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Zhang Ran
Zhang Ran
Personal Profile
Zhang Ran, known as the Prairie Herdsman, is from Ulanhot, Inner Mongolia. Born in 1958 on the科尔沁大草原 (Kerqin Grassland), he currently serves as Vice Chairman of the China Calligraphy Promotion Association, a member of the China Calligraphers Association, a member of the China Calligraphy Federation, and a researcher at the China Calligraphy Research Institute. He is also a visiting professor at Shandong University and a researcher at the Shandong Oriental Art Research Institute. He has been invited multiple times to hold exhibitions in Japan, South Korea, Singapore, and other countries, winning a gold medal in Sino-Japanese cultural exchanges and receiving the title of "Friendship Ambassador" from the Japan-China Friendship Association. He also won a gold medal at the Asia Four Nations International Exhibition (Singapore, China, Malaysia, Indonesia). In 2019, he received the "Golden Dragon" Grand Prize at the Global Chinese Dragon Character Large-Format Calligraphy Exhibition; numerous works have been collected by authoritative institutions and friendly figures from China and abroad. His works have been frequently published in art media such as China Calligraphers Newspaper, Calligraphy Daily, China Calligraphy Newspaper, and Writers Newspaper. In September 2015, he was selected as the cover figure of Shen Zhou magazine, published by the China Federation of Literary and Art Circles.
Inner Mongolia Calligrapher Zhang Ran Wins Special Contribution Award at Korea's "Asiatic Fine Arts Invitational Exhibition"
On July 4, 2020, the "Asiatic Fine Arts Invitational Exhibition," with a 47-year history, opened at the National Museum of Modern and Contemporary Art in Seoul, showcasing over 500 calligraphy and painting works from around the globe. Zhang Ran, a calligrapher from Xing'an League, Inner Mongolia, was selected for this prestigious exhibition and awarded the Special Contribution Award.
Zhang Ran’s exhibited work at the "Asiatic Fine Arts Invitational Exhibition" is his calligraphic rendition of Li Bai’s poem "Drinking Alone Beneath the Moon." Employing running-cursive script, he captures the poetic essence of drunkenness—the entire piece flows with undulating rhythm, like "clouds and霞 gathering and dispersing, forming shapes upon encounter," evolving naturally with each stroke, perfectly embodying the poem’s atmosphere.
The "Asiatic Fine Arts Invitational Exhibition" is hosted by the Korea Culture and Arts Research Society and has been held consecutively for 47 editions. It is one of Asia’s most significant art events and among the world’s most authoritative fine arts exhibitions. All submitted works are high-caliber calligraphy and painting pieces from across Asian nations.
Simple, Refined, and Majestic —— Appreciating Zhang Ran’s Calligraphy By Huang Danhui Faced with Mr. Zhang Ran’s calligraphy, I find it difficult to begin writing, for several reasons: First, his calligraphy exhibits diverse forms, making it hard to classify him into any single school or tradition. Second, while deeply rooted in classical traditions, Zhang Ran’s style is uniquely original, achieving an individual character that erases all traces of imitation—“like a unicorn’s horn hanging, leaving no trace”—making it nearly impossible to discern which specific schools or masters influenced him. Third, Mr. Zhang does not seek publicity; unlike many calligraphers who constantly organize exhibitions and publish collections, there is virtually no existing data available for reference. Fourth, Zhang Ran’s calligraphy transcends technique to reach the realm of Dao—his calligraphy is merely an external manifestation of his aesthetic sensibility and scholarly character; through his works alone, we can glimpse his personality, conduct, and life philosophy. Fifth, Zhang Ran’s calligraphy rises above the mundane, possessing a Zen-like and Buddhist aura, offering viewers moments of sudden enlightenment and profound contemplation. My first impression of Zhang Ran’s calligraphy is “great simplicity conceals great ingenuity.” His couplet "Spring Returns, Wind Still" seamlessly blends running and cursive scripts. At first glance, it appears rugged and unpolished, yet in truth, it is ingenious and ancient: “When spring returns, flowers do not fall; when wind is still, the moon shines eternally.” On the surface, this couplet describes natural elements such as flowers and the moon, but beneath lies profound philosophical insight into life. This couplet originates from the Han Dynasty stele inscription: “When spring returns, flowers do not fall; when wind is still, the moon shines eternally. Though fleeting pleasures pass with spring, joyful excursions return laden with moonlight.” The calligraphy of "Spring Returns, Wind Still" is vigorous, substantial, and richly full-bodied, blending elegance and antiquity. Its characters alternate between plump and slender, large and small, leaning and upright, arranged with serene openness and natural