Dong Sen, male, from Juye County, Shandong Province, 1937, was born in a scholarly family and was educated by his younger brother Dong since childhood. He studied under Mr. Xiao Longshi, Mr. Wang Xuezhong and Mr. Zhu Fukan successively, benefiting a lot and making great progress in painting and calligraphy. Calligraphy has a profound foundation of Yan characters, and its handwriting is simple and honest. Following the paste of the two kings, the Song and Yuan Dynasties, the Han and Wei Dynasties carved stones, and the words were rich and strong. At the same time, I have read all the ancient and even modern theories of calligraphy and painting, taking Huang's painting theory as the guiding ideology of calligraphy. After decades of hard practice and integration of ancient and modern times, calligraphy has been transformed. His works participated in the China Farmers' Calligraphy Competition for the second time, and won the Excellence Award in the 4th Secler Cup Book Fair. Wuhan Painting and Calligraphy Institute and Yinchuan Art Museum have collections, and there are stone carvings in Xufu Forest of Steles in Jiaonan County, Shandong Province, which are exhibited in calligraphy exhibitions in counties and cities. Traditional Chinese painting is mainly based on mountains and rivers, and has traveled to famous mountains and rivers all over the country for many times, sketching and creating. At the same time, the creative technique of painting flowers by painters is gentle and natural, with profound connotation. Chinese painting works are dignified and elegant, fresh and elegant, and artistic point of view. Mr. Dong Sen has formed a series of artistic views. [1] 1. China has a long history and is profound. Many contemporary painters want to innovate without studying for a few years. Their predecessors' artistic achievements, such as Chinese portraits in the Western Han Dynasty and the Eastern Han Dynasty, Dunhuang frescoes in the Tang Dynasty, Mi Fei and Fan Kuan in the Song Dynasty, Wang Mian and Huang in the Yuan Dynasty, Tang Yin in the Ming Dynasty, the old man of Qingteng and Badashan people, etc. , is by no means our generation can easily do it for a lifetime. Only by being modest and eager to learn can we learn one thing and leap ahead of our predecessors. Second, the relationship between concrete and abstract. From the very beginning, paintings are involved in abstract factors, which is a combination of concreteness and abstraction. Throughout the history of art, there are more or less abstract factors from ancient cave murals to medieval religious decorative paintings to classicism, realism and impressionism. The abstract factor is embodied in any simple line and any pure color. Without abstract factors, it is difficult for a painter to "correctly" vent any object in reality. The beauty of a painter's painting lies in his repeated and meticulous observation of objective things, and in his comprehensive improvement and artistic reproduction in the medium of Xuan paper and walls through his own artistic accomplishment, theory and level synthesis. Third, ancient paintings can become immortal because of his painting level. Some contemporary works are crowned with this member, that member, this title and that position. But there is only one thing that depends on the vitality of the work: level. Big waves wash sand, and over time, a masterpiece is a masterpiece.