Preface
Shanxi is located in the middle of the Yellow River Basin. It is one of the birthplaces of the Chinese nation and a world-renowned province of cultural relics with extremely rich cultural relics. Since ancient times, this thick soil surrounded by mountains and rivers has been home to abundant resources, abundant resources, and outstanding people. During the course of five thousand years of civilization, the descendants of the Three Jin Dynasties have created a breathtaking and splendid culture.
Wandering in the palace of ancient Chinese calligraphy and painting art, there are talents from the Three Jin Dynasties and superstars. From Wang Wei, the originator of literati painting, to Jing Hao, the master of panoramic landscapes; from Wang Shen, the green ink painter, to Mi Fu, the painter of Midian Yunshan; from Ma Yuan, one of the four masters of the Southern Song Dynasty, to Fu Shan, the first master of the early Qing Dynasty; From Qi Zuanzao, the imperial master of three generations, to Dong Shouping, the great master of modern and contemporary calligraphy and painting, to Zheng Lin, the founder of Shanxi Calligraphy Association, and the founding team of New China Art. These outstanding and talented celebrities, with their majestic and majestic spirit, either splashing ink or painting with exquisite brushwork, compete for glory in the Chinese painting circle and shine in ancient and modern times.
What I want to talk about here is Fu Shan, a famous sage from Shanxi. Looking at the history of Shanxi and the history of Chinese calligraphy, Fu Shan is an unavoidable mountain. Fu Shan was an erudite man with noble national integrity. He was an unparalleled leader in ideological and moral character, calligraphy art, and traditional Chinese medicine diagnosis and treatment. Regarding calligraphy, Fu Shan advocated that "people write first, and people have unique calligraphy since ancient times", putting character above calligraphy. His calligraphy works are vigorous, straightforward and high-spirited. The calligraphy theory of "Four Nings and Four Won's" proposed by him is extremely insightful: "Better clumsy than skillful, ugly than flattering, detached rather than slippery, and truthful and frank rather than arranged." It has universal significance and far-reaching influence on the entire art category, and it has a profound impact to this day. Influencing generations of calligraphers and painters.
In order to carry forward the excellent traditional culture, polish Fu Shan's cultural business card, and promote the great development and prosperity of calligraphy in Shanxi and even the country, we held the "Fu Shan Award" national calligraphy and seal cutting works exhibition. This exhibition is large in scale, has a wide vision, and has high standards. Through extensive publicity across the country, it has received enthusiastic responses from calligraphers and calligraphy enthusiasts across the country. The exhibition received a total of 2,500 calligraphy and seal engraving manuscripts from all over the country. In order to ensure the professionalism and fairness of this review, The organizing committee specially invited well-known experts and scholars in the field of Chinese calligraphy to serve as judges. The evaluation adheres to the principles of "fairness, impartiality and openness" and follows the orientation of "rooting in tradition and encouraging innovation". After the evaluation, experts are invited to review the works. Reviewed. Through preliminary evaluation, re-evaluation, final evaluation, review and other links, 199 works were finally selected for exhibition, of which 13 outstanding works were selected. It should be pointed out that the organizing committee hired a review and supervision committee to strictly inspect and supervise the entire review process, and finally announced the results to the public.
Due to the passionate and high-level creations of the majority of authors and the rigorous and serious review by well-known experts and scholars, this exhibition has achieved fruitful results and many fine masterpieces have emerged, which is eye-catching and gratifying. In this exhibition, we present these works to society, to colleagues, and to the people, which is a great thing.
The ninety-two-year-old calligraphy master Mr. Shen Peng inscribed the title of this exhibition, which is a great support for us. We would like to express our sincere gratitude here.
At the same time, we would like to pay tribute to the authors and express our most heartfelt thanks to all walks of life for their selfless help and support for this exhibition!
Fu Shan Award National Calligraphy and Seal Engraving Exhibition Organizing Committee
April 2023
Liu Aidong Six Poems by Fu Shan 178×69cm
Liu Min'e Several inscriptions and postscripts from Kuaiyutang 136×56cm
Liu Shanxian Selected Writings and Commentaries of Former Sages 180×64cm
Selected Poems by Liu Wei 180×72cm
Liu Jingyi Seal Engraving Manuscript 138×35cm
Liu Yiping Selected Writings of Fu Shan 180×97cm
Sun Yilang Recorded the Hui Ming Dynasty inscription and postscript 137×67cm
Sun Lili Mu Yun Qiu Rilian 180×35cm×2
Sun Rong Monument of Han Wengong Temple in Chaozhou 180×63cm
Nian Aiwu Poems and Poems 40×28cm×12
Cheng Huan "Two Ancient Plum Blossom Poems" by Fu Shan 180×97cm
Zhu Guotao Seal Engraving Manuscript 138×35cm
Ai Hongwei, Fu Shanyan excerpts, 180×96cm
Bian Zhong "Shuanghongxi Collection" excerpt 180×97cm
Side tripod Dilu hoe Jinglian 180×46cm
Yan Chaoming recorded a poem by Fu Shan 138×69cm
He Tianyong Excerpts from Fu Shan’s Essays 179×49cm
He Rongzhen recorded Fu Shan's "Collection of Ancient Plum Blossom Poems" 180×30cm
He Chao Four inscriptions and postscripts on Xuesongzhai 178×60cm
He Pengcheng's Record of Fu Shan's Essays 180×75cm
Wang Zhijie Seal Engraving Manuscript 138×34cm
Juguang Mountain: Family and Family Affairs 177×23cm
Gong Jianguo Longmen Stone Drum Couplet 180×95cm
Wu Jiarui Excerpts from "Hanshan Broom Talk" 138×34cm
Zhang Li Several Song Poems 179×24cm
Zhang Huiyuan Fu Shan "Self-dismissal" 180×97cm
Li Zhenzhong Seal Engraving Manuscript 138×35cm
Wang Nengjiang Poems and Talks in Four Winds 26×32cm×10
Zong Mingyi Selected Poems of Fu Shan 180×34cm
Chen Qingjun Longmen Fu 38×38cm×12
Zhao Yinwei Preface to Bangu Liangdu Fu 38×23cm×12
Dong Xiuxian excerpt from Fu Shan’s poems 21×235cm
Mu Huaiming Excerpt from "Fu Shan Calligraphy" 178×96cm
Ding Yiling, several poems by Fu Qing 32×32cm×12
Ding Mingyu Zhu Bolu’s motto of governing a family 180×97cm
Ding Weiwei Seal Engraving Manuscript 138×35cm
Yu Hua Tao Te Ching 180×97cm
Yu Songzhou Dong Qichang's "Essay on Painting a Zen Room" 180×90cm
Ma Yuqiang Tao Yuanming’s Poems 180×97cm
Ma Yulong Selected Essays on Painting the Zen Room 180×90cm
Ma Lina Two articles by Xunzi 138×43cm
Ma Jungang Hanyang Qinyilian 180×56cm
Ma Xianxiu Selected Writings of Fu Shan 180×97cm
Ma Liming Song Ci Ci 180×97cm
Fang Shen'ao Holding Mountain and Buddhist Couple 180×48cm×2
Fang Yanchuan 178×70cm
Wang Zhongqi Commentary by Fu Shan 180×54cm
Wang Xinmao Seal Engraving Manuscript 138×35cm
Wang Wenxiong Seal Engraving Manuscript 138×35cm
Wang Qiaochun Seal Engraving Manuscript 138×34cm
Wang Hongwei Excerpt from "Danfeng Pavilion" by Fu Qingzhu 179×92cm
Wang Kai Seal Engraving Manuscript 138×35cm