simplicity, brimming with spontaneous charm. Its brushwork is sharp yet refined, its qi majestic, its tone elevated and exquisite—true to the principle of “great simplicity conceals great ingenuity,” it stands as a masterpiece among Zhang Ran’s works. My second impression of Zhang Ran’s calligraphy is “painting infused into writing.” In "Mountains and Rivers Add Beauty," the structure is open and airy, ink tones vary between light and dark, lines range from thick to thin, and the brushwork combines running and cursive scripts, exuding an ascending momentum and dynamic rhythm. In "Scenery Calm Amidst Clouds," the brushwork is fluid, ink gradations are orderly, and the characters clearly convey pictorial qualities. "Gazing at the Sea, Listening to the Waves" likewise employs painting-inspired calligraphy, embedding the imagery and mood of ocean waves directly into the written form—here, painting and calligraphy originate from the same source, mutually reinforcing each other: where calligraphy falls short, painting fills in; where painting lacks, calligraphy completes. Together they produce a unified aesthetic harmony. "Pure as Ice, Clear as Jade" continues this organic interplay between painting and calligraphy, conveying abstract beauty through the fusion of Wei and clerical styles, evoking endless reverie and lingering delight in the viewer. My third impression of Zhang Ran’s calligraphy is the integration of multiple scripts within a single work, thereby dissolving monotony and repetition to generate dynamic, flowing beauty. Among the works I have seen, Zhang Ran primarily focuses on running script, yet he incorporates elements of cursive, clerical, Wei, and even seal script, forging a distinctive personal style. In "Climbing the Yellow Crane Tower," he sequentially integrates regular, running, and cursive scripts into one composition—original in conception, inventive in idea, evoking the aesthetic of Japanese ‘broken-script’ calligraphy. He breaks traditional calligraphic norms and structural conventions, offering viewers a rich, multifaceted sense of transformation and vitality. The overall impression Zhang Ran’s calligraphy leaves is one of simplicity, refinement, and majestic vigor. A land nurtures its people: born on the vast Kerqin Grassland, the people of Inner Mongolia inherently possess boldness, generosity, and unrestrained spirit. In his "Fa Yan · Wen Shen," the Han Dynasty scholar and literary giant Yang Xiong proposed the famous dictum: “Calligraphy is the drawing of the heart.” He argued that calligraphic works directly reflect the artist’s thoughts, moral character, and temperament—an early articulation of the relationship between calligraphy and the artist’s inner world, profoundly influencing later generations of calligraphy theory and practice. Emphasizing the correlation between character and calligraphic quality remains a central theme in Chinese calligraphic theory. Modern calligraphy master Liu Xizai further clarified in "Yi Gai · Shu Gai": “Calligraphy is a reflection. It reflects one’s learning, talent, aspirations—in short, it reflects the person himself.” He believed that through calligraphy, one may perceive not only a calligrapher’s “learning,” “talent,” and “aspirations,” but also their very essence. Good character inevitably produces good calligraphy. As a northern man, Zhang Ran naturally embodies the directness, generosity, and righteousness typical of northerners—a temperament that inevitably imbues his calligraphy with yang energy and heroic spirit. After traversing countless experiences, Zhang Ran’s calligraphy has evolved toward spontaneity, effortless expression, naturalness, and freedom. Su Shi, when evaluating calligraphy, did not adhere to a single aesthetic standard but advocated a pluralistic, “unobstructed inclusiveness” and “harmonious wholeness.” A calligraphic work may exhibit diverse styles, yet these are closely interconnected, coexisting harmoniously within the same piece. This theory manifests in Zhang Ran’s calligraphy through the integration and unity of multiple scripts. Regular script and running script, cursive script share fundamental affinities; Zhang Ran has fused various scripts into a single composition with complete ease and mastery because he truly comprehends the principle of “seamless interconnectivity” among different calligraphic forms. Yu Shinan of the Tang Dynasty wrote in "Bi Sui Lun · Qi Miao": “Thus we know that the Way of Calligraphy is profound and mysterious—it must be attained through spiritual resonance, not forced effort. Skill arises from inner awakening, not visual observation… When a learner awakens to the ultimate Dao, calligraphy becomes effortless; if one indulges in superficial splendor, one will remain confused about this principle.” Yu Shinan here asserts that to reach the “profound mystery” of calligraphy, one cannot rely solely on sensory perception (“visual observation”), since sensory experience is limited. Only through “spiritual resonance” and “inner awakening” can one attain the “ultimate Dao” and “effortless action.” Zhang Huaiwan also explored deeply the aesthetics of calligraphy appreciation, proposing a series of aesthetic propositions such as “Only perceive the spirit, not the form,” and “Refined intent, profound insight, nothing escapes notice.” Since calligraphy must create意境 (artistic atmosphere)—an intangible image—one must not cling to tangible forms but instead grasp and observe the “spirit.” Such observation is a perceptual experience: “refined intent, profound insight.” Only by perceiving the holistic radiance of the “spirit” can one achieve “nothing escapes notice,” a concept deeply aligned with Laozi and Zhuangzi philosophy. Su Shi, when discussing calligraphy, advocated the concept of “not attaching to objects” and “non-abiding.” He adopted an aesthetic attitude of “implying meaning” rather than “fixating on objects.” In his "Record of Baohui Hall," Su Shi stated: “A gentleman may imply meaning through objects, but should not fixate upon them.” “Implying meaning through objects” means the aesthetic subject must remain emotionally detached from external things—not dominated or bound by them—abandoning the notion of using calligraphy merely as a medium for emotional expression, thus attaining full aesthetic pleasure and enjoyment—that is, achieving “joyful mind.” “Fixating on objects” means being burdened by material concerns, becoming obsessed with fame and profit derived from calligraphy, thereby losing the free and transcendent state of aesthetic appreciation. In "Stone Cangshu’s Drunken Ink Pavilion," Su Shi said: “My calligraphy originates from intention, without fixed rules; strokes and dots emerge spontaneously—I grow weary of deliberate calculation.” Here, Su Shi reveals that calligraphy possesses “supreme joy,” akin to the carefree wandering of Zhuangzi. He claims his calligraphy arises entirely from “intention,” with no fixed method—each stroke and dot emerges naturally, weary of repeated deliberation. His calligraphy thus achieves a state of absolute freedom and unimpeded spontaneity, bearing Buddhist overtones. In his "Evaluation of Cursive Script," Su Shi proposed the theory: “The best calligraphy emerges when one is not seeking perfection.” “Calligraphy initially does not aim for excellence—and yet achieves it…” “Not aiming for excellence” signifies transcendence beyond established rules and artistic constraints. “Intentional” implies “rule-bound,” carrying explicit purpose and rational control. “Unintentional” implies “rule-free,” a spiritual state of liberation. “Not aiming for excellence” adopts a strategy of retreat to advance: by relinquishing the desire for “excellence,” one ultimately attains the “ultimate excellence”—a concept closely linked to Buddhist and Chan thought. Zhang Ran’s calligraphy breaks free from the constraints of any single school or tradition. He draws widely from diverse sources, for every school and tradition carries inherent limitations and shortcomings. Only by embracing “no-method-as-method” as the ultimate goal of calligraphic aesthetics can one achieve “principle and matter unobstructed” and “all matters unobstructed,” enabling him to adopt “seamless interconnectivity” as the fundamental approach to composing across all scripts. This mode of thinking aligns precisely with the essence of Chinese calligraphy—because calligraphy’s unique charm lies in cultivating intuitive insight, emphasizing “meaning arising beyond form,” “grasping the essence and forgetting the form,” and “imaginative transformation yielding wonder.” This traditional aesthetic system centered on “vital resonance” is precisely why Zhang Ran infuses Chan into his calligraphy—and why viewers struggle to identify his calligraphy as belonging to any particular school or tradition. Of course, art knows no bounds, and neither does calligraphy. Zhang Ran’s calligraphy still holds tremendous potential in terms of character form, structure, overall composition, and creation of qi韵. Particularly, his brush strength offers considerable room for development. Yet, as a middle-aged calligrapher under sixty, his ability to master multiple scripts, achieve simplicity and refinement, and radiate majestic energy is exceedingly rare. May he soon progress from “observing things visually” and “externalizing impressions inwardly” into the sublime state of “heaven and human as one” and “forgetting self and object”—if so, what great fortune indeed! (Author: Huang Danhui, Ph.D., Editor of the China Art Museum Journal, Visiting Researcher at Renmin University of China)
Inner Mongolia Calligrapher Zhang Ran Wins Special Contribution Award at Korea's "Asiatic Fine Arts Invitational Exhibition"
On July 4, 2020, the "Asiatic Fine Arts Invitational Exhibition," with a 47-year history, opened at the National Museum of Modern and Contemporary Art in Seoul, showcasing over 500 calligraphy and painting works from around the globe. Zhang Ran, a calligrapher from Xing'an League, Inner Mongolia, was selected for this prestigious exhibition and awarded the Special Contribution Award.
