In addition to promoting the development of the art, the National Art Museum of China has attached great importance to the development of the calligraphy and the new achievements in the modern time. Recent years have witnessed a series of calligraphic exhibition, which has caused heated reaction in the calligraphic circle and the public with the support of many calligraphers. From the previous experience, the National Art Museum of China has been focused on its academic and thematic features in order to promote the culture of the museum.   

Accompanying with the Chinese character, the Chinese calligraphy boasts a variety of development modes, such as ceramic carved notation, inscriptions on bones or tortoise shells, bronze inscriptions, stone carving and bamboo and wooden slips. All the works are deeply rooted in the cultural soil and the artistic context and have developed into a highly mature cultural ecology of the ancient Chinese calligraphy. In the modern time, as the calligraphy has gradually kept far away from the practical demand, great changes of its development mechanism have taken place. The artistic function has brought about wider recreation space, but under the spectacular cultural background of the exhibition hall, the calligraphy is gradually getting far from the modern life. It is an inevitable task faced with the modern calligraphy. The National Art Museum of China has invited the modern calligraphic masters to this exhibition in order to overview the cultural ecology of the calligraphic art in the past and establish the current majestic image through the academic link between the context and the calligraphy.

The exhibition comprises a total of eight parts, including spectacular events in the Spring Festival, the emotion for the landscape, solemn palaces, countryside images, elegant rooms, glamorous courts, exquisite gardens and the decorations for shop facades. Regarded as an important collection of the latest achievements in the modern calligraphic circle, the show is also an active exploration of the mode and the usage of the calligraphy, its internal value and social value. The exhibition is hoped to reflect the aesthetic value of the integration of the calligraphy to the life and the vitality of the calligraphy.

In the time of the upcoming Spring Festival, the exhibition is a pageant of the latest masterpieces as a high-quality project of public cultural services and a large-scale calligraphic temple fair to the audience from across the country.