Chen Zhongkang: What do you think of the master?
I may be a little "pessimistic" about the question of the master. Masters not only carry on traditions, but also break new ground. A master like Dong Qichang, the master of the Ming Dynasty, may be difficult to reappear.
You may be able to do so. History is actually difficult to preset, so it is not easy for masters to preset.
Because the people who write history in the future will not accept the same perspective as we do now, they may not like the things we love, and after the perspective is changed, the things they see will naturally be different. Therefore, the criteria for their screening are different.
Personally, I can't think too much about this kind of question, and the more important thing may be to learn from the tradition. The boundaries of the calligraphy tradition are very deep and wide, and there are still many places that we need to go deeper. In the process of learning traditions, students should restore or return to the traditional Chinese literati aesthetics and the classic lineage of Chinese calligraphy, and at the same time have their own personal appearance and recognition.
The great thing about the masters of the past is that even if it is just a stroke, it can be seen that he is him, Dong Qichang is Dong Qichang, and the Yellow Valley is the Yellow Valley, and there will be no confusion. It's very difficult, but it should be a direction for us to work on.
Chen Zhongkang was born in Yongjia, Zhejiang Province in 1968. In 1987, he was admitted to Zhejiang Academy of Fine Arts. In 1991, he graduated from the Chinese Painting Department of Zhejiang Academy of Fine Arts, majoring in calligraphy. In 2005, he studied for a doctorate at ** Academy of Fine Arts. In 2008, he graduated from ** Academy of Fine Arts with a doctorate. He has worked in Wenzhou Museum and Wenzhou Normal University. He is currently the dean of the School of Calligraphy at the China Academy of Art, and a tutor for master's students at the Chinese Calligraphy Court of the Chinese Academy of Arts. He is a member of the Chinese Calligraphers Association, a member of the Calligraphy Committee of the China Calligraphy Association, and a member of the review committee of the first National Calligraphy Exhibition and the 11th National Calligraphy Exhibition.
Tasting of works. 
Commentary: Mr. Creek is planted with bamboo, and the stream is bright and green.
Commentary: Huang Qi smashed and dyed autumn colors, and the tree wore to chant Mita.
Commentary: Pine green Fontaine, mountains and rivers hugging the water.
Commentary: Moth yellow light sweep, light addition of snails, rain wet begonias Jiao.
Commentary: The sun sets on the withered yellow back, and the fine green welcomes the spring.
Commentary: With a few jades, drink the ethereal bottles.
Commentary: Qing Guangxu snow gray satin woven gold ink chrysanthemum pattern tape.
Commentary: My ancestor white horse, was red camel.
Commentary: Shang Fang gave the original Ji Cui Ou one.
Spread great compassion.
Commentary: Thrifty. hemp crown, rite also; Today is also pure, thrifty, I follow the crowd. Uttered the "Analects of the Confucian Chapter".
Commentary: Wine yellow crow purple emerald, complex priceless peach blossom red.
Commentary: The silver-red skirt is wrinkled with a palace veil. Sit in front of the wind and fight the tulip buds.
Su Shi and Wen and Keyangchuan Garden Pond Cross the Creek Pavilion
Size: 112cm 445cm
Wang Xuzhou's Writings
Size: 127cm 35cm
Qi Ji inscription heron and Jane Sun Langzhong".
Size: 110cm 335cm
Gao Qi Daylily".
Size: 107cm 34cm
Wang Xu: Remembering the Old Man".
Size: 785cm×44.5cm
Li Bai listens to Shu monk playing the piano
Size: 81cm 42cm
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