Zhang Ran’s exhibited work at the "Asiatic Fine Arts Invitational Exhibition" is his calligraphic rendition of Li Bai’s poem "Drinking Alone Beneath the Moon." Employing running-cursive script, he captures the poetic essence of drunkenness—the entire piece flows with undulating rhythm, like "clouds and霞 gathering and dispersing, forming shapes upon encounter," evolving naturally with each stroke, perfectly embodying the poem’s atmosphere.
The "Asiatic Fine Arts Invitational Exhibition" is hosted by the Korea Culture and Arts Research Society and has been held consecutively for 47 editions. It is one of Asia’s most significant art events and among the world’s most authoritative fine arts exhibitions. All submitted works are high-caliber calligraphy and painting pieces from across Asian nations.
Simple, Refined, and Majestic —— Appreciating Zhang Ran’s Calligraphy By Huang Danhui Faced with Mr. Zhang Ran’s calligraphy, I find it difficult to begin writing, for several reasons: First, his calligraphy exhibits diverse forms, making it hard to classify him into any single school or tradition. Second, while deeply rooted in classical traditions, Zhang Ran’s style is uniquely original, achieving an individual character that erases all traces of imitation—“like a unicorn’s horn hanging, leaving no trace”—making it nearly impossible to discern which specific schools or masters influenced him. Third, Mr. Zhang does not seek publicity; unlike many calligraphers who constantly organize exhibitions and publish collections, there is virtually no existing data available for reference. Fourth, Zhang Ran’s calligraphy transcends technique to reach the realm of Dao—his calligraphy is merely an external manifestation of his aesthetic sensibility and scholarly character; through his works alone, we can glimpse his personality, conduct, and life philosophy. Fifth, Zhang Ran’s calligraphy rises above the mundane, possessing a Zen-like and Buddhist aura, offering viewers moments of sudden enlightenment and profound contemplation. My first impression of Zhang Ran’s calligraphy is “great simplicity conceals great ingenuity.” His couplet "Spring Returns, Wind Still" seamlessly blends running and cursive scripts. At first glance, it appears rugged and unpolished, yet in truth, it is ingenious and ancient: “When spring returns, flowers do not fall; when wind is still, the moon shines eternally.” On the surface, this couplet describes natural elements such as flowers and the moon, but beneath lies profound philosophical insight into life. This couplet originates from the Han Dynasty stele inscription: “When spring returns, flowers do not fall; when wind is still, the moon shines eternally. Though fleeting pleasures pass with spring, joyful excursions return laden with moonlight.” The calligraphy of "Spring Returns, Wind Still" is vigorous, substantial, and richly full-bodied, blending elegance and antiquity. Its characters alternate between plump and slender, large and small, leaning and upright, arranged with serene openness and natural simplicity, brimming with spontaneous charm. Its brushwork is sharp yet refined, its qi majestic, its tone elevated and exquisite—true to the principle of “great simplicity conceals great ingenuity,” it stands as a masterpiece among Zhang Ran’s works. My second impression of Zhang Ran’s calligraphy is “painting infused into writing.” In "Mountains and Rivers Add Beauty," the structure is open and airy, ink tones vary between light and dark, lines range from thick to thin, and the brushwork combines running and cursive scripts, exuding an ascending momentum and dynamic rhythm. In "Scenery Calm Amidst Clouds," the brushwork is fluid, ink gradations are orderly, and the characters clearly convey pictorial qualities. "Gazing at the Sea, Listening to the Waves" likewise employs painting-inspired calligraphy, embedding the imagery and mood of ocean waves directly into the written form—here, painting and calligraphy originate from the same source, mutually reinforcing each other: where calligraphy falls short, painting fills in; where painting lacks, calligraphy completes. Together they produce a unified aesthetic harmony. "Pure as Ice, Clear as Jade" continues this organic interplay