Mao WanbaoA native of Lu'an, Anhui Province, born in November 1961, he graduated from the Department of Chinese of Anhui Normal University in 1984 with a bachelor of arts. After graduation, he worked as a middle school teacher and civil servant, and joined the China Calligraphy Association in 1992. In 2005, he was hired to Zhejiang Shaoxing Lanting Calligraphy Research Institute as deputy director and presided over the work of the institute. In 2017, he was appointed as a distinguished professor of Yunnan Normal University. He has been committed to calligraphy research for more than 30 years, and has published more than 100 important articles and more than 10 important treatises. In 1990, he won the National Calligraphy Theory "Calligraphy Award".In 2002 and 2006, he was nominated for the Chinese Calligraphy Pavilion Award and Theory AwardIn 2010, he won the National Calligraphy Theory Award "Kang Youwei Award";In 2012, he won the third prize of the Chinese Calligraphy Pavilion Award and Theory Award.
Summary of "Mao Wanbao's Collected Essays".
Volume 1: Introduction to the Aesthetics of Calligraphy
Who can answer exactly "what is calligraphy"?Based on the position of "calligraphy aesthetics", this book puts forward its own opinions on this issue, arguing that the so-called calligraphy art is a social ideology that shapes the image of Chinese characters and displays the aesthetic consciousness of calligraphers. In order to demonstrate this view, this book concretely examines the complex and diverse relationships between calligraphy and Chinese characters, with objective objects, with the subjective world, and with the art of painting. Secondly, it focuses on the formal meaning, aesthetic category, aesthetic characteristics and aesthetic status of calligraphy, and carries out personalized thinking that is different from that of any contemporary calligraphy aesthete. Whether you accept or disaccept the insights of this book, you will be shocked and enlightened by your ideas. After reading the first edition, some critics believe that this is a treatise on calligraphy aesthetics that cannot be ignored in the history of contemporary calligraphy aesthetics!
Volume II: Modern Interpretations of the Beauty of Calligraphy
In the early 80s of the 20th century, driven by the "aesthetic fever", the calligraphy world launched a great debate on the nature of calligraphy that lasted for several years, so that people felt that calligraphy was a well-deserved art. The thinking of this book takes this as a starting point, and in the first half of the book, it takes a macro view of the common beauty, ink beauty and essential composition of calligraphy, as well as the way out of calligraphy aesthetics and the problem of ArchimedesIn the second half, it turns to case studies to summarize and analyze the aesthetic ideas of calligraphy by Zhu Guangqian, Zong Baihua, Li Zehou, Lin Yutang, Shen Yinmo, and Zhang Yinlin. The book closely follows the existence of calligraphy itself, mobilizes multidisciplinary knowledge such as philosophy, aesthetics, literature and cultural studies, and fully demonstrates the charm of modern interpretation of calligraphy beauty.
Volume 3: The History of Calligraphy in the 20th Century
In the 20th century, under the impact of Western culture, calligraphy encountered unprecedented challenges. It is gratifying that it has not sunk, on the contrary, it has been loved by the cultural public in the last 20 years, setting off wave after wave of craze to connect with the prosperity of the 21st century. But what exactly happened in between?What are the underlying reasons behind some particular phenomena?What extraordinary dedication have cultural celebrities made to calligraphy?What kind of contradictory cultural thinking does cultural celebrities show?Is the creator's exploration practice successful or not?What is the depth or shallowness of the theoretician's thinking?Facing the future, how should we deal with the traditional resources of calligraphy, the national position and the expansion of international space?This book is an important work on the history of calligraphy in the 20th century, because it is an important work for a new interpretation of the history of calligraphy in the 20th century.
Volume IV: Criticism of Contemporary Calligraphy
Since the 80s of the 20th century, the contemporary Chinese calligraphy scene has activated and prospered the ancient art of calligraphy in the form of unprecedented exhibitions, seminars, training, organizations, newspapers and periodicals, and publishing, which is a basic fact that cannot be erased. But at the same time, there are also some dissonant sounds, and these dissonant sounds have seriously affected the sacred status of calligraphy in the minds of the people and the sustainable development of calligraphy. In light of this, the book is generous and outspoken, with a sharp and powerful critique. This is the "disadvantage of the needle". In addition, more of the content of this book points to "theoretical reflection", "academic controversy", "creative criticism" and "scholarly outlook", although they are mainly based on academic observation, they are also full of critical spirit. Reading this book, you will see an honest calligraphy critic, a calligraphy critic who dares to speak the truth!
