中文 
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Guo-Hua Su
Guo-Hua Su
Personal Profile
Su Guohua, style name Zishi, pseudonym "Tianshan Muren" (Herdsman of Tianshan). Male, Hui ethnic group, holds a university degree. Born in 1940 in Linxia City, Gansu Province, with ancestral roots in Nanjing. Currently honored as a State Gift Artist for Zhongnanhai, First-Class National Painter and Calligrapher of China, Vice Chairman of the Chinese Calligraphers and Artists Association, member of the Gansu Provincial Calligraphers Association, Vice President of China Guoyi People's Painting and Calligraphy Academy, and Standing Director of the Ink & Danqing Painting and Calligraphy Institute under China Education Television. In recent years, he has received honorary titles such as “Most Influential Master Artist of Contemporary China,”
“Cultural Celebrity of Chinese Civilization,” “Gold Award Artist,” and “Outstanding Chinese Artist.” His painting and calligraphy works have been exhibited in Japan, South Korea, Taiwan, Hong Kong, Shenzhen, Guangzhou, Chengdu, and other cities and regions. At the end of 2010, he participated in the "Chinese Calligraphers Summit" exhibition held at Diaoyutai State Guesthouse in Beijing, where he was awarded the title of “Excellent Folk Artist.” In 2011, he won first prize at the Cross-Strait Painting and Calligraphy Exhibition.
When I opened the catalog of the album *People’s Artists* and saw Mr. Su’s name, I remained calm at first. But after carefully reading the introduction and critical reviews about Su Guohua, my heart could no longer stay still… I’ve known Mr. Su for nearly twenty years and have had some understanding of him and his calligraphy. Even during the past decade since he left Linxia, I never stopped following his progress. I frequently heard news about him and his advancements in calligraphy, and visited him twice in Lanzhou and Linxia. Yet I never expected that the evaluation and insight into Mr. Su in the *People’s Artists* (painting and calligraphy album) would be so high and profound. What shocked me most was that among the ten artists recommended in *People’s Artists* (painting and calligraphy album), were Ouyang Zhongshi, Shen Peng, Yue Shi, Su Guohua, Zhang Hai, etc., with Zhang Hai being the current chairman of the China Calligraphers Association—and Su Guohua ranked ahead of Zhang Hai! I carefully “reviewed” the list of organizers, publishers, honorary advisors, advisors, directors, deputy directors, chief editors, associate editors, council members, and committee members of the *People’s Artists* (painting and calligraphy album), and made some inquiries about the “People’s Artists Association.” The album was planned and hosted by the People’s Artists Association and published by China Federation of Literary and Art Circles Publishing House. Ouyang Zhongshi serves as president of the People’s Artists Association. Honorary advisors of the album include Zhou Tiennong, Sun Jiazheng, Jiang Zhenghua, and Wang Hanbin—all vice chairpersons or deputy leaders of the National People's Congress or the Chinese People's Political Consultative Conference. Advisors include Ouyang Zhongshi, Shen Peng, Li Duo, Zhang Hai, Qiao Yu, and others. Among the two deputy directors of the editorial board, Yue Shi ranks first. Of the 14 council members are Li Pinchun, Su Guohua, Li Chengyin, Wang Anxiang, Chen Zhenhai, etc. Nine out of the ten artists featured in *People’s Artists* (painting and calligraphy album) are either advisory members, deputy directors, or council members of the series’ editorial board—namely Ouyang Zhongshi, Shen Peng, Yue Shi, Su Guohua, Zhang Hai, Li Pinchun, Wang Anxiang, Chen Zhenhai. Li Pinchun ranks second among the council members, while Su Guohua ranks fifth, yet in the *People’s Artists* album, Su Guohua is placed before Zhang Hai and Li Pinchun. It seems Mr. Su has finally met his patrons—and not just one.
From the perspective of a newspaper editor, after this careful “review,” I felt deeply ashamed—ashamed of how superficial my understanding of Mr. Su has been over the past decade, how insufficient my attention to him, and how shallow my appreciation of calligraphy, along with outdated and biased impressions of Mr. Su’s art. At the same time, I murmured to myself: “The old master has finally achieved success—even if it came a bit late…” Suddenly, overwhelming emotion surged within me, and tears welled up in my eyes. I decided I must make a special trip to Lanzhou to interview Mr. Su Guohua.
