年轻时曾就读于黑龙江文学创作讲习所，在省级、国家级报刊发表诗歌、歌词、散文、文艺评论多篇，分别有《望大陆》、《五环之花》等四首歌词在《中华情》和2008北京奥运征歌评选活动中获奖。曾先后出版《飞翔的乐章》和古体诗《紫怀堂诗稿》等五部诗集，2010年中国作家协会为其举办诗歌研讨会。现为中国作家协会会员、中国诗词学会会员。

读小学期间即习练书法，书艺渐进。上世纪末加入中国书法家协会。自2005年底主持中国书协日常工作以来，更是勤奋耕耘，潜心钻研，书法意境和感悟有所提升。被中央文史馆聘为书画院研究员，中国长城学会聘为书画院院长。

 地球本是一个家/五环盛开一朵花/圣火点燃生命的激情/奥运舒展古老的中华/不同的健儿/拥有同样的梦想/不同的肤色/汇成灿烂的云霞/啊！五环之花，五环之花，向着太阳怒放，把花香洒遍海角天涯……这首由诗人、书法家赵长青填词、徐沛东谱曲的《五环之花》,在奥运会前，荣获奥运歌曲征集优秀作品奖。

现为中国书法家协会书记、驻会副主席兼秘书长的赵长青出生于黑龙江，他当过兵,做过工，种过地。他身上既有东北黑土地的淳厚朴实，又有松花江水奔腾的激情。诗人歌德有句名言“生活之树常青”，赵长青的生活就是一棵常青之树。艺术通过其丰富的情感、神韵和意境，揭示生活的哲理，陶冶人们的性情，给人以美的享受，从而彰显出艺术美的巨大感染力。在中国申奥成功的那个不眠之夜，当他与几位好友聚会听到北京申奥成功的瞬间，不禁心潮澎湃，当即作诗一首《今夜，我为你醉》：“八年磨一剑，百年等一回/申奥成功——名高千古振国威/高举杯，笑扬眉/斟满滚滚长江水，饮上千杯万盏/今夜，我为你醉！”他的激情感染了在座的朋友，大家举起杯与他一起朗诵起来。

赵长青既是一位热爱祖国、热爱人民的诗人，也是一位卓具艺术个性并勇于艺术探索的书法家。他的诗、书充满着艺术与人文的魅力，他以诗、书艺术作品的深刻内涵，虔诚地表现人生、探索人生，如诗作《假如我是一棵小树》、《春水》等，读后令人深思，催人奋进。而他的书法作品也大多是自作诗词，笔走龙蛇，气势磅礴，令人叹为观止。无论是诗作还是书法作品，赵长青都是在倡导做人的道理，弘扬真、善、美。

古人云：腹有诗书品自高。赵长青以诗为其书法的内涵，将金石碑版之学渗入作品，在实践上真正把诗、书熔为一炉，他的书法弥漫着诗人风骨，书卷之气，书法是他诗情的外延，是线条之美，布局之美，意象之美，诗情之美。他的书法既有魏晋风韵，更含有一种淡泊宁静，潇洒自如的清逸之气，总让人联想到初春的原野，习习的微风，潺潺的小溪，竞势而出的初篁新蒲，古拙苍朴的幽松虬柏。这正是其所独具的文化修养和诗人气质决定的。正可谓：诗人风范壮书坛，豪气凌霄逸韵长。借得和谐濡大笔，挥毫泼墨出新篇！