Volume 5 "Exploration of Lanting Studies".
As a discipline, Lanting has not yet fully entered colleges and universities and relevant scientific research institutions, so it is naturally not idealBut as a kind of science, has basically matured, not to mention that since the 60s of the 20th century, we have accumulated millions of words of achievements, even based on ancient times, from the Jin and Tang dynasties to the Yuan, Ming and Qing dynasties, but also preserved hundreds of thousands of words of literature. Specifically, it can be divided into five sections: "Research on the Preface to the Orchid Pavilion", "Research on the Orchid Pavilion Collection", "Research on the Orchid Pavilion Debate", "Research on the Orchid Pavilion Academics", and "Research on the Orchid Pavilion and Related Issues". Based on historical data, this book gives full play to the strengths of speculation and puts forward a series of new insights on the issue of Lanting Studies, thus providing an important reference for similar research for future generations. The first edition of this book won the third prize of the 4th China Calligraphy Pavilion Award and Theory Award.
All for the sake of fewer regrets
It was written on the occasion of the publication of the revised edition of "Mao Wanbao's Collected Essays".
Mao WanbaoAfter seven or eight years of adjustment, enrichment and polishing, the revised edition of my book collection has finally been published and distributed by Anhui Fine Arts Publishing House
My collection of calligraphy consists of five volumes: "Introduction to the Aesthetics of Calligraphy", "Modern Interpretation of the Beauty of Calligraphy", "Interpretation of the History of Calligraphy in the 20th Century", "Criticism of Contemporary Calligraphy", and "Exploration of Lanting Studies".
Volumes 2, 4 and 5 are ** collections, first published in 2011. Due to the hasty compilation at that time, it was inevitable that some regrets were left, such as the inclusion of several articles of a weak academic nature, the quality of proofreading of each volume that needed to be improved, the omission of half a page when printing the last volume, and the lack of clarity of some of the illustrations in the book, etc. Over the years, these regrets have been on my mind, and in 2014, I thought of making amends by recompiling them.
Reprogramming is easier said than done. For example, it is necessary to first figure out how many volumes are appropriate.
My writing is not diligent, but I have published more than 300,000 words, and if I don't choose, I can easily compile ten volumes, or make more volumes, even if I don't choose. It's just such a hodgepodge-style set(Not to mention that some colleagues like those who have nothing to do with calligraphy will tell history, essays, poems, words, paintings and other words, or write their own poems, essays and reading notes, etc., all of which are collected and displayed to calligraphers)., will readers be interested?If you are not interested, won't the compilation become self-entertainment, and what is the point?
When I think about it this way, I make up my mind - it is better to stay away from greed and take the road of "selection"!Except for the just-completed 140,000-word treatise "Lanting Preface: Historical Words" submitted to the National Library Publishing House for publication, and the 350,000-word treatise "Lanting Studies" submitted to the Shanghai Painting and Calligraphy Publishing House for publication, the remaining texts are only selected in five volumes.
The recompilation of the five volumes, of course, means distancing itself from the first edition. Unfortunately, I couldn't do it, so I asked myself: Do I have to rewrite it?Wouldn't it be better if appropriate adjustments were made to the first edition of the articles, some of the less important articles were deleted, and some important or relatively important articles were added after the first edition, and an updated version was published, and then the original many regrets were made up
Subsequently, through various forms, I consulted some teachers and friends, and they all agreed with my idea that it would be better to publish an updated version than to recompile it.
Okay, let's publish an updated version!
Under the condition that the structure of the first edition remains unchanged, only fine-tuning between the volumes, such as the second volume, will be several articles(Title related to Volume 1)., moving to volume 1;There will be several chapters in the fourth volume(Relating to Volume II)., moving to volume 2. Then there are additions to the titles of Volumes 2, 4, and 5, and the deletion of several less scholarly sections in Volume 4, and so on(For details, see the Addendum after each volume).。After compiling it, a rough count shows that compared with the original version, it has increased by more than 30 million words. In this way, the capacity of the revised edition has reached more than 180 thousand words, although it is not a great book, but it is enough to show a small harvest of more than 30 years!
In order to ensure the high quality of the revised edition, I have made every effort to explain it to outsiders, both in terms of its content and its form.