When Mr. Su was still in Linxia and later when he established his studio in Lanzhou, I expressed my desire twice to write an article about him and his artwork, but both times he gently declined with a broad, kind wave of his hand. To prepare for the interview, I treated the *People’s Artists* (painting and calligraphy album) as a precious textbook, carefully reading the profiles and narratives of the ten featured artists, repeatedly appreciating each individual’s artworks, and rereading the critiques multiple times. After more than twenty days of study, I gained much insight. During this period, joyful news kept coming: First, the China International Artists Association conferred upon Mr. Su the honorary title of “Artist of Virtue and Art”; second, Mr. Su’s paintings and calligraphy were included in the *China Stamp Album* commemorating the 65th anniversary of the founding of the People's Republic of China, resulting in the issuance of postage stamps widely regarded as the “National Business Card.”
On February 14, 2015, just before the Spring Festival, I met Mr. Su Guohua at the Lanzhou Cultural Palace. The brightly colored traditional-style architecture of the palace, couplets hung outside several calligraphy and painting stalls near the gate, and people bustling about buying festival scrolls created a festive atmosphere. The joy and warmth Mr. Su and his wife showed upon seeing friends instantly immersed me in the spirit of the holiday. Above the entrance hangs the sign “Studio of the Tianshan Herdsman,” written by Ma Zixiang—a renowned writer, scholar, and artist—in powerful running-cursive script. Entering the studio, beneath the bright desk and on the three surrounding walls, from floor level to the highest point, are filled with Mr. Su’s paintings and calligraphy—some already framed, others freshly created—so numerous they overwhelm the senses.
Sowing the Seed of Calligraphy in Childhood
A person’s lifelong aspirations and pursuits resemble flowers and trees—their eventual form often rooted in seeds planted during childhood. Now aged 75, Mr. Su Guohua’s lifelong passion and obsession with brushwork originated in his early youth.
During my conversation with Mr. Su, certain scenes flashed through my mind: A boy, only six or seven years old, thick-browed and large-eyed, sturdy, confident, clever, and willfully defiant. Not yet attending school, he had already learned many Chinese characters under the strict guidance of his father, Su Xingqiao, and the family’s private tutor—the esteemed late-Qing dynasty imperial scholar Ma Yuqing, famed throughout ancient Hezhou. Every day, he practiced regular script calligraphy, earning praise from the old master. This boy lived near the eastern city wall of Hezhou, in an area still called Zhoujiaba. Everywhere—at home, outdoors, roadside, alleyways—whenever he found any flat surface suitable for writing, regardless of whether it was a large stone, wall, door, or shopfront, ignoring repeated warnings from elders, he would take out his carried charcoal chunk, lime lump, or battery carbon rod, and boldly inscribe characters with childish pride and showmanship, drawing gazes from passersby of all ages… This highly expressive little boy was young Su Guohua.
Mr. Su came from a unique family background. His maternal uncles Ma Hongbin and Ma Hongkui were warlords in Gansu and Ningxia during the late Qing Dynasty, yet they placed great emphasis on education (establishing over 100 schools across their territories) and especially valued family education, enforcing strict discipline. Mr. Su’s elder uncle, Ma Dunde, specially hired the late-Qing imperial scholar Ma Yuqing as a private tutor for young Su Guohua, his cousins of the same age, and even Prince Ao Qing of Mongolia—four students in total. Young Su was exceptionally gifted and diligent, passionate about learning Chinese characters. He earned Master Ma’s affection and attentive guidance, which sowed the seed of enduring love for calligraphy.
Mr. Su’s father, Su Xingqiao, was a military man with higher education and deep cultural cultivation, particularly outstanding in painting and calligraphy. He associated with many well-known artists of the time and collected numerous famous works from the Song, Ming, and Qing dynasties. During Zhang Daqian’s stay in Lanzhou, they became close friends, and Su Xingqiao frequently sought advice from him. Mr. Su’s mother, Ma Jinxian, understood Arabic and spoke fluent Chinese, studied the Four Books and Five Classics, loved painting and calligraphy, and embodied the traditional Chinese virtues of supporting her husband and educating her children wisely. Mr. Su grew up in such a scholarly family rich in cultural heritage, deeply rooted in traditional Chinese values. Influenced by his family, Mr. Su began studying painting in his youth and received guidance from Zhang Daqian, thus embarking on a path primarily focused on painting, while also practicing calligraphy.
After the founding of New China, Mr. Su began a completely new life. He skipped grades to enter elementary school and smoothly advanced through middle school, consistently ranking top in academics. His practice of painting and calligraphy became even more diligent and self-motivated. In middle school, due to his excellence in art, he was praised by teachers and often called upon by the school to write banners and slogans for events. After graduating, he easily gained admission to university, but chose to attend Linxia Normal School to alleviate financial burdens on his parents. As a student, Mr. Su actively sought mentors in painting and calligraphy. Renowned local artists of Hezhou such as “Wang the Iron Pen,” Fang Jiehou, and Su Hanzhou served as his calligraphy teachers. While studying at Linxia Normal School, his painting *Night Reading* was selected for the 1957 “Gansu Provincial Youth Painting Exhibition,” winning second prize and subsequently recommended to participate in the National Youth Art Exhibition. Immediately after graduation, he was assigned a job, beginning a passionate young man’s dream and pursuit—and also the start of his bumpy life journey.
