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为推进世界各国文化艺术的交流与多元发展，践行中国政府“一带一路”和“构建人类命运共同体”的倡议，诚邀来自世界各国的众多艺术家，旨在弘扬中华民族优秀的文化艺术与世界各国的优秀文化艺术，为当代优秀艺术家与艺术爱好者以及世界各国的艺术机构架起一座沟通的友谊桥梁，现特邀华人艺术家张献春先生为广大读者献上一部辉煌的艺术盛典。
China's one belt, one road and the building of a community of human destiny are invited to invite the artists from all over the world to promote the excellent culture and art of the Chinese nation and the world's best performing arts and culture, and to contemporary outstanding artists and art lovers, as well as the world's Art institutions. To build a bridge of friendship, Mr. Zhang Xianchun, a Chinese artist, is invited to present a splendid art ceremony for readers.
张献春（宪春、典春）齐鲁松竹斋主，山东莘县人，自幼受家中长辈的熏陶指导，喜好书画。曾毕业于山东聊城艺专，首届书画函授大学，曾受著名书画家娄师白、李铎、高冠华等大师的亲授。现为国家高级美术师和高级书法师，一级美术（国画）师、一级书法师、中南海国礼中心“国礼艺术家”、中国王羲之书画艺术研究院副院长、中国国学研究会研究员、中国国画院、艺术教育学院副院长兼职教授、中国国画家协会理事、山东省书画学会会员、山东临沂市政协书画室“特邀画家”、山东临沂市书协、美协会员等。
Zhang Xianchun (Xianchun, Dianchun) is the leader of songzhuzhai in Qilu. He is a native of Shenxian County, Shandong Province. He has been influenced and guided by his elders since childhood and is fond of calligraphy and painting. He graduated from Liaocheng Art College in Shandong Province, the first correspondence university of calligraphy and painting, and was personally taught by famous calligraphers and painters such as Lou Shibai, Li duo and Gao Guanhua. He is now a national senior artist and senior calligrapher, a first-class Fine Arts (traditional Chinese painting) master, a first-class calligrapher, a "national ritual artist" of Zhongnanhai national ritual center, vice president of Wang Xizhi calligraphy and painting art research institute, researcher of Chinese Traditional Culture Research Association, vice president and part-time professor of Chinese painting academy and art education academy, director of Chinese Traditional Painting Association, member of Shandong painting and calligraphy society, Shandong Province He is a "specially invited painter" in Linyi CPPCC calligraphy and painting studio, a member of Shandong Linyi Calligraphy Association and Art Association.
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
几十年来，作品多次参加省、市和全国举办的书画展赛，以及日、韩、新、马、泰、西班牙等国举办的“书画交流展”，并多次获奖。作品还在《中国书画报》《国际日报》《经济导报》《大众日报》《新晨报》《山东专刊》《山东电视台》《山东省书画学会会刊》《中国老年书画艺术》《老年教育》《人民美术报》《中国企业报导·艺术资本》《临沂兰山大众》等报刊发表推介，同时还在国家和地方几十家网络媒体网站推广宣传报导。并入选20余部艺术典籍和出版个人书画集册等。书画作品曾被人民大会堂、外交部、钓鱼台国宾馆、国家画院、吉尔吉斯共和国政府等收藏，同时还被北京八达岭长城文化公园刻石展出。2019年《张献春书画工作室》被中国中外名人文化研究会授予《首批中国文化名人工作室》称号，并贈锦旗.铜牌和证书。
Over the past few decades, his works have participated in many calligraphy and painting competitions held by provinces, cities and the whole country, as well as "calligraphy and painting exchange exhibitions" held by Japan, South Korea, Singapore, Malaysia, Thailand and Spain, and won many awards. His works have also been published in China painting and calligraphy daily, international daily, economic guide, Dazhong daily, new morning post, Shandong special issue, Shandong TV station, Journal of Shandong Academy of calligraphy and painting, Chinese painting and calligraphy art for the elderly, education for the elderly, people's art daily, China Enterprise report, art capital, Linyi Lanshan people's daily, etc And dozens of local network media websites to promote and report. And selected more than 20 art classics and published personal books and paintings. Calligraphy and painting works have been collected by the Great Hall of the people, the Ministry of foreign affairs, Diaoyutai State Guesthouse, the National Academy of painting, the government of Kyrgyz Republic, etc. at the same time, they have also been carved stones in Badaling Great Wall Cultural Park in Beijing. In 2019, "Zhang Xianchun calligraphy and painting studio" was awarded the title of "the first batch of Chinese culture celebrity studios" by China and foreign celebrity culture research association, and presented with brocade, bronze medal and certificate.
