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刘恒:二○一三年二三十个展览,既有比较大型的,比如第七届全国书法新人新作展;也有比较专项的展览,比如全国首届楷书作品展、全国第三届草书作品展等;更多的是中国书协和各地书协、地方政府合办的主题性的展览,每次都能见到相当一部分老作者,而他们投稿作品的命运每次也不完全一样。所以,借这次“乾元杯”全国书法篆刻作品展评审的机会,我们召开一次深入、全面的评审总结会。《中国书法》借此推出“二当代书法评审”的专题,之前也给评委们
Liu Heng: Twenty or thirty exhibitions in 2013, both relatively large, such as the Seventh National Calligraphy New Exhibition; also have more special exhibitions, such as the first Chinese regular script exhibition, the third cursive exhibition And so on; more is the China Book Association and around the book clubs, local government-sponsored thematic exhibition, every time you can see a considerable part of the old authors, and their fate of submission of works every time is not exactly the same. Therefore, by this “Qian Yuan Cup ” national calligraphy and seal cutting exhibition evaluation opportunities, we held an in-depth, comprehensive review summary. “Chinese Calligraphy” to launch this “two contemporary calligraphy review,” the topic, also to the judges