Hardship Reveals Strong Will
Due to his unusual family background, Mr. Su and his family suffered setbacks during successive political movements, especially during the Cultural Revolution—his home was ransacked, he was criticized, persecuted, and dismissed from public office. To protect his family, Mr. Su broke through Red Guard blockades and led his entire family to relocate to Xinjiang, where they remained for thirty years. In Xinjiang, Mr. Su endured harsh political and natural conditions, experienced the immense grief of losing his mother and wife, worked as a shepherd, beekeeper, laborer, contractor, fishpond operator, businessman, and even held public office, serving as a water conservancy engineer in a county department for over ten years. Despite countless hardships and various livelihoods, Mr. Su never abandoned his passion for calligraphy or his deep interest in painting. Under adverse conditions and amidst difficult daily struggles, he always carried calligraphy models with him, studying them whenever free time arose—anytime, anywhere, year after year. He would buy two copies of each calligraphy model—one stored away, the other torn page by page, folded, and carried on his person for constant review. At home, he kept an iron pen and sand tray, squeezing time every day to practice, persistently studying steles and models by Zhang Zhi, the Two Wangs (Wang Xizhi and Wang Xianzhi), Huaisu, with particular depth in the works of the Two Wangs. While working in the water conservancy department, colleagues noticed that Mr. Su appeared very serious during large meetings, sitting upright and listening attentively. Here, Mr. Su lowered his head and couldn’t help chuckling happily: “Actually, my fingers were tracing characters inside my pocket—the movement was entirely on the words.” While herding, beekeeping, or guarding fishponds, overwhelmed by indescribable loneliness and confusion, painting and calligraphy became his primary spiritual refuge. Constantly reviewing the calligraphy models he carried, deeply absorbing their brush intent and artistic spirit, he gradually realized that his love for calligraphy surpassed everything else. Sometimes inspired, he would use a pen to sketch quick drawings of the Tianshan Mountains before him—the breathtaking, unforgettable scenery that enchanted him.
“Artistic interests greatly reduced my loneliness and suffering,” said Mr. Su.
As early as the 1970s in Xinjiang, Mr. Su began attempting creative work in painting and calligraphy. Once, facing a calligraphy piece, he solemnly inscribed his long-contemplated pseudonym in the signature section—“Tianshan Muren” (Herdsman of Tianshan). His artistic creations were encouraged by Zhang Guoan, then his superior and professor at Xinjiang Bayi College, who particularly praised a self-composed couplet in his calligraphy: “Traversing thirty thousand li of snow-covered Tianshan, laughing over decades of turbulent waves,” and the pseudonym “Tianshan Muren.” Mr. Zhang Guoan, a native of Tianjin, was one of Mr. Su’s close friends formed in hardship, now living in retirement in the United States, still maintaining contact with Mr. Su to this day. Speaking of why he continues to use the name “Tianshan Muren,” Mr. Su became emotional: “My father is buried at the foot of Tianshan; I once herded there; my youth remains in Xinjiang. More importantly, Tianshan embraced our family with her vast heart, and the kind乡亲 (fellow villagers) of all ethnic groups at her foot welcomed us… Xinjiang is our family’s second hometown.”
Zhang Guoan, Mr. Su’s superior in Xinjiang, held him in high regard and intended to promote him into officialdom, but Mr. Su sincerely expressed his dedication to art and disinterest in politics; Mr. Su also earned money in Xinjiang, once becoming a well-known “ten-thousand-yuan household” and even “hundred-thousand-yuan household” in his village. Yet his deep passion and mastery of art made him indifferent to wealth. To fully devote himself to his calling, in 1983, Mr. Su seized an opportunity to return to his long-lost hometown of Linxia, transferred his employment there, and simultaneously processed his retirement. Was it a case of “fallen leaves returning to their roots”? Mr. Su shook his head in denial.
“It was for calligraphy,” he said seriously.