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
【书画成绩标证文化修养不俗—张献春】
（孔子美术馆馆长：江继良）
书法和绘画是不能分家的，因为它们同源而生。书画同源，是文人的造诣。书法家张献春先生，就有书画同源的认同意识，并且有书画同修的执着。认同书画同源的说法，并不是很困难，以甲骨文为例，就可以非常浅显的表达书画同源的意思。大家虽然有书画同源的基本认知，却不容易拥有同修的执着。同时操弄书画磨练和创作，要耗费更多的精神和力气。所以当代书画就有走捷径的选择，有的书法家就不作画了，有的画家则不写书法。社会生活的节奏正在被无限的提速，大家都是为了赶着往前走，传统的做法越来越少，文化魅力不断趋弱。
Zhang Xianchun(director of Confucius Art Museum: Jiang Jiliang)
Calligraphy and painting can't be separated because they come from the same source. Calligraphy and painting have the same origin, which is the attainments of literati. Mr. Zhang Xianchun, a calligrapher, has a sense of identity of the same origin of calligraphy and painting, as well as the persistence of calligraphy and painting co cultivation. It is not very difficult to agree with the saying that calligraphy and painting are of the same origin. Taking oracle bone inions as an example, we can express the meaning of calligraphy and painting homology very simply. Although we have the basic cognition of the homology of calligraphy and painting, it is not easy to have the persistence of fellow practitioners. At the same time, it takes more spirit and energy to train and create calligraphy and painting. Therefore, contemporary calligraphy and painting have the choice of shortcut, some calligraphers do not paint, some painters do not write calligraphy. The pace of social life is being infinitely accelerated, we are all in order to catch up with the forward, the traditional practice is less and less, the cultural charm is weakening.
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
在张献春先生的视野里，如果一位画家不写书法，那是缺少书卷气息的匠。反过来，一位书法家如果没有作画的水准，书法又显得孤傲单调，缺乏文化寓意的妙趣。所以他学赵子昂、学苏东坡、学米芾米友仁、学明代吴门四家、学清初四王、学扬州八怪……他一路学过来，实际上就是走过了一条书画同源贵在同修的传统文化修养路径。在这条修养路径上，他从来没有把书法和绘画分开来的想法和做法。张献春的书法博涉多能，又以飘风骤雨惊飒飒落花飞雪何茫茫的行草为主体形式。除了帖学功夫到位，也有引碑入行草的卓劲。所以笔力沉着厚重与牵丝映带相互映照，刚柔相济。重笔落大墨如鸿飞兽骇，轻笔写淡墨清泉石上流。高低相盈，长短相较，虚实相生，前后相随，其笔墨有法，其笔墨有道，是道法自然的要妙。
In Mr. Zhang Xianchun's view, if a painter does not write calligraphy, he is a craftsman who lacks the flavor of books. On the other hand, if a calligrapher does not have the level of painting, his calligraphy appears arrogant and monotonous, and lacks the charm of cultural implication. So he learned from Zhao Ziang, Su Dongpo, Mi Fu, MI Youren, the four Wu families in the Ming Dynasty, the four kings in the early Qing Dynasty, and the eight monsters in Yangzhou In fact, he has gone through a path of traditional cultural cultivation in which calligraphy and painting share the same origin and value the same cultivation. In this way, he never separated calligraphy from painting. Zhang Xianchun's calligraphy is multi-functional, and the main form is the running grass which is full of wind and rain, falling flowers and snow. In addition to the calligraphy and learning skills in place, there is also the Zhuo strength of introducing steles into the running grass. Therefore, the brushwork is calm and heavy, which reflects each other with the silk drawing, and the hardness and softness complement each other. Heavy pen down big ink, such as the flying beast, light pen to write light ink Qingquan stone upper class. High and low are complementary, long and short are compared, virtual and real coexist, and follow each other. The brush and ink has its own method and its ink has its own way, which is the natural essence of Tao.
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
（张献春国画作品赏析）
他作书法，不作江湖体的一塌糊涂，也不写当代展览体的矫揉造作，写碑帖之正宗，方不中矩，圆不中规，非常重视线条的塑造力。细的线条一笔使转过去，如纤纤新月之出天涯，粗的线条一笔送过去，势来不可止势，势去不可遏，每作一牵如万岁枯藤，每作一横如布阵排云，变化多端，平险相依。无论是笔墨的力度，还是笔墨的速度，都被调整的和谐流畅，写行草有这种心手双畅智巧兼优的表达，所以自由挥洒，似万物之象。
另外张献春的山水作品以青绿的儒雅气韵为妙，骨法用笔的特征非常明显。所谓骨法用笔，既有落笔钧直的力度，还有线条果敢的精神内涵，形质是骨质，元气是骨气，所以无论是斧劈皴还是折带皴，都没有疲软之像，也没有缠绕的凌乱，正向勾，反向勒，比比相生，结组有序，每一根线条的长短、位置、方向、角度、精细都被控制的恰到好处，把中国画用线条造型的属性表现的非常到位。
In his calligraphy, he did not make a mess of the style of the river and lake, nor the affectation of the contemporary exhibition style. He wrote about the authenticity of the stele, which did not conform to the square and the circle to the rules. He attached great importance to the shaping power of the lines. Thin lines turn in the past, such as the slender crescent moon out of the horizon, thick lines sent to the past, the potential is unstoppable, the momentum is irresistible, each pull is like Wansui Kuteng, each horizontal is like arraying clouds, changeable, safe and interdependent. Both the strength and the speed of the brush and ink are adjusted harmoniously and smoothly. There is such an expression of mind and hand, wisdom and dexterity in writing, so it is free to sprinkle, like the image of all things.