赵长青书法作品

 关于创作问题。创作是人生积累自然的流露，是一种表白，是生命激情的迸发，是一种冲动，是天人合一的，与大自然的拥抱，是高山流水，是灵魂与灵魂的对话。总之，创作是人的主观意念和客观生活的完美的结合，我觉得书法创作犹为如此。创作有这么几个关键词。一个是要强调思想性，看起来好像我们只是写一首古诗，好像是没有思想，我照着它就写了，但是有好的作品，它肯定也有思想，它带着创作者的意念，带着作者创作的时候认真的思考，不是随便的，照葫芦画瓢的，肯定是有思想。再就是艺术性，我们从不同的审美观来看，这两性还有观赏性，应该是这三性。思想性是关键，是核心。艺术性为书法之本性，思想性为书法之灵魂。艺术性不受国界的限制，思想性也不受时代的限制。任何一种艺术形式，它如果失去了思想性就等于失去了灵魂，那艺术性也只是华丽的躯壳。

唐诗宋词之所以我们百读不厌，书法艺术之所以传承千年。思想性和民族性也是相关的。就是说，越是民族的就越是世界的，它能够代表你这个民族文化和精神层面的这样的艺术，就是具有世界性的艺术。书法艺术就是如此，书法艺术应该说是我们最具中华民族特质的传统艺术形式，承载了我们这个民族五千年的思想文化和情感。书法是有思想的，有生命的，有内涵的，任何一幅书法经典，特别是传世之作，它总是思想、内容、情感和创作的最完美的结合，如王羲之的《兰亭序》，颜真卿的《祭侄文稿》，苏东坡的《寒食帖》等都是这方面的代表作。这些名帖背后都有一段撼人心魄的情感，或者是真实的演绎和典故。大家也都有这样的体验，创作就是你在想啥，怎么去写，写什么，写什么内容呀，王羲之的《兰亭序》，他肯定不是说为了去展览，他就是把一个事件记录下来，就是一个活动，当地的一个民俗，曲水流觞呀，要表达这个。《祭侄稿》也不是说要出版作品集，都是带着情感去创作的，去写的。所以说思想感情是书法作品的灵魂所在，这是其一。其二，继承与创新。继承是关键，特别是书法创作，胡总书记在全国第八次文代会上的讲话中明确指出，继承和创新是一个民族文化生生不息的两个重要轮子，古今中外，闻名于世的文艺大师脍炙人口的传世之作，无一不是善于继承，勇于创新的结果。不朽的文艺经典往往既渗透着历史积淀的体验和哲理，又蕴涵着时代孕育的理想和精神;既延续着传统艺术的特点和优势，有创造了新颖鲜活的内容和形式。不善于继承，没有创新的基础;不善于创新，缺乏继承的活力。在继承基础上的创新，往往是最好的继承。胡总书记高度概括了继承和创新的关系。书法艺术更是如此，不按照老祖宗总结的方法来继承，那就偏离了正确的运行轨道，也就不是真正意义上的书法。没有了继承，创新又从何谈起，创新是在继承基础上的创新，绝非随意创造，随意发挥，不是这样的。所以这个继承和创新非常重要。