During the 13 years in Linxia, Mr. Su devoted himself entirely to calligraphy, studying diligently and working silently. He rose daily at 4 a.m. to begin copying models or creating calligraphy, averaging no less than six hours per day. To maintain sufficient wrist and arm strength and coordination, he exercised regularly and cultivated dozens of potted plants, moving them back and forth twice daily, morning and afternoon. Day after day, season after season, reflecting on life and contemplating calligraphy, Mr. Su’s skills continuously improved. His unique family background, rich and tumultuous life experiences, and relentless pursuit shaped his distinctive character, making his devotion to calligraphy surpass that to painting. He is bold in temperament, upright in character, sincere in treating others, proud and independent, refusing to conform to vulgarity, firm and stubborn, single-mindedly pursuing the essence of calligraphic art, avoiding all professional associations and public activities. Yet after two or three years in Linxia, he sensed his progress stagnating, unable to shake off a growing sense of crisis.
In 2006, for the sake of calligraphy, the 66-year-old Mr. Su resolutely left Linxia. He first visited Beijing to see friends and conduct a month-long investigation, then went to Xi’an for further exploration, eventually settling there, opening a small art shop on a calligraphy and painting street near the Giant Wild Goose Pagoda. He stayed for two years. In Xi’an’s ancient capital art circles, Mr. Su transitioned from being overlooked to gradually gaining recognition, especially appreciated and praised by the院长 (director) of Qujiang Calligraphy and Painting Academy, who admitted him as a member. He made many friends in the local art community, participated in multiple activities organized by Qujiang Calligraphy and Painting Academy, and achieved sales volumes rivaling those of the academy itself, becoming popular among peers and favored by Japanese and Korean collectors. But for Mr. Su, staying in Xi’an was primarily for learning and improvement. Beyond broadening his horizons and gaining social validation, what mattered most was the Stele Forest. “That,” said Mr. Su, “is China’s ultimate treasure house of calligraphic culture.” Whenever possible, he visited the Stele Forest, wandering through it, lingering as if intoxicated, utterly absorbed… Three years passed, two of them in Xi’an. He regained confidence, attained new insights into calligraphy, and determined his permanent base—Lanzhou.
Life Endures, Pursuit Never Ceases
Calligraphic art arises from the most fundamental cultural practices of the Chinese people—seemingly ordinary, yet truly magical. Chinese calligraphy embodies the essence of Chinese culture. For ordinary readers and writers, it is an art that seems partially understood, yet ultimately mysterious. For the calligrapher, it reveals personality, temperament, talent, and inner world. A successful calligraphy piece manifests skill, character, knowledge, experience, and spiritual realm. After more than sixty years of pursuit and exploration, Mr. Su has developed a profound understanding and personal insight into calligraphic art. He tirelessly seeks unity between heart and brush, consciously elevating his ideological, aesthetic, and moral realms, so that his works reflect his life aspirations and spiritual individuality, as well as the sociocultural characteristics of his era, forming a unique calligraphic style. His experiences and character have profoundly influenced his artistic style. Mr. Su says: “Calligraphic quality reflects personal integrity; when one desires nothing, integrity naturally rises. Innovation emerges from long-term study and practice; style forms imperceptibly, and innovation is embedded within style. The kind of style one develops depends on the depth of engagement with tradition and the height of one’s spiritual realm.”
“Art knows no bounds. As long as life continues, pursuit should never cease,” said Mr. Su.
At the end of the interview, I asked to take a photo of Mr. Su writing calligraphy. Sitting in a chair before his desk, Mr. Su smiled slightly and nodded. After about three minutes of silent contemplation, he steadily stood up, calmly took out rice paper, slowly spread it on the desk, poured ink into the inkstone, gently “moistened the brush,” then suddenly lifted the brush and began writing. When he wrote the four characters “Rolling Yangtze River,” the theme song of the TV series *Romance of the Three Kingdoms* instantly echoed in my mind—Mr. Su was writing the preface poem of *Romance of the Three Kingdoms*. The present Mr. Su appeared calm and focused, handling the brush freely, strokes alternating between fast and slow, light and heavy, restrained and expressive; ink varied from dark to light, dry to moist, sparse to dense; characters were round, strong, and vigorous, connected or separated, yet unified in rhythm; lines formed rows, rows echoing each other, the whole composition flowing like music, naturally and fluently executed from beginning to end, culminating in a magnificent and elegant rendition of the *Romance of the Three Kingdoms* preface. Ma Zixiang, Chairman of the Gansu Folk Artists Association and Vice Chairman of the Gansu Federation of Literary and Art Circles, put it well: “Viewing Mr. Su Guohua’s calligraphy today is like delightfully listening to a beautiful melody. His brushwork features rises and falls, expansions and contractions; strength varies between powerful and gentle, firm and soft; speed alternates between swift and slow, continuous and interrupted; emotions shift between tension and relaxation, highs and lows. His brush moves with ups and downs, his ink flows vividly and dynamically, achieving harmonious and unified rhythm. He understands traditional foundations while grasping paths of innovation, pushing his calligraphy toward greater maturity. Brush follows heart, intention precedes stroke, fully expressing his creative passion and highlighting his uniquely seasoned yet fresh artistic personality.” Phone: 15117213492, 15193171038. Contact: Pu Aiqin QQ: 1214350582, 15117213492
“Cultural Celebrity of Chinese Civilization,” “Gold Award Artist,” and “Outstanding Chinese Artist.” His painting and calligraphy works have been exhibited in Japan, South Korea, Taiwan, Hong Kong, Shenzhen, Guangzhou, Chengdu, and other cities and regions. At the end of 2010, he participated in the "Chinese Calligraphers Summit" exhibition held at Diaoyutai State Guesthouse in Beijing, where he was awarded the title of “Excellent Folk Artist.” In 2011, he won first prize at the Cross-Strait Painting and Calligraphy Exhibition.
