At 7:30 p.m., August 9, 2015, the 11th National Calligraphy and Seal Carving Exhibition, sponsored by Chinese Calligraphers Association, was unveiled in the National Art Museum of China (NAMOC).

The exhibition comprised two series.

The contemporary calligraphy exhibition series covered the 11th national calligraphy and seal carving works exhibition (excellent works and exhibited works) and contemporary famous calligrapher invitation exhibition. Chinese Calligraphers Association innovated with the appraisal mechanism, strictly abided by review disciplines, and standardized review procedures in line with the fair, just and open principle, and the guideline of “taking root in tradition, encouraging innovation, keeping both art and literature, and embracing diversity” in the selection of exhibited works and excellent works for the exhibition. The contemporary famous calligrapher invitation exhibition invited older generation calligraphers Shen Peng, Ouyang Zhongshi and Li Duo, who made significant contribution to the development of contemporary calligraphy, as well as representative calligraphers through academic nomination and expert voting. The invitation exhibition was designed in the order of age, to present artistic achievements of calligraphers of various ages in a linear. It initiated a new fashion of fully respecting and paying close attention to the old and senior calligraphers, and enthusiastically caring and supporting young talented calligraphers for sustainable development. It contributed to pool strength for common development of Chinese calligraphy. The two types of works came respectively from the NAMOC and the National Library for audience view and judgment in the form of exhibition. During the exhibition, Chinese Calligraphers Association organized series of forums for academic discussions of focuses and hot spots in the contemporary calligraphy sector.

The ancient calligraphy exhibition series consisted of the oracle bone script and bronze inscription calligraphy exhibition collected by the National Museum, the exhibition of rubbings from tablets collected by the National Library, the exhibition of sutra calligraphy excavated in Dunhuang, and manuscripts of modern celebrities, and Shi Qu Bao Ji calligraphy exhibition to commemorate the 90th anniversary of the founding of the Palace Museum (to be on show in early September due to special requirements of cultural objects). The five exhibitions will be held separately in the sites of the providers, be attached to academic lectures of famous scholars and experts. The move is to facilitate interactions of ancient and modern calligraphies, further amplify connotations and functions of the national exhibition, provide calligraphers more opportunities to get close to ancient calligraphy relics, expand their horizons, use the past to allude the present, and find the correct orientation to move ahead.

The 11th National Calligraphy and Seal Carving Exhibition was entrusted with deep social expectations. It called for more humanistic care, deeper intellectual enquiries in the calligraphy circle, and declared leap-forward development and scenes in the contemporary calligraphy in the new era.