中文 
en 
Calligraphy, as an important category of the nation's outstanding traditional culture and a vital component of the Party and state's cultural and artistic work, has made significant progress. Over the past 40 years of reform and opening up, advancements in calligraphy creation and exhibitions, calligraphy research, calligraphy education, calligraphy publishing, the popularization and enhancement of calligraphy, and international exchanges have all been fully demonstrated.
Calligraphy exhibitions are thriving.
After a long period of stagnation, since the 1980s, with the sound of reform and opening up, calligraphy creation and exhibitions welcomed a warm spring. In 1980, the First National Calligraphy and Seal Carving Exhibition (abbreviated as "National Exhibition") was successfully held in Shenyang—this was the first nationwide calligraphy event since the founding of New China, bringing hope to countless calligraphy enthusiasts and marking the beginning of calligraphy's journey as an independent art form to resume public exhibitions. In 1981, the China Calligraphers Association was established, becoming a vital bridge and bond for the Party to guide and unite calligraphers nationwide. Subsequently, under the guidance of the Calligraphers Association, exhibitions at all levels and categories emerged like mushrooms after rain, releasing the long-suppressed passion for calligraphy. Since the late 1990s, the number of exhibitions has begun to grow exponentially, gradually forming a complex hierarchical structure comprising national, provincial/municipal, district/counties-level exhibitions, as well as those organized by industry systems and specialized units. The content of exhibitions has evolved from comprehensive shows covering various scripts and seal carving to thematic exhibitions highlighting specific focuses, such as single-script exhibitions, copy-study exhibitions, large-character exhibitions, and album exhibitions. Not only has the quantity of calligraphy exhibitions surged dramatically, but their scale and number of participants have also reached unprecedented heights. The largest exhibitions display thousands of works, with nearly 60,000 pieces submitted in the most populous national exhibitions. This extraordinarily vibrant and flourishing scene is inseparable from the continuous improvement of people’s material living standards and their intense spiritual needs since the reform and opening up.