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Jiang Haiqing
Jiang Haiqing
Personal Profile
Jiang Haiqing, courtesy name Yinlang, WeChat name: Yincheng Dingdong, ancestral home in Fujian Quanzhou, born in Tong'an, Xiamen, proficient in both brush and hard-pen calligraphy, and adheres to the principle of "absorbing ancient traditions and transforming them into one’s own style, integrating the beauty of all schools into a unique lineage." He has been hailed by dozens of mainstream media outlets and specialized art publications—including People’s Daily Online, Xinhua Net, China Calligraphy Network, and China Collectors Network—as a "Contemporary Talent of the Jiangnan Region," "Poetry and Calligraphy in Perfect Harmony," and even as a genius "surpassing Yuan and Bai." His calligraphy is renowned for its ethereal elegance, natural beauty, free-flowing grace, and broad appeal, and has been collected by connoisseurs, institutions, and collectors both domestically and internationally. Currently, he is a member of the Central Government Agencies Calligraphy Association, China Poetry Society, Chinese Poetry Society, and China Hard-Pen Calligraphy Association; Director of the National Celebrity Calligraphy and Painting Art Federation; Standing Director of the China Contemporary Calligraphers and Painters Alliance; Vice Chairman of the Artists Committee of China Poetry, Calligraphy, and Painting Network; and a member of the Ink and Wash Painting Academy of China Education Television.
He pioneered the integration of foreign languages into calligraphic works, skillfully blending scripts from around the world into traditional Chinese calligraphy, enabling global audiences to appreciate the unique artistic charm of Chinese calligraphy without confusion. Particularly noteworthy is his invention of the "Yinlang 24-Hour Rapid Handwriting Method," which revolutionizes the traditional approach of painstakingly copying ancient models—a process that is time-consuming, labor-intensive, and costly. With just 24 lessons, most people can effortlessly write neat, beautiful characters. This method has received widespread acclaim, significantly benefiting the improvement of Chinese character writing among the populace, and breaking the centuries-old tradition that mastering handwriting requires copying ancient steles and rubbings, thus making a groundbreaking, revolutionary contribution to Chinese writing.
"Skillful craftsmen are numerous, but those skilled in literature prevail." The true standard for identifying a master calligrapher lies in the excellence of classical poetry and prose, the distinctiveness and beauty of the handwriting, and the moral integrity of the artist—a standard increasingly resonating with discerning individuals and serving as the three essential criteria for collectors evaluating the collectible value of contemporary calligraphy and painting. His classical poems and prose are rich in literary brilliance, with every word a pearl and every sentence a classic, seamlessly blending philosophical depth and intellectual insight. His poetry has been praised as "the most inspiring contemporary classical poetry destined to endure for centuries." His four monumental classical Chinese prose works, all self-penned and self-calligraphed—“Mou Ce” (Strategies), “Cui Feng Tie” (Wind-Propelling Scroll), “Xiang Huan Ming” (Inscription of a Local Scholar), and “Shu Xue Guan Yu” (Reflections from the Study)—either embody profound philosophical thought or sharply critique contemporary ills, standing as timeless masterpieces worthy of their age. With broad learning and genuine talent, he shuns empty fame and refuses to be a mere copyist. By integrating literature and calligraphy—"combining wen and mo"—he stands out in today’s art world, often criticized for its lack of cultural depth, clearly demonstrating the authentic "master" demeanor that has attracted extensive coverage and attention from numerous central media outlets—including People’s Daily Online, CCTV, China Education Television, China International News Agency, and China Industrial Economy Net—as well as from collectors. His poetic and literary works have been included in more than ten publications and have earned him over ten honorary titles, awarded by institutions under the Chinese Academy of Social Sciences’ China Contemporary Literature Research Association, the China Writers Association’s China International Reportage Literature Research Association, and organizations under the All-China Federation of Literary and Art Circles and the Cultural Advancement for Ten Thousand Households Committee, such as "One of China’s Top 100 Contemporary Poets."
