Zhong Mingshan's introduction.

His works were selected for the first, second and third national calligraphy seal cutting exhibitions and calligraphy exhibitions held in Tokyo, Kyoto and Nagano, Japan, and won the first prize of 1987 "National Teachers' Calligraphy, Fine Arts and Photography Exhibition", which was published in professional newspapers. 65438-0987 held a personal painting and calligraphy exhibition in Kobe, Japan. In Qin and Han Dynasties, seal cutting was carried out, and the ancient seal was integrated into Oracle Bone Inscriptions and Wen Tao, which was original and original. He is the author of A Brief History of Calligraphy in China, A Preliminary Study of Calligraphy in Han Dynasty, The Art of Calligraphy in Yu Youren, The Basis of Calligraphy, A Random Talk on Calligraphy Creation, and An Overview of Calligraphy Cultural Relics in Shaanxi in Past Dynasties. Among them, A Brief History of China's Calligraphy was translated into Japanese and serialized in the study of calligraphy and Taoism in Tokyo, Japan.

He is currently a director of China Calligraphers Association, a member of the Academic Committee of China Calligraphers Association, an executive director and deputy secretary-general of Shaanxi Calligraphers Association, a vice chairman of Shaanxi Calligraphers Association, and an associate professor in the Art Teaching and Research Department of the Department of Social Sciences of xi Jiaotong University. His works include: History of Calligraphy in China, Collection of Calligraphy Seal Carving in Zhong Mingshan, Introduction to Calligraphy, Techniques of Running Calligraphy, Basis and Appreciation of Calligraphy (Volume I and Volume II), Calligraphy Art in Yu Youren, Introduction to Calligraphy Appreciation, Calligraphy Scenery in Chang 'an, Learning and Appreciation of Masterpieces, etc.

Editor-in-Chief: Essence of China Traditional Culture, A Book with a Thousand Words, Running Script as a Model, Three Bronzes, Yu Youren Calligraphy Art, and Monument to Famous Scholars.

Submission: Encyclopedia of China Art Volume, China Calligraphy and Seal Carving Appreciation Dictionary, and China Poetry Appreciation Dictionary. Some works show:

Do you know how many years ago the earliest human brushes were discovered? Do you know the origin of Chinese characters in China? How many years ago? When was the first "A Brief History of China Calligraphy" published in New China, and who was the author? As far as calligraphy creation is concerned, it is often said that it takes 30 years to learn calligraphy and 20 years to learn painting. It can be seen that if you want to learn and practice calligraphy well, it is difficult to have positive results without 30 years of hard work. So how can you learn calligraphy well? Today's son of the East, let's meet a calligrapher Zhong Mingshan who has a wide influence at home and abroad.

Zhong Mingshan: Brush has four virtues: sharp, neat, round and simple. Coupled with ink, there are changes in weight, thickness, dryness and wetness, resulting in endless aesthetic feeling.

Zhong Mingshan: Calligraphy is a unique art form of the Chinese nation. If summarized in a simple sentence, it is the art of beautifying Chinese characters.

Zhong Mingshan: Calligraphy is a way for me to express my feelings.

Zhong Mingshan, male, 1939, from Xianyang, Shaanxi. Now he is a consultant of China Calligraphers Association. Xi jiao tong university professor. He has written more than 50 academic monographs with nearly 10 million words, such as A Brief History of China's Calligraphy and Essays on Intentional Art..

Commentary: This is a Brief History of Calligraphy in China published by 1983. It is the first monograph on the history of calligraphy in New China. This epoch-making calligraphy document was completed by Zhong Mingshan, a famous contemporary Chinese calligraphy theorist and artist, in five years. When compiling this calligraphy document, Zhong Mingshan learned an embarrassing fact by browsing a lot of materials. After the founding of New China, the history of China's calligraphy published at home and abroad, only a few were written by China people themselves.

Zhong Mingshan: I read the History of China Calligraphy written by the Japanese in advance. After I read his, one is the use of information and the other is the concept. I think I can write something different from him. Personally, I know China's calligraphy tradition better. China's calligraphy culture has a root, that is, aesthetic concept. And this root is beyond time and space. When I go to America, what is written well in America is still tradition. Speaking of two kings, Yan Zhenqing and Liu Gongquan. I went to Indonesia, and so did Indonesia. So Chinese people all over the world agree. So I say that calligraphy culture is connected with China people all over the world, our hearts, our emotions and our aesthetic consciousness, and it is so lovely. Therefore, the more you study, the more lovely this calligraphy culture is.

China's calligraphy culture has a history of thousands of years, which is extensive and profound. In the face of the masters of past dynasties, Zhong Mingshan, who studied hard, has nothing to worry about. Every time he shuttles through the long river of history and culture, he is full of awe. The five-year process is full of hardships, but he doesn't feel how bitter it is. More understanding is a great shock to China's national culture.

