1.
Scripts on Wooden and Bamboo Slips and Silk, the Study of Calligraphic History, and Modern Calligraphic Creation;
简牍帛书与书法史研究及当代书法创作
2.
Tradition and Innovation in Creative Work of Calligraphy
关于书法创作中“传统”与“创新”
3.
On SU Wei-dong s Calligraphic Creation;
传统 创新 个性——评苏位东的书法创作
4.
On Harmonious Beauty in Calligraphy--reading Calligraphic works by Liu Zuo-xiu;
谈书法创作中的和谐之美——读刘佐秀书法作品
5.
On Huang Tingjian s Calligraphy Aesthetic View and Calligraphy Achievements;
论黄庭坚的书法美学观和书法创作成就
6.
The Ambit of “Emptiness” and “Ecstasy” in Calligraphy Writing;
书法创作中的“目空”与“忘形”境界谈
7.
An Excellent Piece of Calligraphy Is Created Unconsciously and No Technique Is a Technique;
论书法创作中的“无意于佳乃佳”与“无法之法”
8.
Succssuful production of calligraphy is the full embodiment of latent-sense externalization.
成功的书法创作是书法作者潜意识充分外化的表现。
9.
On the influence of the ancient Chinese poetry and essay calligraphy;
试论中国古代诗文理论对书法创作的影响
10.
On the Regular Pattern of Psychological Factors in Calligraphic Creation;
书为心学——论心理诸因素在书法创作中的活动规律
11.
His aesthetics ideology in calligraphy enlightens and influences the following aesthetics theory of calligraphy and their creative practice in calligraphy.
他的书法美学思想启迪和影响了之后的书法美学理论和书法创作实践。
12.
The mental condition is the basic aspect for the externalization of the latent sense.
书法创作者的心态环境是潜意识外化的基本条件。
13.
On the spirit and form in calligraphic creation;
书法创作中“神”和“形”的思考——谈谈获“国际金奖”和“特别金奖”的体会
14.
The Function of Concrete-Image and the Penmanship Structure;
浅论具象素描在书法结体创作中的作用
15.
A masterpiece in the innovative legislation;
一部开拓创新的立法杰作——评《北京市图书馆条例》
16.
A Study on the Innovative Methods of Township Party Secretary's Ideological and Political Work
乡镇党委书记思想政治工作方法创新研究
17.
This success will continuously promote the growth of Chinese calligraphy,and also be a reference for the coming generations.
它的成功 ,必将不断地推动中国书法艺术的发展 ,并一直作为后世书法艺术创作的一个参照。
18.
Methods for Copy in Learning Calligraphy and the Relation between Copy,Observation and Creation
论书法学习过程中的临帖方法——兼论临帖、读帖和创作的关系