鹤山市青少年书 法现场挥毫擂台 赛在龙口镇霄南 村举行_南方+_ 南方plus "这孩子的字写 得真秀气！""孩 子们书法水平真 不错，值得表 扬！"8月22日， 2025年鹤山 市"墨韵传千年 少年书华章"青 少年书法现场挥 毫擂台赛在鹤山 市龙口镇霄南村 举行，来自鹤山 市的100名中小 学生现场挥毫泼 墨，尽情展示自 己的书法水平。 100名中小学生挥毫泼墨，展示良好书法素养。 此次活动以小学 组、中学组的形 式分别进行2轮 比赛。其中，在 第一轮比赛中， 小学组选手要在 10分钟内根据分 组顺序书写现场 给出的指定4字 内容进行书写； 中学组选手则需 要在13分钟内根 据现场给出的8 字内容进行书 写。评委根据总 体评分，在小学 组、中学组各50 名参赛者中，各 选出10名晋级决 赛，并最终分别 决出小学组、中 学组一等奖各2 本次活动旨在弘 扬中华优秀传统 文化，激发青少 年对书法艺术的 热情，提升青少 年书写与审美素 养，同时，积极 宣传鲜卑文化， 带动龙口镇霄南 村产业发展。比 赛特别邀请了江 门书法院副院长 邝宁，佛山市书 法家协会常务副 主席胡锦秋，顺 德区书法家协会 常务副主席彭建 生担任 ...

处暑一至，北京城炎气渐退，迎来舒爽的季节。气候的转变，往往引发人的心境变化。这个时节，历代 文人墨客留下不少咏秋名篇、书画佳作。 传世书札、法帖中，不少书家记录了秋日意趣、处暑感怀，如苏轼《前赤壁赋》、米芾《秋暑憩多景楼 帖》、王羲之《徂暑帖》、王岩叟《秋暑帖》等。苏子与友人泛舟崖壁之下，怀古感兴；米芾登高望 远，咏赞镇江多景楼之壮观景色，触景生情；王羲之、王岩叟殷殷问候友人，叮嘱友人注意身体等，无 不抒发着内在情感。 明人董其昌评价此帖"略带行体，萧散有致"。以此视帖，我们会发现不仅字体、用笔有萧散之感，更重 要的是《韭花帖》的字距、行距均拉得很开，而行气依然纵贯呼应，章法布局清朗宽绰，点画凝而不 重、疏而不散，给人以空灵简淡的美感。前三行较后四行字距、行距稍密，尤其是首行字间距最为密 集，而后三行则较为宽松，形成了前密后疏的变化，恰似处暑节气标志着从炎热向凉爽过渡，具有一种 由动到静、由热烈到平和的转变，仿佛是节气变化在书法艺术中的一种体现。这种节奏在《秋暑憩多景 楼帖》《秋暑帖》《徂暑帖》中却并不凸显，令读帖者难以体会。 季节轮换给书家带来心境上、书写时的微妙变化。《韭花帖》没有生活中的浮躁，也没有欲望 ...

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]

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].