Jiao Xinshuai's Calligraphy Works

Jiao Yongtang was a young calligrapher from Hohhot City. His works had been exhibited many times in national and provincial professional exhibition. His small regular script works were delicate and exquisite, warm and beautiful, while the Wei stele style displayed a profound ancient meaning of being strong, rough and clumsy. Jiao Yongtang's works had the characteristics of both regular script and cursive script. His regular script contained the elements of seal script, official script, Wei stele and other calligraphy styles, while his cursive script was full of meaning and unrestrained atmosphere, showing the unique charm of ancient cursive script. However, the search results didn't provide any specific content about Jiao Yongtang's calligraphy works.

Cui Hanbai was a famous Chinese calligrapher, and his calligraphy works were highly praised. He had won the gold medal of the 7th China Calligraphy Orchid Pavilion Award and became the only top scholar in the award. His works included calligraphy works of different subjects and styles such as big regular script, small regular script, and small running script. His big regular script work, Cui Hanbai's Big Regular Script Xin Jiaxuan's Ci Collection, copied two Ci poems of Xin Qiji, a poet of the Southern Song Dynasty, in regular script, showing his familiarity with Xin Qiji's Ci works and his grasp of artistic effects. In addition, Cui Hanbai's calligraphy style was featured by a natural, smooth, and unorganized writing style. He emphasized that the brush moved with the heart, and the shape, texture, and structure appeared naturally. His works were frequently shown in important shows such as the National Calligraphy Exhibition and the Lanting Awards, demonstrating his talent and attainments. In general, Cui Hanbai's calligraphy works were praised for their vivid and natural style.

Liu Gongquan was a famous calligrapher in the Tang Dynasty. He had many works that were handed down from generation to generation. Among them, the most representative works included the Diamond Sutra Stone Engraving, the Mysterious Tower Stele, the Shence Army Stele, and the Ode to Jiuyi Mountain. The Diamond Sutra Stone Carving, the Mysterious Secret Pagoda Stele, and the God's Will Army Stele were his regular script works, showing his rigorous, natural style. " Ode to Jiuyi Mountain " was his work in small regular script. It had a stable structure and exquisite strokes. Other than that, he also had other works such as 'Mengzhao Invitation' and 'Lanting Poem Volume.' Liu Gongquan's calligraphy works were widely appreciated and studied. His regular script style and unique writing style made him a legend in the calligraphy world.

Zhang Rongqing was a famous calligrapher. His calligraphy works had participated in many domestic and foreign calligraphy exhibition and won many awards. His calligraphy works were famous for their traditional and profound skills. He was especially good at the regular script and cursive script of the two kings. His works were simple, clear, casual, and natural, giving people an elegant and fresh artistic appeal. His calligraphy works were exhibited in the "Journey into Antiquity-Zhang Rongqing Calligraphy Exhibition" held by the National Art Museum of China. There were about 100 works on display, most of which were new works recently. The overall impression of the exhibition was exquisite, elegant, and fresh. Zhang Rongqing's calligraphy works were also included in many large-scale collections. His artistic life was in a mature and vigorous period, and he was still constantly seeking change and refinement.

Li Yuanhong was a president of the Republic of China with excellent calligraphy works. His calligraphy works were mainly in regular script. His style was vigorous and upright, with thick ink and well-proportioned strokes. His regular script works showed his deep calligraphy foundation and skillful skills. His handwriting was strong and ancient, and his style was steady and heavy. Overall, he looked graceful and luxurious. The font was full, gentle and elegant, dignified and magnanimous. Li Yuanhong's calligraphy works were widely circulated in famous mountains and temples both at home and abroad, and were regarded as the representative of traditional beauty. His calligraphy works displayed his personality of combining hardness and softness, both resolute and gentle. Li Yuanhong's calligraphy was one of the most important contributions to the art of Chinese calligraphy.