When I opened the catalog of the album *People’s Artists* and saw Mr. Su’s name, I remained calm at first. But after carefully reading the introduction and critical reviews about Su Guohua, my heart could no longer stay still… I’ve known Mr. Su for nearly twenty years and have had some understanding of him and his calligraphy. Even during the past decade since he left Linxia, I never stopped following his progress. I frequently heard news about him and his advancements in calligraphy, and visited him twice in Lanzhou and Linxia. Yet I never expected that the evaluation and insight into Mr. Su in the *People’s Artists* (painting and calligraphy album) would be so high and profound. What shocked me most was that among the ten artists recommended in *People’s Artists* (painting and calligraphy album), were Ouyang Zhongshi, Shen Peng, Yue Shi, Su Guohua, Zhang Hai, etc., with Zhang Hai being the current chairman of the China Calligraphers Association—and Su Guohua ranked ahead of Zhang Hai! I carefully “reviewed” the list of organizers, publishers, honorary advisors, advisors, directors, deputy directors, chief editors, associate editors, council members, and committee members of the *People’s Artists* (painting and calligraphy album), and made some inquiries about the “People’s Artists Association.” The album was planned and hosted by the People’s Artists Association and published by China Federation of Literary and Art Circles Publishing House. Ouyang Zhongshi serves as president of the People’s Artists Association. Honorary advisors of the album include Zhou Tiennong, Sun Jiazheng, Jiang Zhenghua, and Wang Hanbin—all vice chairpersons or deputy leaders of the National People's Congress or the Chinese People's Political Consultative Conference. Advisors include Ouyang Zhongshi, Shen Peng, Li Duo, Zhang Hai, Qiao Yu, and others. Among the two deputy directors of the editorial board, Yue Shi ranks first. Of the 14 council members are Li Pinchun, Su Guohua, Li Chengyin, Wang Anxiang, Chen Zhenhai, etc. Nine out of the ten artists featured in *People’s Artists* (painting and calligraphy album) are either advisory members, deputy directors, or council members of the series’ editorial board—namely Ouyang Zhongshi, Shen Peng, Yue Shi, Su Guohua, Zhang Hai, Li Pinchun, Wang Anxiang, Chen Zhenhai. Li Pinchun ranks second among the council members, while Su Guohua ranks fifth, yet in the *People’s Artists* album, Su Guohua is placed before Zhang Hai and Li Pinchun. It seems Mr. Su has finally met his patrons—and not just one.
From the perspective of a newspaper editor, after this careful “review,” I felt deeply ashamed—ashamed of how superficial my understanding of Mr. Su has been over the past decade, how insufficient my attention to him, and how shallow my appreciation of calligraphy, along with outdated and biased impressions of Mr. Su’s art. At the same time, I murmured to myself: “The old master has finally achieved success—even if it came a bit late…” Suddenly, overwhelming emotion surged within me, and tears welled up in my eyes. I decided I must make a special trip to Lanzhou to interview Mr. Su Guohua.
When Mr. Su was still in Linxia and later when he established his studio in Lanzhou, I expressed my desire twice to write an article about him and his artwork, but both times he gently declined with a broad, kind wave of his hand. To prepare for the interview, I treated the *People’s Artists* (painting and calligraphy album) as a precious textbook, carefully reading the profiles and narratives of the ten featured artists, repeatedly appreciating each individual’s artworks, and rereading the critiques multiple times. After more than twenty days of study, I gained much insight. During this period, joyful news kept coming: First, the China International Artists Association conferred upon Mr. Su the honorary title of “Artist of Virtue and Art”; second, Mr. Su’s paintings and calligraphy were included in the *China Stamp Album* commemorating the 65th anniversary of the founding of the People's Republic of China, resulting in the issuance of postage stamps widely regarded as the “National Business Card.”
