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Shang Fuming
Shang Fuming
Personal Profile
Shang Fuming, born in 1963, is from Zhouzhi County, Xi'an City, and currently resides in Beijing. He has loved calligraphy since childhood and has never stopped pursuing this traditional art. He diligently studies ancient masterpieces, draws on the strengths of various masters, and absorbs their essence while emphasizing learning from classical masters. His primary focus is on regular script and running script. Through rigorous practice, he has developed a style characterized by strict structure and smooth brushwork, forming an artistic style rooted in antiquity, elegant and vigorous. He frequently receives invitations to inscribe plaques and characters for enterprises and institutions. His work has been published in the book "Shang Fuming Calligraphy Collection." His works have repeatedly participated in national and provincial exhibitions and won awards.
Currently, he serves as a council member of the China National Art and Culture Research Institute, Chief Consultant at the Guodu Think Tank Cultural Industry Center, member of the China Cultural Industry Strategy Association, Advisory Consultant at the "Chinese Culture" Editorial Center, and member of the Shaanxi Yu Youren Calligraphy Association.
Quiet and Simple with Ancient Charm —— Appreciation of Shang Fuming's Calligraphy Wang Anquan / Article Reading Shang Fuming’s calligraphy evokes immediate admiration and a profound sense of surprise. What strikes one immediately is the rare purity and simplicity of his work amidst today’s noisy and profit-driven calligraphic world—a piece that invites quiet contemplation. Appreciating Shang Fuming’s calligraphy gives one a sense of calmness, a rustic elegance, and a continuous thread of tradition. The starting stroke of his characters is steady and composed—not rushed, yet subtly powerful like a stone falling from a high mountain, embodying the spirit of ancient masters. His brush movement flows steadily and firmly, without hesitation or stagnation, and avoids ostentatious display. At the end of each stroke, there is strength and weight, with power hidden within a rounded expression. The thickness of strokes varies little, ink density is not overly layered, yet it emphasizes bone structure in brushwork, expressing tenderness intertwined with strength. With such brushwork, such lines, and such attention to detail, his work achieves its unique charm, distinctive rhythm, and refined emotion. What surprises one deeply is the structure of Shang Fuming’s characters—pursuing tight central space and expanding outwardly, embodying the demeanor of following ancient masters step by step. It resembles a silent guard standing firm in duty, a tiger lying quietly atop a peak without glancing sideways, or a梧桐 tree (Paulownia) stripped of all flowers, branches stretching across the sky—the expression, posture, and experience of having witnessed countless changes, observing clouds rise and fall, conveying a simple, serene, genuine, and substantial sense of strength. What is the origin of Shang Fuming’s calligraphy? Tracing back to the roots of Shang Fuming’s work, we easily find that he has studied ancient models closely, progressing from Ouyang Xun upward to the Wang brothers (Wang Xizhi and Wang Xianzhi), which represents his lineage. Ouyang Xun’s calligraphy features square and upright brushwork with slight influence from clerical script, strong and precise strokes, meticulous and disciplined. He absorbed elements from Han clerical script and Jin dynasty regular script, combined with Northern and Southern Dynasties stele styles, drawing extensively from many sources. Some characters extend their main strokes outward, making the center tighter. Especially the vertical strokes on the right side often stretch upward dramatically, demonstrating extraordinary boldness. Shang Fuming primarily adopts Ouyang Xun’s rigorous and balanced style, maintaining neatness and sharpness. Although the character shapes are slightly elongated, spacing and layout remain orderly and compact, with tightly packed centers and extended main strokes, creating a dynamic momentum, well-balanced spacing, and a vivid rhythm. The coordination of strokes and arrangement of structures lie in balance with subtle sharpness, mostly extending to the right while maintaining excellent stability, avoiding any sense of imbalance or leaning—achieving the aesthetic pleasure of danger within harmony. Shang Fuming’s work also embodies the Confucian aesthetic of the Wang brothers—moderation, restraint, and distant grace—and gradually pursues the ultimate state where wildness transforms into tranquility, achieving a refined and balanced atmosphere. This reflects a deep exploration of life consciousness through calligraphy, ultimately manifesting human vitality intensely