我们在座的王宏先生发明的"三米格草书习字帖"就是创造，是贡献。他根据草书连笔的特点，提出了欣赏、研究、临写草书，应以行为单位的理论，打破了以单个字为单位研究草书的成规，用"三米字格行定位法"发明专利解读草书经典，受到了草书爱好者的热捧。我的一个朋友，在谈到"颠张狂素"狂草艺术特点时描述的很传神:狂草突破了章草和今草固有的拘囿，整体的格式，使书法线条能尽情的驰骋，产生其眩目夺人的动态效果，经大胆使用，产生了"忽然叫绝三五声，满壁纵横千万字。驰毫骤墨列奔驷，满座失声看不及"的艺术魅力。他就是说张旭和怀素的草书，用连笔书，或者字的变形、大小、参差、夸张等，章草的形式有了变化和突破，能感受着有一种特殊的艺术魅力，并第一次将书法扩展为一种高雅的表演艺术。他们的书法有动感，有艺术的冲击力，就像音乐一样，有节奏感。书法实践提升靠什么呢?那就是"外师造化，中得心源"的哲学高度。从单一的师承传统转入到师法自然这个高度，将抽象的线条成为具象之媒介，使人得到一种如观绘画的美的享受，产生了"伏如虎卧，起如龙腾，顿如山峙，控如泉流"的艺术联想;造成了"怪石奔秋涧，寒藤挂古松。若教临水畔，字字恐成龙"的视觉想象。有音乐的旋律，音乐的激情，有绘画的情趣，有舞蹈的韵律，令人目不暇接，美不胜收，全面带动了笔法、墨法、结体、布局等一系列表现手法的变革。笔法、墨法、结体、布局就是几个要素，找到了浪漫与现实的最佳结合点。张旭、怀素除了扎实的正书基础外，极大的丰富了张芝、二王的草书内涵，既张扬了传统的精神，又拓宽了自己的想象视野。张旭、二王、怀素、黄庭坚，他们无愧自己，无愧天地，无愧民族，他们的艺术就像一曲优美的黄河大合唱。洪湖水，浪打浪，在激烈而温馨的细雨中表现生命的真情。那诡异变化的线质体味他们的婉转的摆动，笔墨随着他们深情的笔墨澎湃而澎湃，时光虽然飞逝千百年，但他们的精神灵光依然飞扬旋转，是民族的瑰宝，是智慧的象征，是人类走向文明、和谐的无尽的宝藏。有些人写草书，跟我们古人比，我们有的时候确确实实很愧疚呀，结构疏松，心手不能相应，魂不附体，只求形式不求精神，点画矫揉做作，线条飘浮，知其然不知其所以然，站在一根树枝上孤芳自赏，却不明白"操千曲而后知音，观千剑而后识器"的道理。艺术是自由的抒情，她是纯洁的，无私的，她是大起大落，大喜大悲的，她充满了无限的矛盾和精神的坎坷曲折，有了这种经历，才能够到达那种"狂来轻世界，醉里得真如"的境界。超越时代的艺术经典，不带任何政治色彩，她与名利应该是毫无关联。张旭、怀素的大草狂草，他们的草书是一种革命。这样的一个感受，一个体验，我们在创作当中还有一点，很重要的就是要把握习读与创作的关系，习读是关键。就是说，我们的创作不是随意而来的。有学者和评论家也说过，书法是写出来的，又不完全是写出来的，他是学问养出来的。没有很好的学养和知识的积累，那样的书法也是苍白无力的。所以说书学古人是正道，书法就是从传统而来的。

另外一个就是要增强我们的国学修养。书法靠习练，靠读帖，国学修养同样要靠习练和读书。一位有作为的，有贡献的书法家，往往都是学富五车的学者，或者是文学家，或者是政治家，就是说都是有很深的国学修养。我们的启功先生，我们的沈鹏先生，欧阳中石先生都是如此，不是简单的写字的，都是教授、诗人。我说的意思，我们要创作出好的作品，成为书法名家、大家，必须要增强修养，或者是说要有一定的抱负，对民族，对集体有一种抱负，要把自己的目标定得高高的才行，这个高，取法乎上，得乎其中。如果目标定得低，认为写到省书协的水平，弄一个会员，在这个地方稍有名气就行了，那就就很难上升到国家那个层面上。如果目标高，你就想向上努力，那确实不一样。