One of the efforts: find the original text, check the citations. In his early years, when he needed to quote an article due to objective conditions, he often quoted it from other people's writings, and in this way, errors were inevitable. For example, for the relationship between the Western Expressionist painting movement and Chinese calligraphy, he once quoted a passage from Chapter 7 of Herbert Reed's A Brief History of Modern Painting in England: "A new painting movement has emerged, and this movement has been directly inspired, at least in part, by Chinese calligraphy. "Later, I bought a copy of A Brief History of Modern Painting(Shanghai People's Publishing House, 1979)., looking through chapter 7 and even the whole book, I can't find this quotation. I asked the author, and the author told him that he had mistakenly made a quotation. For another example, the Southern Song Dynasty Sang Shichang's "Lanting Examination" begins with a sentence from Tang Duyou's "General Dictionary": "Lanting, the old county pavilion of the Han Dynasty in Shanyin, Wang Xizhi's "Qushui Preface" is written here. ”(This is true for many ancient editions)., but in fact, the original text of the "General Dictionary" is written - "Shanyin, Han Old County." "The Book of Yue Jue" said: "Goujian is a small city, and Shanyin is also." 'Lanting, Wang Xizhi's "Qushui Prelude" is written here. ”(This is true for many ancient editions).。Wait a minute. These are all illustrations, and the quoted text may be omitted, or derived, or misworded, or missimplified(upside down)., often not very reliable. To this end, I spent more than half a year checking the quotations in the five volumes, from beginning to end, article by article, and correcting any mistakes to ensure that the quotations are completely consistent with the original text.
Effort 2: Unify annotations and improve annotations. Since the text was written in different time periods, the details of the annotations at the end of the text are not detailed.
First, the front and back positions are different, and it looks messy when put together. Therefore, they must be unified.
First, perfection. This system.
1. Perfection, although it is not necessary to copy any "international practice", but the principle of making it easier for readers to check the original text or references cannot be ignored. In accordance with this principle, the system.
First, it is not difficult to determine the style of the perfect commentary, for example, the book class is arranged like this-the author(or editors)., Writings, Page Numbers(Ancient books can be marked with Chinese characters, and the number of volumes can also be prefixed;.)Modern and contemporary works are all marked with Arabic numerals)., book series(omitted if there is none)., publishers, and chronological editions(Ancient books can be marked with the name of the edition).；Newspapers and periodicals are arranged like this - author, article, newspaper, date(Report: Specific to a certain year, month, and day, the special one will add the number of periods).or the number of issues (periodical: specific to a certain year and a certain period, and the special ones add up the total number of issues). In addition to the style, there is also an authoritative version of the work in the commentary. In particular, it is not appropriate to use popular editions of ancient books, nor should it be used to use modern and contemporary school texts published by non-specialized publishing houses of ancient books. For the sake of rigor, most scholars use modern and contemporary school texts published by Zhonghua Book Company and Shanghai Ancient Books Publishing House when using ancient books(except photocopies).。Obviously, this also involves quotation considerations.
Effort 3: Examine the whole and resolve the opposite. There are only two modes of compiling a personal collection, one is the appearance of the original manuscript, and the same manuscript included in the collection;On the other hand, the manuscripts included in the collection are basically the same as the original manuscripts, but with some appropriate local modifications. The above-mentioned measures such as checking the original text, correcting citation errors, and unifying and improving the annotations are also the actions of the latter model. When compiling a collection of personal essays, the author adopts the second model. Why?My idea was to make my five-volume treatise a new stand-alone existence, not just a simple compilation of past publications. To this end, I have given a holistic look at the five volumes of the compilation, and once I find contradictions, such as contradictions or differences between the relatively mature formulations of the later period, and the earlier ones(albeit rarely)., or delete the previous expression(Contradictory expressions, and ensure that the structure and theme of the original text are not damaged)., or in the previous statement(biased to contradictory formulations).The following words indicate that they have been changed subsequently, or they will be changed to the same as those of a later period(Expressions of dissensibility).。This is not to regret that he "did less", nor is it to deliberately falsify "history", but to be responsible to the reader, not to let the reader be confused by your contradictory statements or different statements. Correspondingly, there is a cross-reference between the five volumes(sic).After the change(Citation).to be unified. In fact, the first model is only suitable for future generations to compile the collections of predecessors, because the author has passed away, and the editor cannot and cannot modify the selected objects. But even so, the editors have to "technically treat" the selected objects according to the new editing standards, otherwise, the compiled collection will be "unqualified". Unless there are special circumstances, there is no need to consider the trade-offs, but to compile as many as they collect, in order to show the "whole picture" of the author's creation as much as possible, even if the author of the individual article may not agree with it, but it may have important reference value for readers. It can be seen that the pursuit of originality is the basic practice of later generations to compile the collection of predecessors;Since my five-volume collection of essays was compiled by myself, I had to uphold the principle of examining and resolving the opposition as a whole, and make necessary and appropriate partial revisions to the original manuscript.
