中文 
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Why criticize? As early as 1942, Mao Zedong clearly pointed out at the Yan'an Forum on Literature and Art that criticism and self-criticism are among the most important tasks of literature and art, and that literary and artistic workers must have the courage to criticize and establish a correct perspective on criticism. Calligraphers and their works, as essential components of calligraphy art, should be subject to criticism regardless of their status or level. In particular, calligraphers, as the primary creators of calligraphy, must possess the courage and magnanimity to engage in criticism and self-criticism, continuously improving their creative standards through reflection and critique.
Where lies the difficulty of criticism? As summarized above, contemporary calligraphy criticism has fallen into numerous predicaments, such as “respecting others,” “circle-based criticism,” “flattering criticism,” and “red-envelope criticism.” What is called criticism is, in fact, flattery. It stems from a lack of sincerity, entangled with emotion and interest. From the perspective of critical policy, recognition within the circle is closely tied to an individual’s artistic reputation and the market value of their works. Driven by self-interest and the desire to protect one’s image, calligraphers tend to favor and promote each other, avoid discussing errors, tolerate sincere and constructive criticism only to a limited extent, and sometimes respond with hostility. Consequently, critics find it difficult to express their views directly; they often look left and right, glancing around nervously. For the sake of writing opportunities, praise is naturally the safest choice—a phenomenon widely prevalent in the calligraphy community.