赵佶《闰中秋月帖》。 赵佶像。 李玉萍 中秋之夜，月华如练，今人或举杯对月，共叙团圆，或拿着手机拍照，留存美好。而古代的文人们，大 多将满腔中秋情愫凝于笔墨、藏于诗行。当我们翻看关于中秋的古代书法名帖，触摸到的是古人藏在字里行 间的思念与温情。在时光的长河里，那轮千年不变的明月，不再是单纯的月亮，而是在文人笔墨滋养下，承 载乡愁、友情与思念的象征性符号。 《闰中秋月帖》： 沈周《有竹庄中秋赏月图》卷(切拼图)。 文徵明《金陵中秋帖》。 沈周邀友月下品茗 "桂彩中秋特地圆，况当余闰魄澄鲜。因怀胜赏初经月，免使诗人叹隔年。万象敛光增浩荡，四溟收夜助 婵娟。鳞云清廓心田豫，乘兴能无赋咏篇。"29岁的宋徽宗赵佶中秋夜登楼赏月。此时银辉清亮，亭台楼阁镀 上了一层朦胧的光晕;桂树的阵阵暗香飘来，远处星空中的鳞云层层涌动。他被眼前自然美景感染，诗兴大 发，随即写下一首诗——《闰中秋月》。此诗语言清雅、平仄谐婉，用词典丽而不失自然，诗中融合自然意 象与个人感怀，书卷气息浓郁。赵佶在宣纸上以刚柔并济的"瘦金体"写成此诗，因当时为大观四年(1110年)闰 八月，诗题为《闰中秋月》。 《闰中秋月帖》字体为楷书，横44.5厘米、纵3 ...

Core Viewpoint - The event aims to promote traditional Chinese culture and enhance the youth's interest in calligraphy, while also supporting the cultural heritage of the Xianbei community in Longkou Town [5][6]. Event Overview - The "Youth Calligraphy Live Competition" took place in Xiaonan Village, Longkou Town, with 100 middle and primary school students participating [3][4]. - The competition featured two rounds, with primary school students writing four designated characters in 10 minutes and middle school students writing eight characters in 13 minutes [9][10]. Judging and Awards - A panel of judges, including prominent figures from calligraphy associations, evaluated the participants' works and provided feedback [6][7]. - Awards were given in both primary and middle school categories, with two first prizes, three second prizes, and five third prizes awarded in each group [12][16]. Cultural Significance - The event not only showcased the students' calligraphy skills but also emphasized the importance of preserving and promoting the Xianbei culture through art [23][25].

Group 1 - The article discusses the transition of seasons in Beijing, particularly the arrival of the "Chushu" solar term, which brings a refreshing change in climate and influences people's moods [1] - Historical literary works and calligraphy from various dynasties are referenced, showcasing the artistic expressions related to the autumn season, including pieces by Su Shi and Wang Xizhi [1] - The "Jiu Hua Tie" (韭花帖) by Yang Ningshi is highlighted as a significant calligraphic work, inspired by the enjoyment of a dish made from chive flowers, reflecting a sense of tranquility and appreciation for the season [1] Group 2 - The aesthetic qualities of the "Jiu Hua Tie" are analyzed, noting its spacious layout and the contrast between dense and loose spacing, symbolizing the transition from heat to coolness associated with the Chushu period [2] - The calligraphy is described as embodying a serene and unadorned beauty, devoid of the restlessness and anxiety found in everyday life, inviting readers to enjoy the peacefulness of the season [2] - The article emphasizes the subtle changes in the mindset of calligraphers during seasonal transitions, with "Jiu Hua Tie" representing a moment of calm amidst the chaos of life [2]

Core Points - The "Mi Fu Cup" International Youth Calligraphy Exhibition is a significant event aimed at promoting calligraphy among youth aged 6-18, with participation from young calligraphy enthusiasts from various regions, including Malaysia [1][2] - The event features live calligraphy writing, expert evaluations, and lectures on Chinese character culture, highlighting the artistic charm of calligraphy and its cultural significance [1][2] Group 1 - The event took place over three days at the Mi Fu Calligraphy Park, with nearly 600 young participants showcasing their skills in a competitive environment [1] - The exhibition includes a judging process where experts provide feedback and select outstanding works for display, including a special "Mi Fu level" recognition [1] - Additional activities include visits to local museums and hands-on experiences, further enriching the participants' understanding of calligraphy and Chinese culture [1] Group 2 - The event is organized by various cultural and educational institutions, emphasizing the collaboration between local government and cultural organizations to promote calligraphy as a key aspect of Zhenjiang's cultural identity [2] - The initiative aims to enhance the city's reputation as a "City of Calligraphy," reflecting the growing scale, influence, and authority of the event [2] - Renowned calligrapher Yan Gongda serves as the chief advisor for the judging panel, adding credibility to the event [2]

Group 1 - The article highlights the significance of historical remembrance and the value of peace through various calligraphy works [5][10] - It features notable works by Liu Xiulong, a member of the Chinese Calligraphers Association and director of the Xibaipo Calligraphy and Painting Institute, emphasizing his contributions to the art [10] - The calligraphy pieces include famous literary works, showcasing the blend of literature and visual art in Chinese culture [6][7][8] Group 2 - Liu Xiulong has published several collections of poetry and calligraphy, indicating his active role in promoting Chinese cultural heritage [10] - The article mentions various platforms where Liu's works have been published, reflecting his influence in the field of calligraphy and poetry [10]