between painting and calligraphy, conveying abstract beauty through the fusion of Wei and clerical styles, evoking endless reverie and lingering delight in the viewer. My third impression of Zhang Ran’s calligraphy is the integration of multiple scripts within a single work, thereby dissolving monotony and repetition to generate dynamic, flowing beauty. Among the works I have seen, Zhang Ran primarily focuses on running script, yet he incorporates elements of cursive, clerical, Wei, and even seal script, forging a distinctive personal style. In "Climbing the Yellow Crane Tower," he sequentially integrates regular, running, and cursive scripts into one composition—original in conception, inventive in idea, evoking the aesthetic of Japanese ‘broken-script’ calligraphy. He breaks traditional calligraphic norms and structural conventions, offering viewers a rich, multifaceted sense of transformation and vitality. The overall impression Zhang Ran’s calligraphy leaves is one of simplicity, refinement, and majestic vigor. A land nurtures its people: born on the vast Kerqin Grassland, the people of Inner Mongolia inherently possess boldness, generosity, and unrestrained spirit. In his "Fa Yan · Wen Shen," the Han Dynasty scholar and literary giant Yang Xiong proposed the famous dictum: “Calligraphy is the drawing of the heart.” He argued that calligraphic works directly reflect the artist’s thoughts, moral character, and temperament—an early articulation of the relationship between calligraphy and the artist’s inner world, profoundly influencing later generations of calligraphy theory and practice. Emphasizing the correlation between character and calligraphic quality remains a central theme in Chinese calligraphic theory. Modern calligraphy master Liu Xizai further clarified in "Yi Gai · Shu Gai": “Calligraphy is a reflection. It reflects one’s learning, talent, aspirations—in short, it reflects the person himself.” He believed that through calligraphy, one may perceive not only a calligrapher’s “learning,” “talent,” and “aspirations,” but also their very essence. Good character inevitably produces good calligraphy. As a northern man, Zhang Ran naturally embodies the directness, generosity, and righteousness typical of northerners—a temperament that inevitably imbues his calligraphy with yang energy and heroic spirit. After traversing countless experiences, Zhang Ran’s calligraphy has evolved toward spontaneity, effortless expression, naturalness, and freedom. Su Shi, when evaluating calligraphy, did not adhere to a single aesthetic standard but advocated a pluralistic, “unobstructed inclusiveness” and “harmonious wholeness.” A calligraphic work may exhibit diverse styles, yet these are closely interconnected, coexisting harmoniously within the same piece. This theory manifests in Zhang Ran’s calligraphy through the integration and unity of multiple scripts. Regular script and running script, cursive script share fundamental affinities; Zhang Ran has fused various scripts into a single composition with complete ease and mastery because he truly comprehends the principle of “seamless interconnectivity” among different calligraphic forms. Yu Shinan of the Tang Dynasty wrote in "Bi Sui Lun · Qi Miao": “Thus we know that the Way of Calligraphy is profound and mysterious—it must be attained through spiritual resonance, not forced effort. Skill arises from inner awakening, not visual observation… When a learner awakens to the ultimate Dao, calligraphy becomes effortless; if one indulges in superficial splendor, one will remain confused about this principle.” Yu Shinan here asserts that to reach the “profound mystery” of calligraphy, one cannot rely solely on sensory perception (“visual observation”), since sensory experience is limited. Only through “spiritual resonance” and “inner awakening” can one attain the “ultimate Dao” and “effortless action.” Zhang Huaiwan also explored deeply the aesthetics of calligraphy appreciation, proposing a series of aesthetic propositions such as “Only perceive the spirit, not the form,” and “Refined intent, profound insight, nothing escapes notice.” Since calligraphy must create意境 (artistic atmosphere)—an intangible image—one must not cling to tangible