另外，我说要有抱负，古代我们都是用毛笔写字，对毛笔的把握运用，不是说就是那几个大家具备了，好多人写得一手好字，但为什么没有名气呢，因为很多人他没有地位，没有身份，没有名望，书法无法留传下来。写得再好也是在山沟里面，当地的老百姓认为他是个秀才，他是个先生，他就在当地，他跳不出来。所以我们也是一样，我们一些公务员，一些党政领导都热爱书法，这符合书法创作的艺术规律。因为这些人有素养，他们的文化素养和修养是不一样的。毛主席是伟大的领袖，是政治家、哲学家、军事家，是书法家、诗人，书法是形而上的，是哲学的，所以书法家的身份与毛主席的政治影响很相称，是文化的，是上层的，又是人民的书法，老百姓最喜欢的。书法既是最高层次，又是下里巴人。阳春白雪，下里巴人。凡是经过我们中华文化熏陶的，都是对书法有着特殊的情感，所以我们对书法创作的理解还有不同的这样的认识，或者是说我们这个书坛的创作，有些什么现象，我们书协研究室的主任刘恒先生对当代书法创作和书坛的一些现象有一个概括。他说，当今书坛流派纷呈，追求各异，究其根本，最重要的原因是在于大家对书法的理解与态度各有不同。比如许多人将书法当作独立、纯粹的视觉艺术看待，希望书法作品具有与绘画、雕塑作品同样的特点及功效，所以在实践中极力追求"创作"的感觉和效果;有人则钟情于形形色色的新潮艺术理论和"现代艺术"现象，认为书法也应该加入到其中，从而对现实社会有更直接的介入和影响;更有一些人站在现实利益的角度，将书法作为名目或手段，制造各种花样翻新的名称派别来引起关注;当然也有人仅仅把书法视为一门技艺，沉醉于对既往的某些法度规则的追仿体验之中……种种不同的理解与态度反映在作品中，必然形成不同的风格样式。应该相信，各种追求实践都有成功的可能，因为艺术风格本来就应该是丰富多样的，不能用一条标准去衡量或约束。尤其是在多元化、不信权威的今天，书法艺术正是通过多样化的理解追求及风格面貌，实现着自己的发展。这是当代书坛的创作的一些不同的现象。

 brief introduction

When he was young, he studied at Heilongjiang Literature Workshop. He published many poems, lyrics, proses and literary criticisms in provincial and national newspapers and magazines. Four lyrics, such as "Looking at the Mainland" and "The Flower of the Five Rings", were awarded in the "Chinese Love" and the 2008 Beijing Olympic Song Competition. He has published five collections of poems, such as "Flying Movement" and "Zihuaitang Poetry Draft", for which the Chinese Writers Association held a poetry seminar in 2010. Now he is a member of the Chinese Writers Association and the Chinese Poetry Society.

During primary school, calligraphy was practiced gradually. At the end of last century, he joined the Chinese Calligrapher Association. Since presiding over the daily work of the Chinese Calligraphic Association at the end of 2005, it has been more diligent, devoted to research, and improved the artistic conception and perception of calligraphy. He was employed by the Central Museum of Culture and History as a researcher of the Academy of Calligraphy and Painting, and the Great Wall Society of China as the president of the Academy of Calligraphy and Painting.

Individual Achievements

The earth is originally a home/five rings blooming a flower/torch igniting the passion of life/Olympic stretching ancient China/different athletes/having the same dream/different complexion/merging into brilliant clouds/ah! The flowers of the five rings, the flowers of the five rings, are in full bloom towards the sun, sprinkling the fragrance of the flowers all over the world... This poem, written by poet and calligrapher Zhao Changqing and composed by Xu Peidong, was awarded the Olympic Song Award for Excellent Works before the Olympic Games.

Zhao Changqing, now Secretary of the Chinese Calligrapher Association and vice-chairman and secretary-general of the Chinese Calligrapher Association, was born in Heilongjiang Province. He has been a soldier, a worker and a farmer. He has not only the honesty and simplicity of the Northeast Black Land, but also the passion of the Songhua River. The poet Goethe has a famous saying, "The tree of life is evergreen", and Zhao Changqing's life is an evergreen tree. Art, through its rich emotions, charm and artistic conception, reveals the philosophy of life, cultivates people's temperament, and gives people the enjoyment of beauty, thus demonstrating the great appeal of artistic beauty. On the sleepless night of China's successful bid for the Olympic Games, when he met with several friends and heard of Beijing's successful bid for the Olympic Games, he couldn't help but surge with emotion and wrote a poem "Tonight, I'm Drunk for You": "Eight years grinding a sword, one hundred years waiting for success / bid for the Olympic Games --- a great national prestige / raise a glass, laugh / fill the rolling Yangtze River water. Drink thousands of cups / tonight, I'm drunk for you!  His passion infected the friends present. They raised their glasses and read aloud with him.