Core Viewpoint - The article emphasizes the significance of the Shimen Stone Carvings in preserving ancient Chinese culture and their role in the evolution of calligraphy, highlighting recent efforts to promote and study these artifacts [1][2]. Group 1: Cultural Significance - The Shimen Stone Carvings, particularly the "Shimen Thirteen Pieces," serve as crucial resources for understanding ancient transportation and water conservancy, as well as being a repository for the evolution of calligraphy and Eastern aesthetics [1]. - Xi Jinping's visit to the Hanzhong Museum underscores the importance of cultural heritage in maintaining national spirit and historical continuity [1]. Group 2: Research and Promotion Efforts - The Shaanxi Calligraphers Association has initiated various activities to deepen the research and interpretation of the Shimen Stone Carvings, including the establishment of the Shimen Calligraphy Research Institute and hosting exhibitions [1]. - The "Wen Dao Shimen" exhibition showcased 50 calligraphic works inspired by the Shimen Stone Carvings, reflecting the contemporary inheritance and innovation of Han and Wei calligraphy styles [3]. Group 3: Artistic Evolution - The Shimen Stone Carvings are described as a testament to the qualitative changes in Chinese calligraphy, showcasing the transformation of styles and providing inspiration for modern calligraphers [2][3]. - The article highlights the need to balance tradition and innovation, suggesting that true innovation stems from a deep understanding and transformation of traditional elements into contemporary expressions [3].

Core Viewpoint - The "Chunhua Pavilion Collection" is a significant cultural artifact in Chinese calligraphy, showcasing the evolution of Chinese characters and the artistic pursuit of beauty throughout history [1][6]. Group 1: Historical Significance - The "Chunhua Pavilion Collection" was commissioned by Emperor Taizong of the Song Dynasty in 992 AD, compiling works from 103 calligraphers over 1,000 years, making it a foundational text in Chinese calligraphy [1]. - The collection includes various styles of calligraphy, such as seal, clerical, cursive, running, and regular scripts, and features works from notable figures like Wang Xizhi and Yan Zhenqing [1]. Group 2: Preservation and Transmission - The original woodblocks of the "Chunhua Pavilion Collection" were destroyed in a fire during the Song Dynasty, leading to a scarcity of original copies, with most surviving versions being reproductions from later periods [2]. - The "Sufu Edition," created in 1615, is the most complete and influential reproduction, closely resembling the original Song version, and is made from high-quality stone, ensuring the preservation of the calligraphic details [3]. Group 3: Cultural Impact - The "Chunhua Pavilion Collection" serves not only as a calligraphic reference but also as a vital cultural artifact that reflects the philosophical and aesthetic values of ancient China [6]. - It has influenced the study of calligraphy, leading to the development of a specialized field known as "tiexue," which has promoted the dissemination of Chinese calligraphy art, impacting countries like Japan and South Korea [6].

Core Viewpoint - Huaisu, a master of cursive calligraphy from the Tang Dynasty, overcame poverty and adversity to leave a significant mark on the history of calligraphy, showcasing his passion and dedication through unique methods of creation [1][2]. Group 1: Background and Early Life - Huaisu came from a poor background, struggling to afford paper for writing [1]. - He cultivated over ten thousand banana plants to use their leaves as writing surfaces, creating a unique environment for his artistic expression [1]. Group 2: Artistic Style and Techniques - His calligraphy is characterized by a wild and free style, often written while intoxicated, which allowed him to transcend traditional constraints [1]. - The act of writing on banana leaves and using his hair to dip in ink exemplifies his unconventional approach to calligraphy [1]. Group 3: Impact and Legacy - Huaisu's works resonate with a deep emotional connection, reflecting his struggles and aspirations for freedom [2]. - His dedication to art, even in the face of hardship, serves as an enduring inspiration, demonstrating that true artistry emerges from passion and self-overcoming [2].

Core Viewpoint - The article highlights the importance of calligraphy as a vital aspect of Chinese culture, emphasizing the need for its preservation and transmission, particularly through the work of Taiwanese calligrapher Hong Qiyi [1][4][8]. Group 1: Calligraphy as Cultural Heritage - Calligraphy is regarded as the essence of Chinese culture, and Hong Qiyi has dedicated over 40 years to its practice, focusing on traditional styles such as seal script and clerical script [1][4]. - The art of calligraphy has been recognized as a representative symbol of Chinese culture, having been included in UNESCO's list of intangible cultural heritage in 2009 [4]. - Hong Qiyi believes that the evolution of Chinese characters and calligraphy reflects the unique thinking and spirit of the Chinese nation, making it a cultural treasure that should be cherished and promoted [4][5]. Group 2: Learning and Practice - Hong Qiyi emphasizes the importance of having a good teacher and diligent practice in mastering calligraphy, advocating for a deep understanding of Chinese history and culture to enhance one's writing [2][6]. - He has spent over ten years learning various styles of calligraphy, including seal script, clerical script, and Wei Bei, dedicating significant time each week to practice [2][3]. Group 3: Cross-Strait Cultural Exchange - Hong Qiyi has participated in numerous cultural exchanges with mainland China, appreciating the emphasis on calligraphy education and the support from government initiatives in promoting the art form [7]. - He expresses concern over the decline of calligraphy education in Taiwan due to political influences, highlighting the need for stronger cultural ties and exchanges between Taiwan and mainland China [7][8]. - Hong Qiyi plans to create a work themed "Awakening National Spirit," underscoring the shared cultural heritage between people on both sides of the Taiwan Strait [7].