In addition, Zhang Xianchun's landscape works are green, elegant and elegant, and the characteristics of bone techniques are very obvious. The so-called bone technique brush, both the strength of the pen, but also the spirit of bold lines. The shape and quality is bone, vitality is bone, so whether it is chopping or folding, there is no sign of weakness or tangle. Forward hook, reverse Le, Bi Bi Bi generate each other. The length, position, direction, angle and fineness of each line are well controlled To the advantage, the Chinese painting with the line modeling attribute performance is very in place.
（张献春书法作品赏析）
（张献春书法作品赏析）
（张献春书法作品赏析）
（张献春书法作品赏析）
（张献春书法作品赏析）
（张献春书法作品赏析）
在山水的设墨赋彩上，张献春重视铺陈重视水墨的文化属性，水利墨与彩，而不与之争，浓淡干湿多调节水量，多一分不可行，少一分不可以，所以色彩渲染天南自然，水墨做洇，氤氲天真，黑白与青绿各显其妙，互相无害，正是色不碍墨墨不碍色的层次分明，把云上山巅渲染的四面峻厚，引人卧流，非常惬意。崖崖复沓绕轻雾，峰峰峥嵘喷流泉，画如诗，诗入画，文化味很足，书卷气很盈，这就是气韵生动、骨法用笔、应物象形、随类赋彩的不俗！他的山水也有位置经营的独具匠心，无论重山复岭，还是板桥寒泉，都是层层递进，走上高远，可游可居，独与天地精神往来，断绝人间烟火气，在深远加高远的山水空间里，觉悟禅意，最是清净。
书画成就非凡文化修养不俗，好的修养才有好的书画，好的初心才有好的征途。张献春无论作山水还是写书法，都努力追求雅俗共赏的境界，让大众感受传统书画文化的魅力。创作青山绿水聚宝盆可为证，挂在厅堂可见蓬荜生辉，令人赏心悦目。书画绘画作品的主旨和意境不做孤傲的无病呻吟，时时刻刻与大众审美与传统文化品格血脉相连，这就让张献春的书画作品成为弘扬文化主流的典范。为群众作艺术，天下普誉，夫复何求？
In the design of ink painting in mountains and rivers, Zhang Xianchun attaches great importance to the presentation, pays attention to the cultural attribute of ink, water conservancy ink and color, but does not argue with each other. It is the color that does not hinder ink and ink, and does not interfere with the color. It is the color that does not hinder the ink and ink from blocking the color The cloud on the top of the mountain render the four sides of the precipitous thick, leading people to lie in the flow, very comfortable. The cliffs and cliffs are surrounded by light fog, and the peaks and peaks are towering fountains. The paintings are like poems. The poems are full of cultural flavor and are full of scholarly atmosphere. This is the extraordinary charm, bone technique, pictograph and painting according to the category! His landscape also has its own unique management. No matter the mountains and hills, or the cold spring of Banqiao, they are advancing step by step. They can travel and live in high places. They only communicate with the spirit of heaven and earth, and cut off the smoke and fire of the world. In the far-reaching and lofty landscape space, he realizes the Zen spirit and is the most pure and pure.
Calligraphy and painting achievements are extraordinary, cultural accomplishment is not vulgar, good cultivation can have good painting and calligraphy, good original intention can have a good journey. Zhang Xianchun, no matter in landscape painting or calligraphy, strives to pursue the realm of both refined and popular tastes, so that the public can feel the charm of traditional calligraphy and painting culture. The creation of a treasure pot of green mountains and waters can be used as evidence. Hanging in the hall, you can see the splendor of the trees, which is very pleasing to the eyes. The theme and artistic conception of painting and calligraphy works do not make arrogant groaning, and are always connected with the public aesthetic and traditional cultural character, which makes Zhang Xianchun's calligraphy and painting works a model of promoting the mainstream culture. For the masses to make art, the world's universal reputation, husband again what?
（张献春书法作品赏析）
（张献春书法作品赏析）
（张献春书法作品赏析）
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（张献春书法作品赏析）
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