Zhao Changqing is not only a poet who loves his motherland and people, but also a calligrapher with outstanding artistic personality and courage to explore art. His poems and books are full of artistic and humanistic charm. With the profound connotation of his poems and works of art, he devoutly expresses and explores life, such as "If I were a small tree" and "Spring Water", which are thought-provoking and inspiring after reading. And his calligraphy works are mostly self-composing poems, writing dragons and snakes, magnificent momentum, amazing. Either in poetry or in calligraphy, Zhao Changqing is advocating the truth of being a man and promoting truth, goodness and beauty.

Ancient Cloud: Poetry and books are self-proud. Zhao Changqing takes poetry as the connotation of his calligraphy, infiltrates the study of stone tablets into his works, and in practice melts poetry and calligraphy into one furnace. His calligraphy is permeated with poet's style and spirit of scrolls. Calligraphy is the extension of his poetry, the beauty of lines, layout, image and poetry. His calligraphy not only has the charm of Wei and Jin Dynasties, but also contains a kind of calm, natural and relaxed atmosphere. It always reminds people of the fields of early spring, the breeze of habits, the flowing streams, the new cattails emerging from the competition, the ancient and simple pines and cypresses. This is precisely determined by his unique cultural accomplishment and poetry temperament. It can be said that the poet's style in the world of calligraphy is magnificent and elegant. Borrowing harmony and immersing in a great brush, we can write a new chapter with every splash of ink!

A literary creation

About creation. Creation is the manifestation of nature accumulated in life, an expression, a burst of life passion, an impulse, the unity of man and nature, the embrace of nature, mountains and rivers, and the dialogue between soul and soul. In a word, creation is the perfect combination of human's subjective idea and objective life. I think calligraphy creation is still the case. There are several key words in creation. One is to emphasize the ideological quality. It seems that we are only writing an ancient poem. It seems that there is no thought. I wrote it according to it, but there must be thought in a good work. It has the idea of the creator and the serious thinking of the author when he creates it. It is not casual. It must be there if we follow the gourd and paint the gourd. Thought. Another is artistry. From different aesthetic viewpoints, the two sexes are also ornamental, which should be the three sexes. Ideology is the key and the core. Artistry is the essence of calligraphy, and ideology is the soul of calligraphy. Artistry is not limited by national boundaries, and ideological is not restricted by the times. Any kind of art form, if it loses its ideological quality, it loses its soul, and the artistic quality is only a gorgeous body.

The reason why we never tire of reading Tang poetry and Song Ci is that the art of calligraphy has been handed down for thousands of years. Ideological and national characteristics are also relevant. That is to say, the more the nation is, the more the world is. It can represent the art of your national culture and spiritual level, that is, the art of the world. Calligraphy art is like this. Calligraphy art should be said to be our most traditional art form with Chinese characteristics, which carries our nation's ideological culture and emotions for 5000 years. Calligraphy has thought, life and connotation. Any classic of calligraphy, especially handed down works, is always the most perfect combination of thought, content, emotion and creation, such as Wang Xizhi's Preface to Lanting, Yan Zhenqing's Manuscript for Remembering Nephew, Su Dongpo's Cold Food Title and so on. Behind these famous posts, there is an exciting feeling, or real deduction and allusions. Everyone has the same experience. Creation is what you think, how to write, what to write and what content to write. Wang Xizhi's "Preface to Lanting", he certainly does not mean to go to the exhibition, but to record an event, that is, an activity, a local folklore, the origin of Qushui, to express this. Nephew Papers is not meant to be published, but to be created and written with emotion. Therefore, thought and emotion are the soul of calligraphy works, which is one of them. Second, inheritance and innovation. Inheritance is the key, especially the creation of calligraphy. In his speech at the Eighth National Conference on Literature and Art, General Secretary Hu pointed out clearly that inheritance and innovation are two important wheels of a nation's culture. Result. Immortal literary and artistic classics often permeate not only historical experience and philosophy, but also ideals and spirit gestated by the times. They not only continue the characteristics and advantages of traditional art, but also create new and fresh content and form. Not good at inheritance, no basis for innovation; not good at innovation, lack of vitality for inheritance. Innovation based on inheritance is often the best inheritance. General Secretary Hu highly summarized the relationship between inheritance and innovation. This is especially true of the art of calligraphy. If we do not inherit it according to the method summarized by our ancestors, it will deviate from the correct track of operation, and it will not be calligraphy in the true sense. Without inheritance, how to start innovation? Innovation is innovation based on inheritance. It is not random creation and play at will. It is not like this. So this inheritance and innovation is very important.

