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全国第十一届书法篆刻作品展览二○一四年十二月三十日征稿,二○一五年四月三十日截稿,五月十六日至六月六日历时二十一天,评审、面试及抽查工作在北京结束。大概在二十年前,我曾经在《书法导报》上连载过一篇《篆刻向何处去》的长文。“全国书法篆刻展”(以下简称“国展”)发展到现在这种模式,其实也已经到了一个向何处去的关键转折点。近年来我虽然对此常有一种进行研究的冲动,但思考一直停留在一个模糊的层面。通过对“十一届国展”整个评审过程的观察,以及对大半年来中国书协围绕“十一届国展”征稿与评审筹备等一系列工作的梳理,使我的思路豁然开朗并逐渐明晰起来。下面拟分三个部分叙述并展开。
National Calligraphy and Seal Cutting Works Exhibition December 30, 2014 Call for Papers, April 30, 2015 Deadline, May 16 to June 6 Duration 21 days, Appraisals, interviews and spot checks concluded in Beijing. About twenty years ago, I wrote a long article entitled “Where is carving?” In The Calligraphy Herald. “National calligraphy and seal cutting exhibition ” (hereinafter referred to “National Exhibition ”) to develop this model now, in fact, has also come to a key turning point where to go. Although I often have an urge to do research in recent years, my thinking has remained at a vague level. Through the observation of the entire review process of the “11th China International Exhibition” and the combing of a series of tasks such as drafting and reviewing the preparations for the “11th National Exhibition” for the past six months, my thinking suddenly Cheerful and gradually clear up. The following three sections to be described and started.