Zhong Mingshan: China's traditional cultural thought is neither a simple juxtaposition of Confucianism, Buddhism and Taoism, nor a simple complementarity of Confucianism and Taoism. Instead, it takes Tao and Yi thought as the core and combines the essence of a hundred schools of thought. This is China's traditional cultural thought. This thought has two aspects, one is the concept of unity of opposites between Yin and Yang, and the other is the concept that poverty leads to change, change leads to communication, and the general principle lasts for a long time. This is a changeable concept. So what do you want to say about this concept and calligraphy? I summarize as follows: China's calligraphy is the most concise materialized form of China's traditional cultural thought.

A Brief History of China Calligraphy, which was completed by Zhong Mingshan in five years, is also the first history of China calligraphy written in modern Chinese. Since then, on the basis of the first volume, he has increased the book reviews of past dynasties, perfected the theories and creations of each era, and published the second volume of China Calligraphy History again.

Zhong Mingshan: After this book was published, there was a Japanese calligraphy magazine called Calligraphy Research. Its owner invited Ling Xue Imai, a first-class Japanese calligrapher, and Ling Xue Imai, a great Japanese calligrapher, to translate with one of his students, Nobuo Nakamura, for five or six years. So later, this serialization became

He is one of the five most popular serials in this magazine.

Some people say that Zhong Mingshan's success today is due to his growing up in Shaanxi, which is rich in cultural heritage. There is the best preserved forest of steles in the world, and the fragrance of calligraphy in past dynasties seems to be yesterday. Every Spring Festival, the world's largest calligraphy art exhibition will be staged in front of every household here. It was under the influence of this environment that Zhong Mingshan began to learn calligraphy at the age of five. After several decades, he never wrote again. Although he also had dreams of painters, writers and poets, they were all dashed for various reasons, and only calligraphy accompanied him to this day.

Zhong Mingshan: Very interesting. Is this also called a sense of accomplishment? You wrote a stroke, a stroke, both ancient and charming. I added a little to Ou Yangxun today, a little to Yan Zhenqing tomorrow, and a little to Wang Xizhi, which is very interesting. Ideally, 60% of the ancients and 40% of them, or 50% of the ancients and 50% of them, are the best innovation experts.

In the process of studying the history of China's calligraphy, Zhong Mingshan experienced a lot of seal script, official script, regular script and cursive script, which can be said to have benefited a lot. But he gradually found that although he gained a lot in the process of learning the tradition, he was often confused about not finding his own style.

Zhong Mingshan: I wrote it again and again. I wrote a bunch of them and burned them all. Why? Disharmonious. We didn't find coordination, that is, Jiang Lang was exhausted, which was the most painful. For example, once you write about Yan Zhenqing, you can't get rid of Yan Zhenqing. You said it wasn't chaotic.

Without his own style, it means that he will never get out of confusion, and Zhong Mingshan's inner pain can't be expressed in words. Once, when he was facing an ancient work, he suddenly stopped. The works of past dynasties have been handed down to this day because they all wrote their own poems and songs. Zhong Mingshan seems to have found creative inspiration: only by combining the literariness of calligraphy with the formal beauty of calligraphy can we create good works. Thus, Zhong Mingshan, who loved literature since childhood, felt like a duck to water, because he began to write his own poems at the age of five. Up to now, he has written nearly a thousand books, rhymes and couplets, all from real feelings in life.

Zhong Mingshan: I went to Yulin in northern Shaanxi. This is my first time to Yulin. Because I've heard how to listen to it in northern Shaanxi, and it's all from songs, that is, the yellow sand blown by the wind covers the sky, and it's all that desolate. As a result, I flew to Yulin, passed a sand dune and crossed the sand, and saw that Yulin was a green carpet embedded in this desert. Then I was even more excited when I arrived at Hongshixia, with blue sky and white clouds and clear water and red stones, so it was called Hongshixia. The cliff carvings on both sides give you a very verve feeling. So I wrote it at this time, and wrote a song that Yulin land is connected with the northern desert and quicksand flies. The sky is far away and the clouds are strange, and the traffic jam has its own glory. Don't sigh by the wuding river. What are China people lamenting? Just build the country.

Zhong Mingshan sought creative inspiration from his own books, rhymes and couplets, and gradually formed his own five-energy calligraphy style, good at cursive script. As far as cursive script is concerned, its beauty lies in the bone and its clarity lies in the spirit. On this basis, it is widely used, or lively, or old-fashioned, or clever, or both rigid and flexible, forming a delicate, elegant and elegant book style. At this point, Zhong Mingshan, who has just emerged from the cocoon, is surprisingly calm inside.

Zhong Mingshan: I gave people an example. Just like children grow up, I am gradual. So in my calligraphy creation, I learn from nature and write naturally. Learn to learn, there is. So for me, calligraphy creation is very direct, it says that there will be self naturally. Why? Don't deliberately pursue anything, the Tao is natural, and natural things may be the best things.

Tao and nature are both the artistic realm pursued by Zhong Mingshan and the realm of life. Facing the profound traditional culture of China calligraphy, Zhong Mingshan has always maintained a firm attitude of rigor and self-modesty. We expect Mr. Zhong Mingshan to continue to surprise us when the future comes naturally.