Wu Junqing (1844-1927) was a famous calligrapher and seal cutter from the late Qing Dynasty to the modern era. At first, he was famous for his calligraphy and seal carving. Later, he learned painting and learned from the strengths of the Green Vine School, the Eight Great Schools, and Uncle Zhi. At the same time, he integrated the strokes of seal script, official script, and wild grass into his paintings to create a strong and ancient style. Moreover, he had innovative characteristics and was very famous in the art world. His calligraphy works were mainly in seal script and running script. His brush and ink were smooth, simple and vigorous, and ancient. He could break the old rules and form his own style. His poems, calligraphy, paintings, and seals complemented each other and fused into one, possessing a strong personal style. Wu Junqing's artistic style had a great impact on modern Chinese painting, and also had a certain impact on Japanese art.
Wu Zetian was a talented empress, and her calligraphy attainments were also highly praised. The most famous of her calligraphy works was the Stele of the Immortal Prince, which was regarded as one of the 100 most beautiful calligraphy works in China. This stele was inscribed in 699 AD. It had 33 lines, 66 words per line, and a total of 2162 words. On the top of the Immortal Ascension Crown Prince Stele, the words 'Immortal Ascension Crown Prince Stele' were written in Fei Bai style, forming a bird-shaped stroke, showing her unique calligraphy style. Her calligraphy strokes were tactful and fluent, and her strokes were sonorous and sonorous. Her style was vigorous and unrestrained, and she was known as the head of women's calligraphy. Her calligraphy had been influenced by Wang Xizhi, and she was especially good at Fei Bai Shu and Xing Cao Shu. Although her calligraphy remains were few, her works displayed her profound calligraphy skills and unique artistic charm.
Wu Deheng was a Chinese calligrapher. His calligraphy works used ancient poems as the theme, such as "The Story of the Guisi Tower,""The Story of Tianxiang Garden,""The Story of the Dashi Palace,""The Story of the Half-hidden House," and so on. His works were rigorous and rich in imagination. They were included in books such as "The Calligraphy Classic of Famous Scholars in Modern China" and "A Thousand Famous Chinese Artists". Wu Deheng's artistic achievements received special reports from China's Xinhua News Agency, China Painting and Calligraphy News, Hong Kong newspapers, and the central, provincial, and municipal television stations. His works used bone rhyme, spirit rhyme, and charm to express the meaning of calligraphy works, making his works more aesthetic.
Feng Jinheng, male, born in December 1972, Han nationality, native of Quanzhou, Guangxi. He joined the Party of China in June 2002. He has a postgraduate degree and a master's degree in economics. He is currently the chairman of Shenha Industrial Park Investment and Development Co., Ltd. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!
Ye Junqing was the Great Chu War God, King Su. He was the invincible war god of Great Chu, and he was also the handsome and infatuated prince. In his previous life, he was Yao Moxin's most beloved. In order to help Yao Moxin and his fourth brother, Ye Hongyi, he gave up the throne. However, his concession led to the tragic death of his beloved Yao Moxin. Ye Junqing and Yao Moxin eventually got together and opened an inn together.
Jun Qing's novel Tsunami was a work that reflected the tsunami disaster in the Jiefang District of Jiaodong in the 1940s. The novel described the Eighth Route Army's grain transport team, led by Gong Mingshan, carrying out the task of delivering grain to the base. The novel had a strong sense of rural legend, describing the natural scenery and characters. Tsunami was also adapted into a comic book and published in three volumes. The search results did not mention the full version of Tsunami.
Fan Junqing was a carrier pigeon enthusiast and famous in Taiwan. He and He Yulun were business partners, and they had played basketball together since they were young. Fan Junqing represented Taiwan in the Fujian Province pigeon team and was responsible for breeding pigeons. He had achieved some good results in the carrier pigeon competition, but he also encountered some challenges, such as the loss of pigeons in the process of training. In addition to carrier pigeons, Fan Junqing had other professional identities, such as the former head of the legal contract department of Chengdu Transportation Investment Group. Fan Junqing's personal resume and results needed further investigation.
Ye Junqing ended up with Yao Mowan. In the drama, Yao Mowan helped Ye Junqing regain his throne, and the two of them eventually became husband and wife. Although there were many twists and turns in the process, their story finally came to a successful end.
Wu Zetian's only authentic calligraphy was the Stele of the Immortal Prince. This was an inscription written by Wu Zetian in 699 AD. On the surface, it told the story of Prince Ling of Zhou becoming an immortal, but in fact, it praised the prosperity of the Zhou Dynasty. The calligraphy style of the Stele of the Immortal Prince was graceful and smooth. It was regarded as a calligraphy art treasure. The inscription had 33 lines, 66 words per line. It was written in semi-cursive script and cursive script, which was similar to Zhang cursive script. On the top of the stele, the words 'Stele of the Immortal Prince' were written in a 'flying white' style, and the strokes were white. In addition, the top and bottom of the inscription, as well as the miscellaneous poems and titles of "You Xian Pian" on the back of the inscription, were respectively written by famous calligraphers Xue Ji and Zhong Shaojing of the Tang Dynasty. After more than 1300 years of ups and downs, the Stele of Prince Ascending to Immortal still stands on the top of Gou Mountain in Yanshi Chity, Henan Province. It has been announced by the State Council as the sixth batch of national key cultural relics protection units.
The Five Blessings Calligraphy was a traditional Chinese art work. It usually featured a boy wearing a chrysanthemum, bat, and blessing on his head. These patterns symbolized happiness, good fortune, and a perfect life. The artistic value of the Five Blessings calligraphy and painting lay in their delicate and vivid painting skills, as well as the cultural meaning conveyed. These paintings could be sold in the gallery for about 4000 yuan. In addition, there were also some authentic calligraphy and paintings of the Five Blessings that were hand-painted by some artists. They had unique artistic value and cultural implications. However, he needed to know more about the details of the work and how to purchase it.