Effort 4: Proofread repeatedly and remove the "sand". The most annoying and helpless thing for a reader is to encounter a typo in the reading material, which is like touching the sand during a meal, which is extremely uncomfortable. Because of this, proofreading that looks inconspicuous is extremely important. In the past, publishing houses were public institutions, and they did not emphasize economic efficiency, and an editor often only needed to compile one book a year or several years, and the quality of proofreading could naturally be guaranteed. But later, the publishing house was transformed into an enterprise, and had to put economic benefits in the first place, and an editor had to compile three or four or even more books within a year, and there was no time to carefully proofread the manuscripts, so they passed on the work of proofreading to the authors, and asked the authors to proofread their own manuscripts, and how could the authors who had not been trained in professional proofreading complete the mission of proofreadingThink about it, can the "sand" not be seen everywhere in a book published in this way?I publish a five-volume collection of essays, and the proofreading is mainly done by me. Supposedly, the manuscript you are most familiar with is easy to proofread, but in fact, it is more likely to "turn a blind eye" and leave potential errors. After all, proofreading is also a specific major!Fortunately, in 1994, the author was invited to Anhui Fine Arts Publishing House as a special editor of the magazine "Friends of Calligraphy", and he has proofread relevant books on behalf of him and accumulated some professional proofreading experience, so he is also handy in proofreading his manuscripts. Even so, the author has to supplement it with two safeguards, that is, months(sometimes three months, sometimes five months or more).and increase the number of proofreading passes, otherwise, the quality of proofreading is still not guaranteed. My five-volume treatise(both first and revised).Proofreading began in 2004 when it was first compiled, and finally ended on the eve of 2021, with a time of 16 or 7 years, and more than 20 schools. What is rare is that after the manuscript of this revised book was delivered to the publishing house, I encountered another "fortunate", that is, the publishing house in recent years has returned to pay attention to social benefits, strengthened process management, and strictly reviewed and proofread the manuscript three times, not only to check the content but also to proofread, and to correct many mistakes that I have not yet realized(Mainly errors in the use of words, words, sentence structure and punctuation).。Now, I dare not say that the "sand" in the manuscript has been completely eliminated, but I am close to being eliminated, but I can be completely confident. The only thing that I feel a little helpless about is that, according to the new editing standards, the "discrimination" of the technical term "Lanting Argument" in the five-volume treatise has been changed to the word "debate".
Effort 5: The last effort, that is, professional design, hardcover printing. If these efforts are biased towards textual content, this last effort is biased towards textual form. In a good publication, the text content is the most important thing, and we must spend the greatest effort to do it well. But the form of the text should not be left unattended, because a good form of the text will highlight the content of the text;On the contrary, bad text forms will also obscure and discount good text content. A collection of my own essays published in 2011(i.e. the first edition)., whether it is the cover design, the folio, the binding, etc., are not ideal. Originally, the text form was purely a matter for the editors of the publishing house, but in order to make the revised edition better, the author still made a special trip to the publishing house to finalize the text form design of the revised edition in person with the editor in charge and the binding design editor. Compared with the original edition, the new revised edition has a special printed cover on special paper, which is elegant and fashionableThe folio adopts a positive degree of large sixteen openings, which is also dignified and atmospheric;The text layout of the inner page is sparse, and there is more white space around it, which is ethereal and transparent;A full set of hard-sided round ridge hardcover, to achieve a veritable upgrade, with a new quality, but also a new grade!
The above efforts are very clumsy, trivial, and even a little pedantic. But all this is to emulate the craftsman, settle himself, make the current five-volume revised edition less regretful, stand up to scrutiny, stand up to scrutiny, and then become a set of "qualified" contemporary calligraphy publications.
I don't know, has my luxury come true?
From calligraphy aesthetics to orchid pavilion studies
I would like to briefly mention the two main focuses of my calligraphy research.
Mao WanbaoIt was an era of introduction!
