Excellence Award in the First National Painting and Calligraphy Competition for Primary and Secondary School Students and Teachers.
Excellence Award in the First Xihe Award National Calligraphy and Seal Cutting Competition
The third national exhibition of women's calligraphy and seal cutting entered the exhibition.
The first national seal cutting exhibition entered the exhibition.
The National Dragon Calligraphy and Seal Cutting Competition entered the exhibition.
Excellent Award of the 5th Calligraphy Exhibition in Yan Zhenqing Hometown.
Third Prize of China Classical Poetry and Calligraphy (National) Competition
Bronze Award in the First National Painting and Calligraphy Seal Cutting Competition
Collection of the 4th Dunhuang Literature and Art Awards in Gansu Province.
China Painting and Calligraphy Art Invitational Exhibition in the Rise of the West
Invited to participate in the joint exhibition of female calligraphers in Anhui, Henan, Gansu and Hainan provinces.
Qingyang "Five One Projects" Award and the 4th Mengyang Literature and Art Award
The 4th Young and Middle-aged Calligraphy and Seal Cutting Exhibition in Gansu Province entered the exhibition.
The Third National Calligraphy and Painting Art Competition of "National Conditions" entered the exhibition.
Calligraphy Exhibition of Tao Te Ching in Commemoration of the 258th1Anniversary of Laozi's Birth
The first "Cang Xie Cup" National Calligraphy Grand Prix entered the exhibition.
Calligraphy works and papers are published in Gansu Daily, Longdong Daily, Calligraphy Daily, Youth Calligraphy Daily, Calligraphy Guide, Gansu Education, Qingyang Education and Huanjiang Literature. In 2002, he held a personal calligraphy exhibition in Huanxian Cultural Center; in 2005, he held a personal calligraphy report exhibition in Qingyang Cultural Center; in February of 201/kloc-0, he held a personal calligraphy report exhibition in Huanxian Political Consultative Conference; and in February of 2012+0/kloc-0, he published a personal calligraphy report exhibition in a remote cultural center in his hometown. How to Make Eyebrows with an awl —— On Li Guoping's Calligraphy
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Most calligraphers have different degrees of personal experience of calligraphy creation, especially their own unique views on the development and aesthetic orientation of China's calligraphy since the new period. After studying in the postgraduate class of calligraphy creation of China Painting and Calligraphy Institute, Li Guoping's calligraphy theory and creative level have been improved to varying degrees under the guidance of famous teachers. She believes that "calligraphy is a process in which calligraphers speak with thoughts and pen and ink". A calligrapher can't write a good work without studying, thinking and feeling about life. Learning calligraphy is like enlightenment, meditation, reading, reciting poems, listening to songs and humming. We must truly understand its connotation and implication, and we must not be false or careless. To learn calligraphy, we must seriously study tradition, but tradition is not a line or a single superficial thing. It is a huge picture unfolding gradually, which contains a lot of knowledge, including Gu Taisha's knowledge, artistic thought, aesthetic concept and cultural spirit.
Li Guoping's calligraphy has many ways. She sings the main theme with lowercase letters and Cao Zhang, and modern cursive script (that is, ordinary cursive script) and seal script assist her. Gradually form your own artistic style. Her calligraphy can be summarized as follows: the small letters are naturally arranged and elegant in sound and rhyme. For example, the works such as "Fan of Knowing Without Words" are exquisite and lovely, with unique style, steady pen and a little brushwork. She can't write with a pen, and she is honest and simple. For example, the six screens of Emperor Taizong published in Gansu Calligraphy Collection and the poem "Poems Near the Ferry in Lizhou" seem to be statues of emperors, but they are also touched. They also showed the configuration brushwork of anonymous in Song Dynasty and modern Wang Shitang, and adopted contemporary aesthetic images, which are ancient and full of brushwork. It can be said that "I want to dive into the ink sea and break the green laurel, and a cloud of smoke flies to the mountain stream." Her cursive script is bold, full of breath and innovative in ancient law. For example, the theme is two screens of Su Shi's ci, with free pen, smooth lines, flying movements and vivid pen and ink. "I always ask the rules of the branches, why do men feel uncomfortable making cones?" It should be said that Li Guoping's calligraphy path is very good, and she can be regarded as one of the representative female calligraphers in Longdong.
