跨越海峡的书画情港澳台书画作品大展，对于推动港澳台地区书画艺术的发展具有重要意义。它不仅能够为书画家们提供一个展示和交流的平台，促进彼此之间的学习与借鉴，还能够增进三地之间的文化认同和友谊。同时，通过线上展览的举办，也能够让更多的人了解和欣赏到港澳台地区的书画艺术，推动中华文化的传承与发扬。

　　沈洪山，字嵩，号修缘，1966年出生，自小爱好书法与写作。曾在国际、国内、中宣部、文化部、中书协、中央电视台、中国教育电视台、人民日报、中国文化报、中国书画报、书法导报、等近百家权威媒体单位，组织举办的书法美术大展赛中获奖50余次。并多次被英国、法国、美国、马来西亚、新家坡、韩国等国家名家书画展组委会相邀参展。在书坛上赢得很高的赞誉和称号。

　　现为世界青年文明论坛书画创作委员会委员、国务国宾礼特供艺术家、中国民间书画艺术家协会主席、国家一级书法师、中华文化研究院副院长、南京长江书画院名誉院长、书圣吴道子艺术馆馆长、国际艺术家联合会、中国国画家协会、中国书法美术家协会名誉理事、全国品牌委书画行业副理事长、北京九州书画院名誉教授。中国当代德艺俱佳书画艺术家、德艺双馨艺术家、德艺双馨书法家、第十届中国当代实力派书法家、中华慈善艺术家、中国国学杰出贡献艺术家、中国当代杰出功勋艺术家、中华艺术名家、中华文化名人堂书法名家、中国百名书法名家、最受市场欢迎的百强书画家、环保公益活动“律动中国"质量万里行艺术顾问、河南卫视“武林风”题字书法家、中国文博会推荐艺术家。中国梦，书画梦--名家名作全国两会献礼艺术家，其作品被国家教育部邀入2017大中学《书法美术》教材名师风采内。

记著名书法家沈洪山

　　钻研书法艺术的修炼者会因“执法”的不同，走向不同的方向。执碑帖之法，并且能融会贯通善变法者，就会走上书法超凡脱俗的大家方向，取法为上，得法亦为上乘。执碑帖之法，只能写得进去，却不能脱得出来的书法修炼者，多数会成为抄书匠，拘束失自我，取法虽为上，得法却为下。当代书坛，抄书匠太多，像著名书法家沈洪山这样，精心磨砺碑帖之功，然后师于古而不拘泥其中的大手笔是比较少见的。

　　他的书法功名在国内国际都显闻达，书法作品在展览、市场、收藏、文化交流等层面皆卓领风骚，成为用书法传承文化龙脉的标志性人物。

　　他的书法诸书皆成，在博涉多优的前提下，又以飞动无碍的行草而自立面目。从晋代以来，行书受二王笔法下笔既生自由的影响，形成了放手写心的洒脱核心。但是后人临习二王法帖，多数是看偏了，也多数会写偏了,过于倾向于放手写心的自由,结果师二王就容易失法度。沈洪山先生师二王，深知二王书法是自由与法度的完美结合，所以他师二王一取自由，二取法度，侧入中行的严谨，恰是中流击楫的根本。由此，我们观赏他的书法便感受到“时代法帖”的气度，令人感觉师王羲之是取法为上，师沈洪山亦是取法为上。

　　法取晋韵、宋意的书法，文人书法的儒雅感自然不会缺少，但是如果尽以兰亭序、中秋帖、快雪时晴帖、韭花帖等文人帖本为师，就容易把书法带进柔质过度骨力不济的坑里去，这就是平常所见到了笔墨疲糜，缺乏气势磅礴的原因。沈洪山先生非常注意剔除文人书法里的疲糜现象，大胆地把碑质的骨质正气通过力透纸背的传输，融进行草的创作中，用棱角可辨的方笔克服文人书法的疲糜通病，所以行草不但飞动性灵，而且正大雄劲。一字立天地，既有黄山的烟岚逸动，也有华山的峭奇险绝，有气韵，更有气度，有风采，更有风骨!这便是碑学与帖学相互融合，前后接济的创建功勋。

　　气韵飞动写性灵，碑帖双修书正大。明代攻帖学，清代专碑学，事实证明无论是攻帖学还是专碑学，都是有失博览，法度永远不会周全。当代书法的正确走向，不会再是专习帖学或是碑学的两个极端，应该是沈洪山先生这种碑帖相互关照的融合路径。所以他的书法不但因血肉筋骨气皆达完美而成为审美精品，还代表着当代书法发展创新的正确通途，为当代书法理论与实践探索奉献了可贵的标本，建树了令人仰观的文化功德!

　　著名书画评论家史峰

　　Shen Hongshan, with the courtesy name Song and the courtesy name Xiuyuan, was born in 1966 and has been interested in calligraphy and writing since childhood. I have won more than 50 awards in calligraphy and art exhibitions organized by nearly 100 authoritative media units, including international, domestic, Central Propaganda Department, Ministry of Culture, Chinese Calligraphy Association, CCTV, China Education Television, People's Daily, China Culture Daily, China Calligraphy and Painting Daily, Calligraphy Guide, and others. And has been invited by the organizing committees of famous calligraphy and painting exhibitions in countries such as the UK, France, the United States, Malaysia, Singapore, and South Korea multiple times. Winning high praise and titles in the literary world.