It was an era of ideas!
The author was fortunate to have caught up with that era at the beginning of his trial intervention in calligraphy research.
It was the unforgettable 1980s!
At that time, the "aesthetic fever" in the academic world was in the ascendant, and the discussion on calligraphy aesthetics in the calligraphy circle was also attracting much attention. Since then, out of his love for calligraphy aesthetics, he has written several articles on calligraphy aesthetics**.
In the 1990s, "scholars became prominent, and thinkers faded out" in academia(Li Zehou).From the introduction of Western academic resources to the excavation of local academic resources, people have flocked to historical theory and evidence research. Correspondingly, the scholarly community also regards historical theory and evidence research as authentic. Perhaps, seeing the wind makes the rudder follow the trend, which is the instinctive choice of most people, and we see that many scholars who were keen to talk about the aesthetics of calligraphy in the past have changed their course and no longer pay attention to the aesthetics of calligraphy. There are also few manuscripts on calligraphy aesthetics in national calligraphy seminars, which makes the new generation of calligraphy researchers reluctant to develop in calligraphy aesthetics.
As a result, the once lively calligraphy aesthetic team turned "cold" in an instant, and it was scattered in an instant!
However, I still stick to the aesthetic position of calligraphy!
My idea is very simple, that is, I think that although the craze for calligraphy aesthetics has passed, many problems in calligraphy aesthetics have not been solved, and as long as we calm down, the study of calligraphy aesthetics can still make great achievements. No matter what the wind direction is, and no matter how others choose, my heart is still the same, and step by step to "go my own way"!
After more than 10 years of "perseverance", by 2004, I finally completed more than 10 articles on calligraphy aesthetics and a monograph on calligraphy aesthetics - "Principles of Calligraphy Aesthetics".(Later retitled "Introduction to Calligraphy Aesthetics")., with a total of more than 30,000 words. Among them, **After it was written, not only was it published one by luck, but several articles were immediately obtained by the full text of the "Copying Newspaper and Periodical Materials" of the Book and Newspaper Information Center of the Chinese University**.
In 2005, he was hired to Shaoxing Lanting Calligraphy Research Institute as deputy director and presided over the work. In order to cooperate with my own work, I naturally turned my research focus to a new field - Lanting Studies, but I did not dare to forget the aesthetics of calligraphy, during which I couldn't help but take the time to write several articles on calligraphy aesthetics**, such as "New Perspectives, New Resources, New Ideas - Three Conclusions on the Way Out of Calligraphy Aesthetics", "Calligraphy Beauty in the Perspective of Contemporary Practical Aesthetics - An Investigation of Calligraphy Aesthetics with Li Zehou as a Case Study", "Out of the Dusty "Preface" - An Exploration of Zhang Yinlin's Calligraphy Aesthetics and "On Shen Yinmo's Calligraphy Aesthetic Thoughts" Wait.
Intoxicated by the aesthetics of calligraphy, writing is the focus of his own work, but at the same time, he does not forget to collect and publish them as another form of communication. In 1999, with the support of Brother Huang Jun, I published my first collection of essays on the aesthetics of calligraphy, Essays on the Aesthetics of Calligraphy(China Federation of Literary and Art Circles Publishing House).；In 2011, he published the monograph "Introduction to Calligraphy Aesthetics" and the collection "Modern Interpretation of Calligraphy Beauty" (i.e., "Mao Wanbao Calligraphy Collection" Volumes 1 and 2, Anhui Education Publishing House Edition).In 2016, he published his third collection, Essays on the Aesthetics of Calligraphy(Mr. Yan Gongda edited one of the "Contemporary Books ** Series", Jiangsu People's Publishing House Edition).；This year, the aforementioned "Introduction to the Aesthetics of Calligraphy" and "Modern Interpretation of the Beauty of Calligraphy" were published(Anhui Fine Arts Publishing House Edition).
As mentioned earlier, in 2005, I came to Lanting. In the first year of coming to Lanting, I did two things around the Lanting issue, one was to cooperate with the intangible cultural heritage declaration work and write a complete intangible cultural heritage declaration document, with the theme of "Lanting Collection: A Cultural Space with a Long History". The other is aimed at the "military and political meeting" of Lanting Yaji, which was hyped by the major ** in Shaoxing at that time(It is believed that the Lanting Yaji in the ninth year of Yonghe in the Eastern Jin Dynasty was not a literati gathering, but an unusual military-political meeting)., wrote a long essay "History, Culture, Calligraphy - Red Moon: Interpretation and Criticism of the Orchid Pavilion Preface" to discuss.