On February 14, 2015, just before the Spring Festival, I met Mr. Su Guohua at the Lanzhou Cultural Palace. The brightly colored traditional-style architecture of the palace, couplets hung outside several calligraphy and painting stalls near the gate, and people bustling about buying festival scrolls created a festive atmosphere. The joy and warmth Mr. Su and his wife showed upon seeing friends instantly immersed me in the spirit of the holiday. Above the entrance hangs the sign “Studio of the Tianshan Herdsman,” written by Ma Zixiang—a renowned writer, scholar, and artist—in powerful running-cursive script. Entering the studio, beneath the bright desk and on the three surrounding walls, from floor level to the highest point, are filled with Mr. Su’s paintings and calligraphy—some already framed, others freshly created—so numerous they overwhelm the senses.
Sowing the Seed of Calligraphy in Childhood
A person’s lifelong aspirations and pursuits resemble flowers and trees—their eventual form often rooted in seeds planted during childhood. Now aged 75, Mr. Su Guohua’s lifelong passion and obsession with brushwork originated in his early youth.
During my conversation with Mr. Su, certain scenes flashed through my mind: A boy, only six or seven years old, thick-browed and large-eyed, sturdy, confident, clever, and willfully defiant. Not yet attending school, he had already learned many Chinese characters under the strict guidance of his father, Su Xingqiao, and the family’s private tutor—the esteemed late-Qing dynasty imperial scholar Ma Yuqing, famed throughout ancient Hezhou. Every day, he practiced regular script calligraphy, earning praise from the old master. This boy lived near the eastern city wall of Hezhou, in an area still called Zhoujiaba. Everywhere—at home, outdoors, roadside, alleyways—whenever he found any flat surface suitable for writing, regardless of whether it was a large stone, wall, door, or shopfront, ignoring repeated warnings from elders, he would take out his carried charcoal chunk, lime lump, or battery carbon rod, and boldly inscribe characters with childish pride and showmanship, drawing gazes from passersby of all ages… This highly expressive little boy was young Su Guohua.
Mr. Su came from a unique family background. His maternal uncles Ma Hongbin and Ma Hongkui were warlords in Gansu and Ningxia during the late Qing Dynasty, yet they placed great emphasis on education (establishing over 100 schools across their territories) and especially valued family education, enforcing strict discipline. Mr. Su’s elder uncle, Ma Dunde, specially hired the late-Qing imperial scholar Ma Yuqing as a private tutor for young Su Guohua, his cousins of the same age, and even Prince Ao Qing of Mongolia—four students in total. Young Su was exceptionally gifted and diligent, passionate about learning Chinese characters. He earned Master Ma’s affection and attentive guidance, which sowed the seed of enduring love for calligraphy.
Mr. Su’s father, Su Xingqiao, was a military man with higher education and deep cultural cultivation, particularly outstanding in painting and calligraphy. He associated with many well-known artists of the time and collected numerous famous works from the Song, Ming, and Qing dynasties. During Zhang Daqian’s stay in Lanzhou, they became close friends, and Su Xingqiao frequently sought advice from him. Mr. Su’s mother, Ma Jinxian, understood Arabic and spoke fluent Chinese, studied the Four Books and Five Classics, loved painting and calligraphy, and embodied the traditional Chinese virtues of supporting her husband and educating her children wisely. Mr. Su grew up in such a scholarly family rich in cultural heritage, deeply rooted in traditional Chinese values. Influenced by his family, Mr. Su began studying painting in his youth and received guidance from Zhang Daqian, thus embarking on a path primarily focused on painting, while also practicing calligraphy.
After the founding of New China, Mr. Su began a completely new life. He skipped grades to enter elementary school and smoothly advanced through middle school, consistently ranking top in academics. His practice of painting and calligraphy became even more diligent and self-motivated. In middle school, due to his excellence in art, he was praised by teachers and often called upon by the school to write banners and slogans for events. After graduating, he easily gained admission to university, but chose to attend Linxia Normal School to alleviate financial burdens on his parents. As a student, Mr. Su actively sought mentors in painting and calligraphy. Renowned local artists of Hezhou such as “Wang the Iron Pen,” Fang Jiehou, and Su Hanzhou served as his calligraphy teachers. While studying at Linxia Normal School, his painting *Night Reading* was selected for the 1957 “Gansu Provincial Youth Painting Exhibition,” winning second prize and subsequently recommended to participate in the National Youth Art Exhibition. Immediately after graduation, he was assigned a job, beginning a passionate young man’s dream and pursuit—and also the start of his bumpy life journey.
