The box office of Wu Chengen, an ancient Chinese ** artist, reached 5.9 billion, which aroused the attention and heated discussions of netizens. According to the statistics of Maoyan Professional Edition, Wu Chengen has participated in 135 works, of which the number of movies exceeds 98% of the artists, and the number of TV series exceeds 95% of the artists. At the same time, there are other writers such as Pu Songling who participated in 120 works, Luo Guanzhong who participated in 67 works, Shi Nai'an who participated in 100 works, and Cao Xueqin who participated in 41 works.
Wu Chengen's "Journey to the West" is one of the four classical Chinese masterpieces, which has been adapted into many excellent film works and has also been loved by the audience. Regarding this topic, netizens said: "Classics are classics", "This is the power of culture", "Teacher Wu Chengen is really too low-key, remember to burn the copyright fee". These reactions not only show the charm and influence of the works of Wu Chengen and other ancient masters, but also reflect the audience's love for local culture and traditions.
As an ancient ** family, Wu Chengen not only has a great influence on the creation of **, but also has certain attainments in poetry and calligraphy. Wu Chengen was an outstanding family in the Ming Dynasty of China, serving as the magistrate of Xinye County, Henan Province in the thirtieth year of Jiajing (1551), and the forty-fifth year of Jiajing (1566) as the Cheng of Changxing County, Zhejiang. His main works include "Journey to the West", "Yu Ding Ji", "Sheyang Collection" in four volumes and four volumes, and "Preface to the Biography of the Spring and Autumn Period".
Wu Chengen's ink has been handed down very little, mainly including "Fan Seven Words Rhythm Poem", "Turtle Although Shou" and so on. "Fan Face Seven Words Rhythm Poem" is a poem written by Wu Chengen, which expresses the praise of natural scenery and the reflection on life. The influence of Wu Chengen's works is not only reflected in the box office, but also in the cultural inheritance and the creation of classical literature. "Journey to the West" is China's first full-length story of gods and demons, and is known as a classic of ancient China.
Its story takes place in the Tang Dynasty and tells the journey of Sun Wukong and others to the west. This story has been adapted into films, TV series, anime and other forms, and has been continuously passed down and interpreted. Similarly, other classical masterpieces such as Pu Songling's "Strange Tales from Liao Zhai", Luo Guanzhong's "Romance of the Three Kingdoms", Shi Nai'an's "Water Margin", and Cao Xueqin's "Dream of Red Mansions" have also been adapted into film and television works, which are deeply loved by the audience.
These works not only show the charm of ancient culture, but also provide a steady stream of inspiration and ideas for modern cultural creation. In today's society, cultural inheritance and innovation are very important topics. The influence and box office results of the works of Wu Chengen and other ancient ** artists reflect the audience's love for classical literature and their identification with local culture.
At the same time, it also reminds us that in the process of cultural innovation and inheritance, we should balance the inheritance of classical literature and the innovation of modern literature, and how to attract the attention of young audiences while retaining the original flavor. These questions require us to think deeply and **. In short, the box office of Wu Chengen's works reached 5.9 billion, which aroused the attention and heated discussions of netizens, which illustrated the influence and box office contribution of the works of the ancient **.
The works of Wu Chengen and other ancient masters are not only classics, but also cultural treasures, and important assets for us to inherit and carry forward excellent traditional culture. At the same time, we also need to think about how to find a balance between cultural inheritance and innovation, retain the essence of traditional culture, and at the same time attract the attention of young audiences, so as to inject new vitality into cultural innovation and development. Wu Chengen's calligraphy art Wu Chengen is a famous Chinese Ming Dynasty ** artist, but also a calligrapher.
His calligraphy art has an important place in the history of Chinese calligraphy. This article will introduce Wu Chengen's calligraphy art from the aspects of Wu Chengen's self-written poems, "Turtle Although Shou", Xingshu, Xinzhen and Zhongtang Lishu. At the age of 35, Wu Chengen wrote a self-written poem, which is now in the collection of the Yangzhou Museum. This poem is Wu Chengen's self-evaluation, reflecting his view of life. He wrote this poem in regular script, with dignified and generous characters and clear and powerful strokes, showing Wu Chengen's maturity and self-confidence.
"Turtle Although Shou" is a four-word Yuefu poem created by Cao Cao in the Eastern Han Dynasty, Wu Chengen used Lishu to create the calligraphy work of this poem. Lishu is one of the oldest scripts in Chinese calligraphy, with strong and varied strokes. Wu Chengen's official calligraphy is regular, rigorous in structure, and full of rhythm, which makes people breathtaking. Wu Chengen's calligraphy is also one of the representatives of his calligraphy art. Xingshu is one of the most personal and expressive fonts in Chinese calligraphy.
Wu Chengen's calligraphy is smooth and majestic, containing a strong personality and emotion. He believes that calligraphy requires "a calm heart and a steady hand", so when writing calligraphy, he will first precipitate with his heart and then write with his hands. Wu Chengen's letter is also one of the representatives of his calligraphy art. Xinzhen is a type of calligraphy used by literati in the Ming Dynasty to write family letters or letters. Wu Chengen's letter characters are beautiful and handsome, tactful and colorful, and the writing is smooth and full of changes.
His letters are full of personality and express his deep cultural heritage and emotional world. Finally, Wu Chengen's Zhongtang Lishu is also one of the representatives of his calligraphy art. Zhongtang Lishu is a kind of Lishu, which is known for its square, rough and powerful strokes. Wu Chengen's Zhongtang Lishu has a regular shape, rigorous structure, powerful strokes, and a majestic atmosphere. When he writes Zhongtang Lishu, he often adopts a vertical structure to highlight the neatness and robustness of the characters.
To sum up, Wu Chengen's calligraphy art reflects his profound cultural heritage and emotional world, and has high artistic value and cultural significance. We should conscientiously study Wu Chengen's calligraphy art and inherit and carry forward the excellent tradition of Chinese calligraphy.