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Li Zhanhai
Li Zhanhai
Personal Profile
Li Zhanhai, male, born in 1954. Native place: Shaanxi Xianyang. Pen name: Xianyun, Yunhai. Has been engaged in the study, research, and promotion of calligraphy for nearly 40 years. Currently a council member of the Xianyang Branch of the Shaanxi Academy of Painting and Calligraphy.
Since elementary school, under the guidance and influence of teachers, I developed a deep love for calligraphy—enjoying observing, copying, and writing, and dedicating myself to meticulous study. In my early years, I studied at the Xinjiang Branch of the China Calligraphy and Painting Correspondence University in Urumqi, focusing on the styles of Ouyang Xun, Zhao Mengfu, Yan Zhenqing, and Liu Gongquan. I paid particular attention to Yan’s style, dedicating great effort to (the self-written imperial decree).帖After returning to Xianyang, Shaanxi, I continued practicing calligraphy in my spare time. In recent years, I have devoted considerable time to studying Wang Xizhi’s (Shengjiao Xu), as well as deeply exploring Mi Fu’s (Shaoxi Tie) and Yan Zhenqing’s (Eulogy for My Nephew). I have also persistently studied the Northern Wei (Dao Zun Tomb Stele). This has laid a solid foundation for my calligraphy and calligraphic theory.
In recent years, I have focused on calligraphy instruction and have received favorable reviews from peers.I hold personal insights and understanding of calligraphy and its theory, firmly advocating: write characters clearly, not sloppily; follow the righteous path, not deviant ones; seek aesthetic beauty, not vulgar trends; inherit tradition, do not create庸ly.My philosophy of calligraphy is: inherit traditional beauty, create individual beauty, and reject self-indulgent beauty.
Since elementary school, under the guidance and influence of teachers, I developed a deep love for calligraphy—enjoying observing, copying, and writing, and dedicating myself to meticulous study. In my early years, I studied at the Xinjiang Branch of the China Calligraphy and Painting Correspondence University in Urumqi, focusing on the styles of Ouyang Xun, Zhao Mengfu, Yan Zhenqing, and Liu Gongquan. I paid particular attention to Yan’s style, dedicating great effort to (the self-written imperial decree).帖After returning to Xianyang, Shaanxi, I continued practicing calligraphy in my spare time. In recent years, I have devoted considerable time to studying Wang Xizhi’s (Shengjiao Xu), as well as deeply exploring Mi Fu’s (Shaoxi Tie) and Yan Zhenqing’s (Eulogy for My Nephew). I have also persistently studied the Northern Wei (Dao Zun Tomb Stele). This has laid a solid foundation for my calligraphy and calligraphic theory.
In recent years, I have focused on calligraphy instruction and have received favorable reviews from peers.I hold personal insights and understanding of calligraphy and its theory, firmly advocating: write characters clearly, not sloppily; follow the righteous path, not deviant ones; seek aesthetic beauty, not vulgar trends; inherit tradition, do not create庸ly.My philosophy of calligraphy is: inherit traditional beauty, create individual beauty, and reject self-indulgent beauty.
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Li Zhanhai