Academic research is inseparable from inheritance, and only by grasping what our predecessors "were" said can we "continue" how to say it relatively smoothly. By 2006, I thought that it was not meaningful to talk about the Lanting issue in general, so I set out to collect academic ** and academic treatises on the Lanting issue from ancient times to the present, and finally edited a large-scale data collection - "Lanting Literature Collection".(More than 400,000 words, divided into eight parts, plus a catalog, a total of nine parts).。However, the publication failed due to copyright issues (in October 2019, I deleted the first and last two parts, made slight adjustments, and compiled and printed a five-volume internal information book "Selected Contemporary Writings of Lanting Studies", which greatly facilitated the research of Lanting by others). However, through compilation and proofreading, I am familiar with the collected texts, which is a great gain.
In the process of editing the "Lanting Literature Collection" for ** years, there are several things worth mentioning. First, in 2007, the Academy of Fine Arts of Shaoxing University of Arts and Sciences applied for the provincial "Lanting Cultural Studies" project and invited me to join the research group, and I provided them with two books that were later published(i.e., "Collection of Ancient Documents of Lanting Studies" and "Selected Essays on the Authenticity of Contemporary Lanting Preface", Zhejiang People's Fine Arts Publishing House, 2011 edition).manuscripts. Second, in 2008, Mr. Chen Wangheng(Professor of the Department of Philosophy, Wuhan University, then Adjunct Professor of Shaoxing University of Arts and Sciences).He provided a long article for his compilation of "Chinese Yue Xue" "Lanting Studies"** - "Lanting Preface: An Eternal Classic in the History of Chinese Calligraphy". Third, in order to compile and enrich the fifth book of the "Mao Wanbao Book Collection" series, "Exploration of Lanting Studies", in 2010, he wrote six or seven long articles on the Lanting issue in one go, which involved the mystery of the Lanting site, the grand occasion of the Lanting Yaji, the authentic circulation and fate of the "Lanting Preface", the appreciation of the articles and calligraphy of the "Lanting Preface", Kang Youwei's "Lanting" view, the imperial acceptance of the "Lanting Preface", and the creative truth of the "Lanting Preface". Fourth, to participate in the three sessions of the "Chinese Book Circle Lanting Yaji".Lanting Forum", has been invited or actively written and submitted three long articles on the Lanting issue, namely "Lanting Yaji: Text, Misreading and Appropriation".(2007)., "Orchid Pavilion Preface: A New Distinction in the Truth of Creation - and Interpretation of Qi Xiaochun's Doubts about the Words "Ugly" and "Lan" in Orchid Pavilion Preface(2010).and "Dedication Beyond Red Studies: A Brief Study of Zhou Ruchang's Lanting Preface".(2011).
While editing and writing, my understanding of the Lanting issue has finally deepened. At this time, I had the idea of writing a manuscript of "Lanting Studies", but my confidence was a little lacking. It wasn't until a few years later (2015) on the National Day that we made up our minds to draw up an outline of the book and began to write it. Due to the full effort, by the end of October 2016, the manuscript of "Lanting Studies" was completed, the final draft of 350,000 words, and the title of "Lanting Studies" was retitled, which has passed the anonymous review of experts hired by the publishing house, and was fully funded by Jiangsu Yan Gongda Culture Association, and signed a publishing contract with the publishing house, which is expected to be published by Shanghai Painting and Calligraphy Publishing House in the first half of next year. After writing the manuscript of "Lanting Studies", I also completed "Lanting Preface Historical Words", which was recommended by Mr. Shui Zhiyou and commissioned by the Institute of Chinese Studies of the National Library, which was finalized with 140,000 words and published in 2019 (National Library Press).
Of course, the shift from calligraphy aesthetics to Lanting studies is only a shift in the focus of my calligraphy research, around which I also wrote a number of Lanting articles, calligraphy history articles, and calligraphy criticism articles before 2005Since 2005, he has also written a number of articles on the aesthetics of calligraphy(as described above)., calligraphy historiography and calligraphy criticism, etc. Writing articles for me, the spirit is very fulfilling, but the body can't stand it for a long time, and after completing the draft of the year-end forum of the Chinese Calligraphy Building, I can devote my main energy to practicing calligraphy and enjoy the joy of waving!