　　I am currently a member of the Calligraphy and Painting Creation Committee of the World Youth Civilization Forum, a special guest artist of the State Council, the Chairman of the Chinese Folk Calligraphy and Painting Artists Association, a national first-class calligrapher, Vice President of the Chinese Culture Research Institute, Honorary President of the Nanjing Yangtze River Calligraphy and Painting Institute, Director of the Calligraphy Saint Wu Daozi Art Museum, Honorary Director of the International Artists Federation, China Artists Association, China Calligraphy and Painting Artists Association, Vice Chairman of the Calligraphy and Painting Industry of the National Brand Committee, and Honorary Professor of the Beijing Jiuzhou Calligraphy and Painting Institute. Contemporary Chinese Calligrapher and Painter with Excellent Morality and Art, Artist with Double Prosperity of Morality and Art, Calligrapher with Double Prosperity of Morality and Art, 10th China Contemporary Strength Calligrapher, Chinese Charity Artist, Outstanding Contribution Artist to Chinese Classics, Chinese Contemporary Outstanding Meritorious Artist, Chinese Art Master, Calligrapher of the Hall of Fame of Chinese Culture, Top 100 Calligraphers of China, Most Popular 100 Calligraphers and Painters in the Market, Art Consultant for Environmental Protection and Public Welfare Activity "Rhythm China", Calligrapher with "Wulin Style" Inscription on Henan TV, Recommended Artist at the China Cultural Expo. Chinese Dream, Calligraphy and Painting Dream - Artist Presenting Famous Works at the National Two Sessions, His works have been invited by the Ministry of Education to participate in the National Two Sessions. The 2017 Calligraphy and Fine Arts textbook for high and high schools showcases the charm of a renowned teacher.

　　--On the Famous Calligrapher Shen Hongshan

　　Practitioners who study calligraphy art will go in different directions due to differences in law enforcement. Those who hold the method of inscribing inscriptions and are able to integrate good transformation techniques will embark on the path of extraordinary and refined calligraphy. Choosing the method is superior, and obtaining the method is also superior. The method of holding stele inscriptions can only be written in, but cannot be separated from it. Most calligraphy practitioners will become copyists, restraining the loss of self. Although the method of taking is the top, the method of obtaining is the bottom. In the contemporary literary world, there are too many copyists. It is relatively rare for famous calligraphers like Shen Hongshan to meticulously polish their inscriptions and then learn from the ancients without being confined to them.

　　His calligraphy achievements are well-known both domestically and internationally, and his calligraphy works are outstanding in exhibitions, markets, collections, cultural exchanges, and other aspects, becoming a landmark figure in inheriting cultural heritage through calligraphy.

　　His calligraphy is complete in all its works, and on the premise of extensive knowledge and excellence, he stands out with his flying and unobstructed cursive style. Since the Jin Dynasty, running script has been influenced by the free and unrestrained writing style of the two kings, forming a free and unrestrained core of writing the heart. However, when later generations came to study the scriptures of the Two Kings, most of them read them incorrectly, and most of them would also write them incorrectly. They were too inclined to let go of the freedom to write their hearts, which resulted in the Two Kings easily losing their Dharma sense. Mr. Shen Hongshan studied under the Two Kings and was well aware that their calligraphy was a perfect combination of freedom and Dharma. Therefore, his rigorous approach to learning from the Two Kings, where one takes freedom and two takes Dharma, and one side enters the middle lane, is the fundamental element of hitting the boat in the middle stream. From this, when we observe his calligraphy, we can feel the grandeur of the "era of calligraphy", which makes us feel that Wang Xizhi's calligraphy is based on the principles of the times, and Shen Hongshan's calligraphy is also based on the principles of the times.

　　Calligraphy that draws inspiration from Jin rhyme and Song meaning naturally exudes a sense of elegance in literati calligraphy. However, if we all learn from literati calligraphy such as the Orchid Pavilion Preface, Mid Autumn Festival Calligraphy, Clear Snow Calligraphy, and Chive Flower Calligraphy, it is easy to lead calligraphy into a pit of excessive softness and weak bone strength. This is the reason why we often see exhaustion and lack of grandeur in our brushstrokes. Mr. Shen Hongshan pays great attention to eliminating the phenomenon of fatigue in literati calligraphy, boldly transmitting the bone qi of the monument through the back of the paper, and integrating it into the creation of grass. He overcomes the common problem of fatigue in literati calligraphy with sharp and discernible square pens, so that the grass not only moves with vitality, but also has great vigor. One word stands for heaven and earth. There is not only the smoke and mist of Mount Huangshan Mountain, but also the precipitous, strange and dangerous of Huashan Mountain. It has charm, more bearing, more elegance, and more character! This is the creation achievement of the integration of stele learning and calligraphy learning, and the connection between them.

　　The air and charm are flying, writing the spirit and spirit, and the inscriptions and inscriptions are both upright and grand. In the Ming Dynasty, the study of attacking inscriptions and in the Qing Dynasty, the study of specialized inscriptions. It has been proven that both the study of attacking inscriptions and the study of specialized inscriptions are not comprehensive, and the laws and regulations are never comprehensive. The correct direction of contemporary calligraphy will no longer be the two extremes of specializing in calligraphy or stele studies. It should be the fusion path of Mr. Shen Hongshan's mutual attention to stele calligraphy. So his calligraphy has not only become an aesthetic masterpiece due to its perfect flesh, blood, tendons, and bones, but also represents the correct path for the development and innovation of contemporary calligraphy, providing valuable specimens for the exploration of contemporary calligraphy theory and practice, and establishing admirable cultural merits!

　　Famous calligraphy and painting critic Shi Feng