Hardship Reveals Strong Will
Due to his unusual family background, Mr. Su and his family suffered setbacks during successive political movements, especially during the Cultural Revolution—his home was ransacked, he was criticized, persecuted, and dismissed from public office. To protect his family, Mr. Su broke through Red Guard blockades and led his entire family to relocate to Xinjiang, where they remained for thirty years. In Xinjiang, Mr. Su endured harsh political and natural conditions, experienced the immense grief of losing his mother and wife, worked as a shepherd, beekeeper, laborer, contractor, fishpond operator, businessman, and even held public office, serving as a water conservancy engineer in a county department for over ten years. Despite countless hardships and various livelihoods, Mr. Su never abandoned his passion for calligraphy or his deep interest in painting. Under adverse conditions and amidst difficult daily struggles, he always carried calligraphy models with him, studying them whenever free time arose—anytime, anywhere, year after year. He would buy two copies of each calligraphy model—one stored away, the other torn page by page, folded, and carried on his person for constant review. At home, he kept an iron pen and sand tray, squeezing time every day to practice, persistently studying steles and models by Zhang Zhi, the Two Wangs (Wang Xizhi and Wang Xianzhi), Huaisu, with particular depth in the works of the Two Wangs. While working in the water conservancy department, colleagues noticed that Mr. Su appeared very serious during large meetings, sitting upright and listening attentively. Here, Mr. Su lowered his head and couldn’t help chuckling happily: “Actually, my fingers were tracing characters inside my pocket—the movement was entirely on the words.” While herding, beekeeping, or guarding fishponds, overwhelmed by indescribable loneliness and confusion, painting and calligraphy became his primary spiritual refuge. Constantly reviewing the calligraphy models he carried, deeply absorbing their brush intent and artistic spirit, he gradually realized that his love for calligraphy surpassed everything else. Sometimes inspired, he would use a pen to sketch quick drawings of the Tianshan Mountains before him—the breathtaking, unforgettable scenery that enchanted him.
“Artistic interests greatly reduced my loneliness and suffering,” said Mr. Su.
As early as the 1970s in Xinjiang, Mr. Su began attempting creative work in painting and calligraphy. Once, facing a calligraphy piece, he solemnly inscribed his long-contemplated pseudonym in the signature section—“Tianshan Muren” (Herdsman of Tianshan). His artistic creations were encouraged by Zhang Guoan, then his superior and professor at Xinjiang Bayi College, who particularly praised a self-composed couplet in his calligraphy: “Traversing thirty thousand li of snow-covered Tianshan, laughing over decades of turbulent waves,” and the pseudonym “Tianshan Muren.” Mr. Zhang Guoan, a native of Tianjin, was one of Mr. Su’s close friends formed in hardship, now living in retirement in the United States, still maintaining contact with Mr. Su to this day. Speaking of why he continues to use the name “Tianshan Muren,” Mr. Su became emotional: “My father is buried at the foot of Tianshan; I once herded there; my youth remains in Xinjiang. More importantly, Tianshan embraced our family with her vast heart, and the kind乡亲 (fellow villagers) of all ethnic groups at her foot welcomed us… Xinjiang is our family’s second hometown.”
Zhang Guoan, Mr. Su’s superior in Xinjiang, held him in high regard and intended to promote him into officialdom, but Mr. Su sincerely expressed his dedication to art and disinterest in politics; Mr. Su also earned money in Xinjiang, once becoming a well-known “ten-thousand-yuan household” and even “hundred-thousand-yuan household” in his village. Yet his deep passion and mastery of art made him indifferent to wealth. To fully devote himself to his calling, in 1983, Mr. Su seized an opportunity to return to his long-lost hometown of Linxia, transferred his employment there, and simultaneously processed his retirement. Was it a case of “fallen leaves returning to their roots”? Mr. Su shook his head in denial.
“It was for calligraphy,” he said seriously.
During the 13 years in Linxia, Mr. Su devoted himself entirely to calligraphy, studying diligently and working silently. He rose daily at 4 a.m. to begin copying models or creating calligraphy, averaging no less than six hours per day. To maintain sufficient wrist and arm strength and coordination, he exercised regularly and cultivated dozens of potted plants, moving them back and forth twice daily, morning and afternoon. Day after day, season after season, reflecting on life and contemplating calligraphy, Mr. Su’s skills continuously improved. His unique family background, rich and tumultuous life experiences, and relentless pursuit shaped his distinctive character, making his devotion to calligraphy surpass that to painting. He is bold in temperament, upright in character, sincere in treating others, proud and independent, refusing to conform to vulgarity, firm and stubborn, single-mindedly pursuing the essence of calligraphic art, avoiding all professional associations and public activities. Yet after two or three years in Linxia, he sensed his progress stagnating, unable to shake off a growing sense of crisis.
