刘仁山，号仙洞山人，1958年出生，广东丰顺人。现任中国书画收藏家协会理事；中国楹联学会会员、书画艺委会委员；中国硬笔书法协会会员、中国硬笔书法协会教育委员会副教授；中国书法艺术研究院艺术委员会委员；香港特别行政区文联书协会员；中国发布网书画艺术中心副主任；深圳市书协会员；广东省民间文艺家协会会员；深圳市福田区文联民间文艺家协会副主席；深圳市合正艺术博物馆艺术副总监等职。

作品在全国人民大会堂、政协礼堂、中央党校、美国纽约、加拿大、日本、韩国、新加坡、菲律宾、香港等地展出，并在全国和世界华人各类书画大展赛中多次获奖，被邀请参加了中国书画艺术访问团，出访日、韩国和台湾等。创作的《左宗棠联句》书法作品，作为中吉国礼工程致赠吉尔吉斯国家总理的国礼。

作品入选由人民美术出版社组织编辑的《艺术人生——建国60周年最具艺术价值与市场潜力书画家作品集》和《新中国书法家选集》、《新中国美术大典》、《中国隶书选集》、《当代楹联家大观》等书籍。隶书作品刻制树立于世界名人文化村国际碑林及多处风景名胜；30余幅作品被“人民网—书画收藏”频道、《中国报道网》广东新闻、南方卫视、深圳电视台移动频道等在2011年世界大学生运动会期间对其个人专访播放。2015年应邀为《国家机关事务管理局北戴河服务局》创作多幅作品并永久收藏。艺术风格深受国内外收藏家和爱好者欢迎，被主办单位《中国革命历史博物馆》、《西柏坡纪念馆》、《孔繁森同志纪念馆》、《新加坡美术总会》，日本、韩国、马来西亚政府官员及国内外友人、香港知名人士收藏；创作的佛教文化《心经》作品被台湾星云法师主持的《佛光山》及安徽《白塔寺》、广东《东华禅寺》、《芙蓉寺》、《太平寺》等众多寺庙永久收藏。
中国书法家协会理事、原青海省书协主席王云先生评析～～“纯厚儒雅   清醇平和”

纵览中国当代书坛，刘仁山无疑是一位不苛求时尚而注重传统、崇尚儒雅的学者型书家。观其书法人生，会领略到一股淡淡的书香之气。

他多年潜心书法艺术，在立足传统的基础上创新发展，使自己的书法风格日臻成熟。他的书法实践之路，走的是碑帖相结合的方法，以碑壮笔力，以帖润气韵。细品味其书法作品，如阅其人品，纯厚朴实而无华丽流俗之外表，谦谦儒雅且有君子之风骨。

他擅长从古代书法中汲取养份，立足于传统，又不拘于固有的态势，显现出强烈的时代感。其书法作品通篇俊朗、明快而又质朴、敦厚，神采张扬而又收放自如，用墨浓而不滞，落款灵动错落，与正文相映成趣。行笔端庄文雅，开合有度，字里行间流淌着一种舒闲恬淡的韵味。作品中单字笔法精到，书写时的每一处使转、勾连、行驻的细微动作都显露出作者对线条的锤炼，用墨的斟酌，作品空间的布置，钤印的讲究等方面的匠心独运之处。
其隶书作品生动而富有变化，无论是波磔纵肆抑或蚕头燕尾，均溶入了传统碑帖的浑厚古拙，端庄秀美，和其独有的时代艺术风格，给人以视觉上的美感冲击。

刘仁山先生在挥毫笔墨方面的深厚底蕴，对笔墨浓、淡、枯、湿的变化处理并不十分苛求，而是基于章法结构的完整性和独立性，着眼于通篇作品的协调性，“计白当黑”删繁就简地至于疏处求致密，正所谓“不期工而自工”、“虚实相生，无墨处皆成妙境”，从而给人以恬淡宁静、清醇平和的优美意境享受。

Liu Renshan, who is born in 1958, was born in Fengshun, Guangdong. He is currently a member of the Association of Chinese Calligraphers and Painting Collectors; a member of the Association of Chinese Association of Tenors; a member of the Chinese Association of Hard-pen Calligraphy; an associate professor of the Education Committee of the Chinese Association of Hard-pen Calligraphy; a member of the Arts Committee of the Chinese Academy of Calligraphy and Arts; a member of the Association of Hong Kong Special Administrative Region; and a member of the China Publishing Network Calligraphy and Pai Deputy Director of the Center; Member of Shenzhen Book Association; Member of Guangdong Folk Literature and Art Association; Vice Chairman of Shenzhen Futian Folk Literature and Art Association; Vice Director of Shenzhen Hezheng Art Museum, etc.