His personal artistic biography has been compiled into the “Dictionary of Contemporary Chinese and Foreign Literature and Art Masters,” published by China Radio and Television Publishing House; the “Science and Education for National Revival” series, Volume II: “Seeing China: Strengthening the Nation Through Talent,” by the Sichuan Western Literature Translation and Research Center of the Chinese Academy of Sciences; the “New China Art Iconography 1949–2018: Calligraphy and Seal Carving Volume,” published by Xiling Yinsheshe Press; “China’s 66 Years of Artistic Masters and Masterpieces”; and “Dictionary of Leading Figures in Contemporary Chinese Literature and Art,” and he has been honored with the title of "One of the Top 100 Contemporary Chinese and Foreign Literature and Art Masters." His artistic creation adheres to his own philosophy: "My poetry expresses my heart; my calligraphy embodies my intent. I do not seek grandiose works to dazzle the present; I only wish a few words to fragrance for a hundred years. I do not compete for others’ charity; I paint and write freely as my own reward." He also proposes the theoretical viewpoint: "Thought is the soul of all literary and artistic works; without soul, even the grandest form will vanish into thin air." (For details, search Baidu: Xiamen Jiang Haiqing)
Work Display
He pioneered the integration of foreign languages into calligraphic works, skillfully blending scripts from around the world into traditional Chinese calligraphy, enabling global audiences to appreciate the unique artistic charm of Chinese calligraphy without confusion. Particularly noteworthy is his invention of the "Yinlang 24-Hour Rapid Handwriting Method," which revolutionizes the traditional approach of painstakingly copying ancient models—a process that is time-consuming, labor-intensive, and costly. With just 24 lessons, most people can effortlessly write neat, beautiful characters. This method has received widespread acclaim, significantly benefiting the improvement of Chinese character writing among the populace, and breaking the centuries-old tradition that mastering handwriting requires copying ancient steles and rubbings, thus making a groundbreaking, revolutionary contribution to Chinese writing.
"Skillful craftsmen are numerous, but those skilled in literature prevail." The true standard for identifying a master calligrapher lies in the excellence of classical poetry and prose, the distinctiveness and beauty of the handwriting, and the moral integrity of the artist—a standard increasingly resonating with discerning individuals and serving as the three essential criteria for collectors evaluating the collectible value of contemporary calligraphy and painting. His classical poems and prose are rich in literary brilliance, with every word a pearl and every sentence a classic, seamlessly blending philosophical depth and intellectual insight. His poetry has been praised as "the most inspiring contemporary classical poetry destined to endure for centuries." His four monumental classical Chinese prose works, all self-penned and self-calligraphed—“Mou Ce” (Strategies), “Cui Feng Tie” (Wind-Propelling Scroll), “Xiang Huan Ming” (Inscription of a Local Scholar), and “Shu Xue Guan Yu” (Reflections from the Study)—either embody profound philosophical thought or sharply critique contemporary ills, standing as timeless masterpieces worthy of their age. With broad learning and genuine talent, he shuns empty fame and refuses to be a mere copyist. By integrating literature and calligraphy—"combining wen and mo"—he stands out in today’s art world, often criticized for its lack of cultural depth, clearly demonstrating the authentic "master" demeanor that has attracted extensive coverage and attention from numerous central media outlets—including People’s Daily Online, CCTV, China Education Television, China International News Agency, and China Industrial Economy Net—as well as from collectors. His poetic and literary works have been included in more than ten publications and have earned him over ten honorary titles, awarded by institutions under the Chinese Academy of Social Sciences’ China Contemporary Literature Research Association, the China Writers Association’s China International Reportage Literature Research Association, and organizations under the All-China Federation of Literary and Art Circles and the Cultural Advancement for Ten Thousand Households Committee, such as "One of China’s Top 100 Contemporary Poets."
His personal artistic biography has been compiled into the “Dictionary of Contemporary Chinese and Foreign Literature and Art Masters,” published by China Radio and Television Publishing House; the “Science and Education for National Revival” series, Volume II: “Seeing China: Strengthening the Nation Through Talent,” by the Sichuan Western Literature Translation and Research Center of the Chinese Academy of Sciences; the “New China Art Iconography 1949–2018: Calligraphy and Seal Carving Volume,” published by Xiling Yinsheshe Press; “China’s 66 Years of Artistic Masters and Masterpieces”; and “Dictionary of Leading Figures in Contemporary Chinese Literature and Art,” and he has been honored with the title of "One of the Top 100 Contemporary Chinese and Foreign Literature and Art Masters." His artistic creation adheres to his own philosophy: "My poetry expresses my heart; my calligraphy embodies my intent. I do not seek grandiose works to dazzle the present; I only wish a few words to fragrance for a hundred years. I do not compete for others’ charity; I paint and write freely as my own reward." He also proposes the theoretical viewpoint: "Thought is the soul of all literary and artistic works; without soul, even the grandest form will vanish into thin air." (For details, search Baidu: Xiamen Jiang Haiqing)
Work Display
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Jiang Haiqing