Mr. Wang Hong, who is here, invented the "Three-Mig Grass Calligraphy and Character Learning Poster", which is a creation and contribution. According to the characteristics of cursive scripts, he put forward the theory of appreciation, research and writing cursive scripts. He broke the rule of studying cursive scripts with a single word as a unit, and interpreted cursive scripts with the patent of "three meter character grid line positioning method", which was popular among cursive enthusiasts. A friend of mine described vividly when he talked about the artistic features of "extravagant and wild elements": the wild grass broke through the inherent restrictions of Zhang Cao and modern Cao, the overall format, enabled the calligraphy lines to gallop heartily, and produced its dazzling dynamic effect. After bold use, it produced "sudden cries of 35 tones, full of tens of millions of words across the wall." 。 The artistic charm of this book can't be seen when the seats are full of silence. He just said that Zhang Xu and Huai Su's cursive scripts had changed and made breakthroughs in the form of chapters and scripts, which were written in conjunction with pens, or in the shape, size, variance and exaggeration of characters. They could feel a special artistic charm, and for the first time expanded calligraphy into an elegant performing art. Their calligraphy is dynamic and artistic, like music, with a sense of rhythm. What does it depend on to improve the practice of calligraphy? That is the philosophical height of "making things by outside teachers and getting the source of the heart". From a single tradition of inheritance to the height of learning from nature, the abstract lines become a concrete medium, so that people can enjoy the beauty of visual painting, resulting in the Artistic Association of "lying down like a tiger, rising like a dragon, standing up like a mountain, controlling like a spring flow"; resulting in "strange rocks rushing to the autumn streams, hanging ancient pine on the winter vine". If you teach the visual imagination of the word dinosaur "near the water". There are music melody, music passion, painting interest, dance rhythm, eye-catching, beautiful, comprehensively led to a series of changes in expression techniques such as brushwork, ink, composition, layout and so on. Brushwork, ink, composition and layout are several elements, which find the best combination of romance and reality. Zhang Xu and Huai Su not only have a solid foundation of the original script, but also greatly enrich the connotation of Zhang Zhi and Er Wang's cursive script. They not only publicize the traditional spirit, but also broaden their imaginative horizons. Zhang Xu, Erwang, Huaishu and Huang Tingjian are worthy of themselves, the world and the nation. Their art is like a beautiful chorus of the Yellow River. Honghu water, waves, in the intense and warm rain to show the true feelings of life. The strange and changeable lineament appreciates their gentle swing, and the pen and ink surge with their affectionate pen and ink. Although time flies by thousands of years, their spiritual light is still flying and rotating. It is the treasure of the nation, the symbol of wisdom, and the endless treasure of human civilization and harmony. Some people write cursive scripts, compared with our ancients, sometimes we really feel guilty, the structure is loose, the heart and hands can not correspond, the soul does not attach itself to the body, only for the form does not seek the spirit, stippling, artificial, floating lines, knowing that they do not know why, standing on a branch of lonely Fang admire, but do not understand "after thousands of songs, know". Yin, Guan Qianjian and then know the truth of the instrument. Art is a free lyric, she is pure, selfless, she is ups and downs, great joy and sorrow, she is full of infinite contradictions and spiritual ups and downs, with this experience, can reach that kind of "crazy light world, drunk like" realm. Art classics beyond the times, without any political color, should have nothing to do with fame and wealth. Zhang Xu and Huaishu's cursive writing is a revolution. Such a feeling, an experience, we also have a point in the creation, it is very important to grasp the relationship between reading and creation, reading is the key. That is to say, our creation is not random. Some scholars and critics have also said that calligraphy is written, but not entirely written, he is educated. Without good learning and knowledge accumulation, such calligraphy is also weak. Therefore, the ancients of calligraphy are righteous, and calligraphy comes from tradition.

