努力 于书画篆刻的实践探索与理论研讨 。书法以金文筑基，诸体皆工，喜作大草。画攻山水。篆刻以古玺为归。

理论研讨 志于对作品形状 及其内理的无效 阐述，并且在美学的高度上打通书画篆刻诸科。发表学术论文二十多篇，出版专著《中国花鸟画通鉴·写生正宗》、《象与笔墨--中国画物象呈现方式研讨 》 、《李味青绘画研讨 》、《1 望六百年--〈富春山居图〉传奇》(合著)，作品集《孙子兵法印谱》、《查律山水写生集》。

书法艺术特色

书法筑基于商周金文，以金文为书画艺术精神及书写技术之根本。隶书碑简兼师，得汉碑之宽博沉厚，展汉简之奇逸纵幻。隶书创作以篆贯隶，情势 基于马王堆汉代简帛而时出新意。楷书得北碑神髓，小楷创作跃唐超晋，在楷之生成处接其生意。最擅草书，以草最能展示 性灵而尤其 钟情。草书由明人进门而游晋人之堂，最为可贵的地方 在于以古篆壮其体而呈高古之情，出于当下而思接千古。

 书法研讨

1.《中国书画名家精品大典》第1 卷之《祝允明》。朱伯雄、曹成章主编，浙江教育出版社(1997年12月)。

2.《以叶燮才胆识力说看近古代 书家--吴昌硕、康无为 、于右任、林散之比较》入选"全国第六届书学讨论会"。主办:中国书法家协会(2004年)。

3.《草法、草书字法及其意蕴初探》入编"第二届全国书法研讨 生书学学术周书学论坛"论文集。主办:首都师范大学中国书法文明 研讨 院研讨 生会(2005年)。

4.《北碑师法论》被评为"碑学与康无为 书法学术研讨会"优秀论文。主办:广东省佛山市南海区人民政府、广东省书法家协会(2005年)。发表于《中国书法》2006年第8期。

5.《陈洪绶书法考察》发表于《书法赏评》2008年第3期。

6.《韵、情与草书曲线运动的两大基本情势 》发表于《书法赏评》2009年第2期。

7.《以抒情的名义--书法创作的自我贬逐》发表于《中国书法》2010年第9期。

8.《开放与独诣--论张宗祥的书学思想及其实践》发表于《书法赏评》2011年第1期。

9. 《书时用画法 画时用书法--石涛的题款书法》发表于《中国书法》2012年第5期。

 

中国画研讨

1.《书法的角色--论黄宾虹的笔墨观及其实践》参加"黄宾虹国际学术研讨会"交流，编入《黄宾虹研讨 文集》(浙江人民美术出版社、山东美术出版社)。主办:中国艺术研讨 院(2004年)。发表于《美术与设计》2005年第2期。

2.《论中国山水画创作的本根回归》入选"第十1 届全国美展·当代美术创作论坛"。主办:第十1 届全国美术作品展览组织委员会(2009年)。发表于《中国书画》2010年第4期。

3.《论中国画的"形"与"象"成绩 》入编《原道与正纬》(首届全国美术院校博士生学术论坛论文集)，江西美术出版社(2010年4月)。

4.《"写实"与"写意"分判之下的自我理由--论刘国松绘画理论中的错误与偏执》发表于《书画世界》2010年第9期，转载于《复印报刊材料 ·外型 艺术》2011年第1期。

5.《论〈富春山居图〉的物我关系》发表于《美术与设计》2010年第5期。

6.《论〈富春山居图〉之苍润》发表于《美苑》2010年第5期。

7.《〈后赤壁赋图〉与〈富春山居图〉之比较》发表于《美术观察》2011年第6期。

8.《以巨然为基点的考察--王蒙与黄公望之比较》发表于《中国书画》2011

9. 《纵令丹青妙入神 懒与探微作后身--明代陆治其人其画》发表于《荣宝斋》2011年第9期。

10. 《老从林壑见前身 每对名山辄写真--清代戴本孝其人其画》发表于《荣宝斋》2012年第2期。

11. 《月与倪瓒山水》发表于《文艺研讨 》2012年第6期。

12. 《丰子恺漫画基本思想评述》"第二届丰子恺研讨 国际学术研讨会"大会交流，入编大会论文集《丰子恺艺术与艺术教育研讨 》(中国社会科学出版社，2012年10月)。主办:杭州师范大学弘1 大师o丰子恺研讨 中心、北京大学美学与美育研讨 中学。

 

篆刻研讨

《篆刻艺术要论》发表于《书法赏评》2012年第2期。

 Basic Introduction

 

It is devoted to the practical exploration and theoretical research of calligraphy, painting and seal cutting. Calligraphy is based on bronze inscriptions. Every body works and likes grass. Paintings attack mountains and rivers. Seal engraving belongs to ancient seals.