His works have been exhibited in the Great Hall of the People, the Auditorium of the Chinese People's Political Consultative Conference, the Central Party School, New York, Canada, Japan, Korea, Singapore, the Philippines, Hong Kong and other places in the United States. He has won many awards in all kinds of Chinese painting and calligraphy exhibitions nationwide and in the world. He has been invited to participate in Chinese painting and calligraphy art visiting delegations, visiting Japan and South Korea. And Taiwan. The calligraphic work Zuo Zongtang Lianju is a gift to the Prime Minister of Kyrgyzstan for the China-Kyrgyzstan National Ceremony Project.

The works were selected as "Art Life: Collection of Works of Calligraphers and Painters with Most Artistic Value and Market Potential on the 60th Anniversary of the founding of the People's Art Publishing House" and "Selection of New China Calligraphers", "New China Fine Arts Canon", "Selection of Chinese Lishu" and "Contemporary Lianhe Jia Guan" and other books organized and edited by the People's Art Publishing House. Li Shu's works are carved in the international stele forest of the world famous cultural village and many scenic spots. More than 30 pieces of Li Shu's works were broadcasted by the channels of "People's Net-Painting Collection", "China Reporting Network", Guangdong News, Southern Satellite TV and Shenzhen TV Mobile Channel during the 2011 Universiade. In 2015, he was invited to create and permanently collect several works for the Beidaihe Service Bureau of the State Administration of Organs Affairs. Art style is welcomed by collectors and fans at home and abroad. It was created by the sponsors of the Museum of Chinese Revolutionary History, Xibaipo Memorial, Comrade Kong Fansen Memorial, Singapore Art Association, Japanese, Korean, Malaysian government officials, friends at home and abroad, and Hong Kong celebrities. The works of Buddhist culture "Heart Sutra" have been permanently collected by many temples such as "Foguang Mountain" presided over by Taiwan Nebula Wizard and "Baita Temple" in Anhui, Donghua Zen Temple in Guangdong, Furong Temple, Taiping Temple and so on.
Wang Yun, Director of Chinese Calligraphers Association and Former Chairman of Qinghai Calligraphers Association
Throughout the contemporary Chinese calligraphy, Liu Renshan is undoubtedly a scholar-typed writer who pays no attention to fashion but to tradition and advocates refinement. Seeing his calligraphy life, he will appreciate a faint smell of scholarly fragrance.
For many years, he devoted himself to calligraphy art, based on the tradition of innovation and development, so that his calligraphy style is becoming more and more mature. His calligraphy practice is based on the combination of stele and tablet. Savor his calligraphy works, such as reading his character, pure and simple without gorgeous and vulgar appearance, modest and elegant and gentleman style.
He is good at drawing nutrients from ancient calligraphy, based on tradition, and not rigid to the inherent situation, showing a strong sense of the times. His calligraphy works are handsome, lively, simple and honest, elegant and open-minded, with ink thick but not stagnant, with a vivid and interesting text. The style of writing is elegant, elegant, open and harmonious, and there is a leisurely and tranquil charm between the lines. In the work, the single-character pen is exquisite. Every minute movement of turning, linking and standing reveals the author's ingenuity in the refinement of lines, the consideration of ink, the layout of the work space, and the emphasis on stamping.
His Lishu works are vivid and changeable. Whether they are wavy and wanton or silkworm-headed and swallow-tail, they all melt into the traditional stele with its thick, ancient, dignified and beautiful, and its unique artistic style of the times, giving people a visual aesthetic impact.
Mr. Liu Renshan's profound knowledge of the brush and ink is not very demanding in dealing with the changes of thick, light, dry and wet brush and ink, but based on the integrity and independence of the structure of the composition, focusing on the coordination of the whole work, "planning white when black" is simple and dense, so-called "unexpected work" and "planning white when black". Self-work, the combination of the virtual and the real, and the non-ink place are all wonderful, thus giving people a quiet and quiet, mellow and peaceful enjoyment of the beautiful artistic conception.