Another is to enhance our Chinese culture. Calligraphy relies on practice, on reading posts, and Chinese culture also relies on practice and reading. A promising and contributing calligrapher is often a scholar, a writer or a politician, who is well educated in Chinese traditional culture. Our Mr. Qigong, Mr. Shen Peng and Mr. Ouyang Zhongshi are all like this. They are not simple writers, but professors and poets. I mean, if we want to create good works and become famous calligraphers and masters, we must enhance our accomplishment, or we must have a certain ambition, an ambition for the nation and the collective, and we must set our goals high, which is above and above. If the goal is set low, it is difficult to rise to the level of the country if we think that we should write about the level of the Provincial Book Association and get a member with a little fame in this place. If you have a high goal, you want to work up. That's really different.

In addition, I said that we should have ambition. In ancient times, we all wrote with brushes, grasping and using brushes. That is not to say, those people have it. Many people can write good characters, but why not have fame, because many people have no status, no status, no reputation, and calligraphy can not be passed down. The best writing is in the ditch. The local people think that he is a talented person. He is a gentleman. He is in the local area. He can't jump out. So we are the same. Some of our civil servants and some party and government leaders love calligraphy, which conforms to the artistic rules of calligraphy creation. Because these people are accomplished, their cultural accomplishment and accomplishment are different. Chairman Mao is a great leader, a statesman, a philosopher, a militarist, a calligrapher and a poet. Calligraphy is metaphysical and philosophical. Therefore, the status of a calligrapher is in line with Chairman Mao's political influence. It is cultural, upper-class and popular. Calligraphy is not only the highest level, but also the Lower Riba people. Yangchun snow, Liba people. Anyone who has been edified by our Chinese culture has special feelings for calligraphy, so we have different understandings of calligraphy creation. Or what are the phenomena in the creation of our calligraphy circle? Mr. Liu Heng, director of the research room of the Association of Calligraphy, has some reflections on contemporary calligraphy creation and calligraphy circle. There seems to be a generalization. He said that the most important reason for the diversity of schools and pursuits in the world of calligraphy today is that people have different understandings and attitudes towards calligraphy. For example, many people regard calligraphy as an independent and pure visual art, hoping that calligraphy works have the same characteristics and effects as painting and sculpture works, so they strive to pursue the feeling and effect of "creation" in practice; others are fond of various new art theories and "modern art" phenomena, and think that calligraphy should also have the same effect. Joining in it will have a more direct involvement and influence on the real society; some people take calligraphy as a name or means from the perspective of realistic interests and create various renovation names and factions to attract attention; of course, some people just regard calligraphy as a skill and indulge in pursuing some rules of the past. In the imitation experience... Different understandings and attitudes are reflected in the works, which inevitably lead to different styles and styles. It should be believed that all kinds of pursuit of practice are possible to succeed, because artistic style should be rich and diverse, and can not be measured or constrained by a single standard. Especially in today's pluralistic and non-authoritative world, the art of calligraphy achieves its own development through diversified understanding, pursuit and style. These are some different phenomena in contemporary literary creation.