 

The theoretical research aims at the effective elaboration of the form and internal principle of the works, and at the aesthetic level to get through the various disciplines of calligraphy, painting and seal carving. Published more than 20 academic papers, published monographs "General Guide to Chinese Flower and Bird Painting Authentic Sketching", "Image and Brush and Ink - Study on the Presentation of Chinese Painting Objects", "Study of Li Weiqing's Painting", "Looking at Six Hundred Years -"Fuchun Mountain Residence Map"Legend (co-author), works collection"Sun Tzu's Art of War Seal"and"Chalu Mountain and Water Painting Collection". "

 

Characteristic of Calligraphy Art

 

Calligraphy is based on Jinwen of Shang and Zhou Dynasties, and takes Jinwen as the foundation of the spirit of painting and calligraphy and writing technology. Li Shu's stele bamboo slips are also teachers. They are broad and profound in the Han Dynasty's stele, and show the fantastic and leisurely illusion of the Han Dynasty's stele bamboo slips. The creation of Li scripts is based on seal scripts, and the situation is based on the Han Dynasty bamboo and silk in Mawangdui. Regular script is the soul of the Northern Stele. Xiaokai created Yue Tang Chao Jin and took over its business at the place where regular script was created. He is good at cursive writing, especially in showing his soul. The most precious thing about cursive scripts, which were visited by the Ming people in Jin Dynasty, is that they were strengthened by ancient seal scripts, and that they were contemplated for centuries out of the present.

 

Major academic papers

 

Calligraphy Research

 

1. Zhu Yunming, Volume 1 of the Classic of Chinese Painters and Calligraphers. Zhu Boxiong, editor-in-chief of Cao Chengzhang, Zhejiang Education Press (December 1997).

 

2. Comparisons of Wu Changshuo, Kang Youwei, Yu Youren and Lin Sanzhi, the modern and contemporary calligraphers in the light of Ye Xicai's theory of courage and insight, were selected as the "Sixth National Symposium on Calligraphy". Host: Chinese Calligrapher Association (2004).

 

3. A Preliminary Study of Grass and Grass Calligraphy and Their Implications was included in the collection of papers of the Second National Calligraphy Graduate Calligraphy Academic Week Calligraphy Forum. Host: Graduate Institute of Chinese Calligraphy Culture, Capital Normal University (2005).

 

4. Beibei Shifa Lun was awarded the excellent thesis of "Symposium on Beibei and Kang Youwei's Calligraphy". Host: People's Government of Nanhai District, Foshan City, Guangdong Province, Guangdong Calligrapher Association (2005). Published in Chinese Calligraphy No. 8, 2006.

 

5. Chen Hongshou's Calligraphy Investigation was published in the third issue of Calligraphy Appreciation in 2008.

 

6. Two Basic Forms of Rhyme, Love and Cursive Curve Movement were published in Calligraphy Appreciation No. 2, 2009.

 

7. In the name of lyricism, self-depreciation of calligraphy creation was published in the 9th issue of Chinese Calligraphy in 2010.

 

8. Openness and Uniqueness - On Zhang Zongxiang's Calligraphy Thought and Practice was published in Calligraphy Appreciation No. 1, 2011.

 

9. Calligraphy in Painting and Calligraphy in Calligraphy - Shi Tao's Title Calligraphy was published in the 5th issue of Chinese Calligraphy in 2012.

Research on Chinese Painting

 

1. The Role of Calligraphy--On Huang Binhong's View of Brush and Ink and His Practice participated in the exchange of Huang Binhong's International Academic Seminar and was compiled into Huang Binhong's Research Collection (Zhejiang People's Fine Arts Publishing House, Shandong Fine Arts Publishing House). Host: China Academy of Art (2004). Published in Art and Design, No. 2, 2005.

 

2. On the Root Return of Chinese Landscape Painting Creation was selected as the Eleventh National Art Exhibition, Contemporary Art Creation Forum. Organizing Committee: Eleventh National Art Exhibition Organizing Committee (2009). Published in Chinese Painting and Calligraphy No. 4, 2010.

 

3. On the Problem of "Form" and "Image" of Chinese Painting was compiled into "Origin Road and Zhengwei" (Papers Collection of the First National Academy of Fine Arts Doctoral Academic Forum), Jiangxi Fine Arts Publishing House (April 2010).

 

4. The Self-Reasons under the Judgment of "Realism" and "Freehand Brushwork"--On the Errors and Paranoia in Liu Guosong's Painting Theory was published in the 9th issue of the World of Calligraphy and Painting in 2010 and reprinted in the 1st issue of "Copying Newspaper Materials and Plastic Arts" in 2011.

 

5. On the Material-Self Relations of Fuchun Mountain Jutu was published in Art and Design No. 5, 2010.

 

6. On Cangrun of Fuchun Mountain Jutu was published in the fifth issue of Meiyuan in 2010.

 

7. The Comparisons between "Futu of Hou Chibi" and "Jutu of Fuchun Mountain" were published in Art Observation No. 6, 2011.

 

8. An Investigation Based on Juran--A Comparison between Wang Meng and Huang Gongwang was published in Chinese Painting and Calligraphy in 2011.

 

9. Even if Danqing is delicate and lazy, and exploring the subtleties behind his works, Lu Zhi's paintings of the Ming Dynasty, was published in Rongbaozhai, No. 9, 2011.

 

10. Lao Cong-lin Gu's portrait of each pair of famous mountains before him, Dai Benxiao's paintings in the Qing Dynasty, was published in Rong Baozhai No. 2, 2012.

 

11. The Moon and Nizan Landscape was published in the sixth issue of Literature and Art Research in 2012.

 

12. Commentary on Fundamental Thoughts of Feng Zikai's Cartoon and Exchange at the 2nd International Symposium on Feng Zikai's Research were included in the collection of papers on Feng Zikai's Art and Art Education (China Social Science Press, October 2012). Host: Feng Zikai Research Center, Hongyi Master, Hangzhou Normal University, and Middle School of Aesthetics and Aesthetic Education, Peking University.

 

Seal Carving Research

 

The Essentials of Seal Carving Art was published in Calligraphy Appreciation No. 2, 2012.