Hong Xiuzhu's calligraphy works mainly consisted of official script, regular script, and running regular script. Her calligraphy was dignified and elegant, with regular strokes and precise arrangements. Hong Xiuzhu's calligraphy works showed her calligraphy level and unique understanding of traditional calligraphy. Her regular script highlighted the style of Yan Zhenqing's regular script. Every word was written full and square. In semi-cursive, she specialized in the Zhao style, with lines of varying thickness and outstanding expression. Hong Xiuzhu's calligraphy works were deeply recognized and praised by experts and peers. Her calligraphy works demonstrated her talent and skills, and at the same time conveyed her tenacious and courageous spirit. Hong Xiuzhu's calligraphy works attracted widespread attention across the country, demonstrating her love and persistent pursuit of traditional culture.

Fan Jianhua was a Chinese calligrapher. His calligraphy works had participated in many exhibition, such as the National Couplet Calligraphy Exhibition, the National Fan Calligraphy Invitation Exhibition, and the East China Youth Calligraphy Exhibition. His works had also been published in national journals. Fan Jianhua's calligraphy works combined the gentleness and moisture of the southern school of painting with the vigor and heaviness of the northern school. He had won many calligraphy competitions. However, the search results provided did not mention the content and style of Fan Jianhua's calligraphy. Therefore, the complete collection of Fan Jianhua's calligraphy works was not mentioned in the search results provided.

All the famous calligraphers of the past had created calligraphy works with the word "Fu". These works displayed the word "Fu" in different calligraphy styles for people to appreciate. Among them, there were five types of calligraphy: seal script, official script, regular script, running script, and cursive script. These works displayed the talent and artistic style of the calligraphers. For example, the character "Fu" written by Emperor Kangxi was considered to be a symbol of infinite mystery and infinite blessings. In addition, Wang Xizhi, Zhiyong, Ouyang Xun, Chu Suiliang, Yan Zhenqing and other ancient calligraphers also created exquisite works of the word "Fu". These works not only had artistic value, but also symbolized good fortune and good luck.

Elder Chang was a famous calligrapher. His works demonstrated his inheritance and innovation of Han Li art. His works include stone inscriptions such as Yi Ying Stele, Rites Stele, Huashan Stele, Cao Quan Stele, Zhang Qian Stele, etc. These works show the classic beauty of Han Li. He also created a series of works, such as Honest, Tea Ceremony, Filial Piety, Mother, Win-win Cooperation, Family Harmony, Rare Confusion, Heaven Rewards Diligence, etc. These works demonstrated his understanding and expression of traditional values. Elder Chang's calligraphy works had participated in many national and local calligraphy exhibition, and his creative ability had been widely recognized. In his calligraphy creation, he paid attention to copying the classic inscriptions and studied the rules and characteristics of the strokes and knots. He also drew on the works of other calligraphers, such as Wang Xizhi and Mi Fu's letters. Through comparison and learning, he formed his own unique style. Elder Chang's calligraphy works showed his respect for the ancients and his expression of his inner world. His works were filled with indifference and calmness. In short, Elder Chang's calligraphy was exquisite and unique, worthy of appreciation.

Ouyang Xun's representative works included the Inscription of Jiucheng Palace's Liquan, the Stele of Huangfu's Birth, and the Inscription of the Buddhist Monk's Stupa in Huadu Temple. Ouyang Xun's calligraphy was strict, neat, and upright. Although his font was slightly longer, it was divided into white, neat and rigorous, the middle palace was tight, and the main pen was elongated, making it seem bold and unrestrained, sparse and dense, all sides were prepared, exquisite, lively and just right. In terms of the combination of dots and the arrangement of the structure, most of his words expanded to the right, but the center of gravity was still very stable. There was no sense of tilting, but the interest of danger in the right. Ouyang Xun's regular script was mostly in regular script. His writing style was square, slightly formal, strong and meticulous. His calligraphy was called the European style, which emphasized the strength of his fingers. The strokes he wrote were strong and firm, and the backbone was contained. It was neither too thin nor too full. Every stroke was too long and too short. The weight was appropriate and the length was just right.