The Complete Works of World Painters and Sealers, A Mirror of Modern Art in China and China, Cihai of Chinese Characters, Cihai of World Cultural Celebrities, Exhibition of Works by Famous Artists of Fine Arts and Calligraphy, and Who's Who of China Contemporary Art, etc.
The Historical Origin of calligraphy theory
Calligraphy theory's original existence is generalized, which is not only manifested in the multidimensional concept, but also in the integration of theoretical interpretation caused by the contradiction between the materialization of calligraphy and instrumental writing. In other words, the initial discussion of calligraphy is not necessarily a pure topic. In other words, written discussions were also tolerated by the original calligraphy theory. Calligraphy theory's admiration for the myth of word-making and the political significance of writing reflects that writing and calligraphy are inseparable, and chaos and fuzziness are a major feature of the original theory. If we insist that this is a knowledge of writing or calligraphy, it is not only inconsistent with the original state of the theory, but also may not be of much benefit to the understanding of the origin of calligraphy. As a pioneer of China's calligraphy, theory leads practice. If a theory can't work for ordinary people, it's not called a theory. In the spirit of serving the people, this theory has strong guiding significance and strong appreciation value.