forms but instead grasp and observe the “spirit.” Such observation is a perceptual experience: “refined intent, profound insight.” Only by perceiving the holistic radiance of the “spirit” can one achieve “nothing escapes notice,” a concept deeply aligned with Laozi and Zhuangzi philosophy. Su Shi, when discussing calligraphy, advocated the concept of “not attaching to objects” and “non-abiding.” He adopted an aesthetic attitude of “implying meaning” rather than “fixating on objects.” In his "Record of Baohui Hall," Su Shi stated: “A gentleman may imply meaning through objects, but should not fixate upon them.” “Implying meaning through objects” means the aesthetic subject must remain emotionally detached from external things—not dominated or bound by them—abandoning the notion of using calligraphy merely as a medium for emotional expression, thus attaining full aesthetic pleasure and enjoyment—that is, achieving “joyful mind.” “Fixating on objects” means being burdened by material concerns, becoming obsessed with fame and profit derived from calligraphy, thereby losing the free and transcendent state of aesthetic appreciation. In "Stone Cangshu’s Drunken Ink Pavilion," Su Shi said: “My calligraphy originates from intention, without fixed rules; strokes and dots emerge spontaneously—I grow weary of deliberate calculation.” Here, Su Shi reveals that calligraphy possesses “supreme joy,” akin to the carefree wandering of Zhuangzi. He claims his calligraphy arises entirely from “intention,” with no fixed method—each stroke and dot emerges naturally, weary of repeated deliberation. His calligraphy thus achieves a state of absolute freedom and unimpeded spontaneity, bearing Buddhist overtones. In his "Evaluation of Cursive Script," Su Shi proposed the theory: “The best calligraphy emerges when one is not seeking perfection.” “Calligraphy initially does not aim for excellence—and yet achieves it…” “Not aiming for excellence” signifies transcendence beyond established rules and artistic constraints. “Intentional” implies “rule-bound,” carrying explicit purpose and rational control. “Unintentional” implies “rule-free,” a spiritual state of liberation. “Not aiming for excellence” adopts a strategy of retreat to advance: by relinquishing the desire for “excellence,” one ultimately attains the “ultimate excellence”—a concept closely linked to Buddhist and Chan thought. Zhang Ran’s calligraphy breaks free from the constraints of any single school or tradition. He draws widely from diverse sources, for every school and tradition carries inherent limitations and shortcomings. Only by embracing “no-method-as-method” as the ultimate goal of calligraphic aesthetics can one achieve “principle and matter unobstructed” and “all matters unobstructed,” enabling him to adopt “seamless interconnectivity” as the fundamental approach to composing across all scripts. This mode of thinking aligns precisely with the essence of Chinese calligraphy—because calligraphy’s unique charm lies in cultivating intuitive insight, emphasizing “meaning arising beyond form,” “grasping the essence and forgetting the form,” and “imaginative transformation yielding wonder.” This traditional aesthetic system centered on “vital resonance” is precisely why Zhang Ran infuses Chan into his calligraphy—and why viewers struggle to identify his calligraphy as belonging to any particular school or tradition. Of course, art knows no bounds, and neither does calligraphy. Zhang Ran’s calligraphy still holds tremendous potential in terms of character form, structure, overall composition, and creation of qi韵. Particularly, his brush strength offers considerable room for development. Yet, as a middle-aged calligrapher under sixty, his ability to master multiple scripts, achieve simplicity and refinement, and radiate majestic energy is exceedingly rare. May he soon progress from “observing things visually” and “externalizing impressions inwardly” into the sublime state of “heaven and human as one” and “forgetting self and object”—if so, what great fortune indeed! (Author: Huang Danhui, Ph.D., Editor of the China Art Museum Journal, Visiting Researcher at Renmin University of China)
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Zhang Ran