We are all happy for her and wish her continuous innovation and greater achievements!
Always asking about the rules of branches, why do men feel uncomfortable making cones?
I want to dive into the ink sea and fold the blue laurel, and a cloud of smoke flies over the mountains.
Give it to her.
-20 1 1 On September 4th, I said a few words under the half-cold light.
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There are many feelings in the process of writing calligraphy, but it is difficult to organize these feelings in words. "Taoism is natural", so is calligraphy.
I think writing calligraphy is to write about life experiences, traces of time, the spirit of life, ancient and modern knowledge, calmness in impetuousness, truth in hypocrisy, beauty in ugliness, passion in which youth has passed away but still exists, and youth that is still in its prime.
Writing calligraphy is sometimes like enlightenment, sometimes like worshipping Buddha, sometimes like taking care of an old man who needs care, sometimes like running a child who needs care, support, help and guidance, sometimes like the process of doing something needs to be completely thorough, sometimes like listening to a touching song, being obsessed with reading a wonderful book, being confused or moved by emotions and so on. None of this can be false, sloppy or lucky. Careless, the result will make people dissatisfied, unhappy, or even more regrettable, pen and ink, time and youth are wasted.
A calligrapher can't write good works without thinking, learning and real feelings and experiences of life. Learn tradition, but tradition is not a line, not a single superficial thing, it is a gradual picture, which contains many profound cultural origins. Gentlemen have many miniature, namely their thoughts, knowledge and spirit. Thought guides behavior. Only when thought is energetic can the writing level be improved.
Calligraphy is not necessarily a technical problem, but a problem of thought, character and temperament. When writing wild calligraphy, we must publicize our personality and show our true nature. "Zhang Madness" is an example.
If a person wants to write well, he must have two conditions: high eyes and light heart. When all kinds of calligraphy styles evolve, there must be the expression of calligrapher's subjective temperament.
Many people can't improve after posting for many years because they only see the superficial things and don't understand the calligrapher's own personality. The most difficult thing to write is behind, but a lot of things other than words and kung fu, which can only be understood but not expressed.
Calligraphy, like people, sometimes expresses emotions on paper. Like nature, sometimes it's clear in Wan Li, sometimes it's stormy.
Write what suits you and follow your own style.
The work in the magazine is not necessarily a good work, it just tells us what information is in his words.
What is calligraphy? Calligraphy is a process in which calligraphers speak with thoughts and pen and ink.
I am the subject of calligraphy art creation, and I want to express my thoughts and feelings. I'm important. I have to write about myself.
Sometimes, some people don't necessarily write by themselves with a brush.
Calligraphy is like a tree in my heart. I keep watering, fertilizing, pruning and nursing it, so that it can grow slowly and thrive.
Calligraphy is writing cultivation. What is self-cultivation? Just reading a lot of books. Experienced a lot of things, not affected by things.
The most classic works in history must be the fashion of their time!
Writing calligraphy can't be "looking at the fool next door in the New Year". There are many different ways to use this pen. Beauty is diverse.
Writing calligraphy has no bad lines, only bad structure. Engaging in artistic creation with shackles and rules is very heavy and stressful, and I don't know what the result is.
"Pen and ink should follow the times". Guide calligraphy practice with the theory of keeping pace with the times, and reform and innovate calligraphy. The calligraphy of ancient sages is just a few big dishes before us. We can eat anything we like, but it's good for our health. If Wang Xizhi's calligraphy is Chinese cabbage, can you stand eating only Chinese cabbage every day?
Wang Xizhi said: "The builder has a strategy." Therefore, a rich calligraphy work will change in composition, layout, writing and pen use: size, rigidity, thickness, shade, wet and dry, oblique, virtual and real, yin and yang, height, weight, density and strewn at random.
The center destroyed 99% people with a pen. Miffy said, "attack from all sides." It is reasonable to be eccentric and well informed.
The ancients wrote about books, "Take the potential first." When writing calligraphy, you should write and create momentum, and don't reduce or destroy momentum.
Writing calligraphy, if it is the same as that written by the ancients, is not creation, but copying.
Writing Calligraphy If you guard other people's "home", you have no "home".
After studying books for many years, I have learned a lot, only a few words, which only represent my personal thoughts. I urge teachers and friends to criticize and correct me. I am looking forward to it.