In 2006, for the sake of calligraphy, the 66-year-old Mr. Su resolutely left Linxia. He first visited Beijing to see friends and conduct a month-long investigation, then went to Xi’an for further exploration, eventually settling there, opening a small art shop on a calligraphy and painting street near the Giant Wild Goose Pagoda. He stayed for two years. In Xi’an’s ancient capital art circles, Mr. Su transitioned from being overlooked to gradually gaining recognition, especially appreciated and praised by the院长 (director) of Qujiang Calligraphy and Painting Academy, who admitted him as a member. He made many friends in the local art community, participated in multiple activities organized by Qujiang Calligraphy and Painting Academy, and achieved sales volumes rivaling those of the academy itself, becoming popular among peers and favored by Japanese and Korean collectors. But for Mr. Su, staying in Xi’an was primarily for learning and improvement. Beyond broadening his horizons and gaining social validation, what mattered most was the Stele Forest. “That,” said Mr. Su, “is China’s ultimate treasure house of calligraphic culture.” Whenever possible, he visited the Stele Forest, wandering through it, lingering as if intoxicated, utterly absorbed… Three years passed, two of them in Xi’an. He regained confidence, attained new insights into calligraphy, and determined his permanent base—Lanzhou.
Life Endures, Pursuit Never Ceases
Calligraphic art arises from the most fundamental cultural practices of the Chinese people—seemingly ordinary, yet truly magical. Chinese calligraphy embodies the essence of Chinese culture. For ordinary readers and writers, it is an art that seems partially understood, yet ultimately mysterious. For the calligrapher, it reveals personality, temperament, talent, and inner world. A successful calligraphy piece manifests skill, character, knowledge, experience, and spiritual realm. After more than sixty years of pursuit and exploration, Mr. Su has developed a profound understanding and personal insight into calligraphic art. He tirelessly seeks unity between heart and brush, consciously elevating his ideological, aesthetic, and moral realms, so that his works reflect his life aspirations and spiritual individuality, as well as the sociocultural characteristics of his era, forming a unique calligraphic style. His experiences and character have profoundly influenced his artistic style. Mr. Su says: “Calligraphic quality reflects personal integrity; when one desires nothing, integrity naturally rises. Innovation emerges from long-term study and practice; style forms imperceptibly, and innovation is embedded within style. The kind of style one develops depends on the depth of engagement with tradition and the height of one’s spiritual realm.”
“Art knows no bounds. As long as life continues, pursuit should never cease,” said Mr. Su.
At the end of the interview, I asked to take a photo of Mr. Su writing calligraphy. Sitting in a chair before his desk, Mr. Su smiled slightly and nodded. After about three minutes of silent contemplation, he steadily stood up, calmly took out rice paper, slowly spread it on the desk, poured ink into the inkstone, gently “moistened the brush,” then suddenly lifted the brush and began writing. When he wrote the four characters “Rolling Yangtze River,” the theme song of the TV series *Romance of the Three Kingdoms* instantly echoed in my mind—Mr. Su was writing the preface poem of *Romance of the Three Kingdoms*. The present Mr. Su appeared calm and focused, handling the brush freely, strokes alternating between fast and slow, light and heavy, restrained and expressive; ink varied from dark to light, dry to moist, sparse to dense; characters were round, strong, and vigorous, connected or separated, yet unified in rhythm; lines formed rows, rows echoing each other, the whole composition flowing like music, naturally and fluently executed from beginning to end, culminating in a magnificent and elegant rendition of the *Romance of the Three Kingdoms* preface. Ma Zixiang, Chairman of the Gansu Folk Artists Association and Vice Chairman of the Gansu Federation of Literary and Art Circles, put it well: “Viewing Mr. Su Guohua’s calligraphy today is like delightfully listening to a beautiful melody. His brushwork features rises and falls, expansions and contractions; strength varies between powerful and gentle, firm and soft; speed alternates between swift and slow, continuous and interrupted; emotions shift between tension and relaxation, highs and lows. His brush moves with ups and downs, his ink flows vividly and dynamically, achieving harmonious and unified rhythm. He understands traditional foundations while grasping paths of innovation, pushing his calligraphy toward greater maturity. Brush follows heart, intention precedes stroke, fully expressing his creative passion and highlighting his uniquely seasoned yet fresh artistic personality.” Phone: 15117213492, 15193171038. Contact: Pu Aiqin QQ: 1214350582, 15117213492
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Guo-Hua Su