in his art. Intentionally integrating the styles of Ouyang Xun to the Wang brothers, he gradually developed a style that is grand and expansive, with outward-directed brushwork and stable, upright composition, establishing his own distinct identity in the calligraphic world. Shang Fuming rises high because his voice naturally carries far—no need for autumn winds to amplify it. Living in Beijing, over thirty years of daily study of ancient models, exposure to calligraphy circles, participation in gatherings, and wide networking with fellow artists have provided him opportunities to seek guidance from renowned masters such as Liu Yi, Wu Xiu, Zhou Ming, Liao Tingjian, and Tian Yingzhang. Together with peers, he has accumulated gradual progress. His scrolls, couplets, horizontal banners, and daily practiced characters—such as “Royal Tiger,” “Tiger Head Chan”—have earned recognition from experts and widespread praise. Born in Zhouzhi County, Xi’an, Shaanxi Province, in 1963, Shang Fuming joined the workforce in 1981 as a council member of the China World Culture Promotion and Exchange Association, a member of the Beijing-Korea Calligraphers’ Association, and a member of the Shaanxi Yu Youren Calligraphy Association. He also serves as honorary president of the Beijing Famous People Food Health Association. His works have been exhibited multiple times and widely collected. These experiences mutually reinforce and benefit his calligraphy, complementing each other beautifully. May 22, 2016, night, by the site of Daming Palace
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Quiet and Simple with Ancient Charm —— Appreciation of Shang Fuming's Calligraphy Wang Anquan / Article Reading Shang Fuming’s calligraphy evokes immediate admiration and a profound sense of surprise. What strikes one immediately is the rare purity and simplicity of his work amidst today’s noisy and profit-driven calligraphic world—a piece that invites quiet contemplation. Appreciating Shang Fuming’s calligraphy gives one a sense of calmness, a rustic elegance, and a continuous thread of tradition. The starting stroke of his characters is steady and composed—not rushed, yet subtly powerful like a stone falling from a high mountain, embodying the spirit of ancient masters. His brush movement flows steadily and firmly, without hesitation or stagnation, and avoids ostentatious display. At the end of each stroke, there is strength and weight, with power hidden within a rounded expression. The thickness of strokes varies little, ink density is not overly layered, yet it emphasizes bone structure in brushwork, expressing tenderness intertwined with strength. With such brushwork, such lines, and such attention to detail, his work achieves its unique charm, distinctive rhythm, and refined emotion. What surprises one deeply is the structure of Shang Fuming’s characters—pursuing tight central space and expanding outwardly, embodying the demeanor of following ancient masters step by step. It resembles a silent guard standing firm in duty, a tiger lying quietly atop a peak without glancing sideways, or a梧桐 tree (Paulownia) stripped of all flowers, branches stretching across the sky—the expression, posture, and experience of having witnessed countless changes, observing clouds rise and fall, conveying a simple, serene, genuine, and substantial sense of strength. What is the origin of Shang Fuming’s calligraphy? Tracing back to the roots of Shang Fuming’s work, we easily find that he has studied ancient models closely, progressing from Ouyang Xun upward to the Wang brothers (Wang Xizhi and Wang Xianzhi), which represents his lineage. Ouyang Xun’s calligraphy features square and upright brushwork with slight influence from clerical script, strong and precise strokes, meticulous and disciplined. He absorbed elements from Han clerical script and Jin dynasty regular script, combined with Northern and Southern Dynasties stele styles, drawing extensively from many sources. Some characters extend their main strokes outward, making the center tighter. Especially the vertical strokes on the right side often stretch upward dramatically, demonstrating extraordinary boldness. Shang Fuming primarily adopts Ouyang Xun’s rigorous and balanced style, maintaining neatness and sharpness. Although the character shapes are slightly elongated, spacing and layout remain orderly and compact, with tightly packed centers and extended main strokes, creating a dynamic momentum, well-balanced spacing, and a vivid rhythm. The coordination of strokes and arrangement of structures lie in balance with subtle sharpness, mostly extending to the right while maintaining excellent stability, avoiding any sense of imbalance or leaning—achieving the aesthetic pleasure of danger within harmony. Shang Fuming’s work also embodies the Confucian aesthetic of the Wang brothers—moderation, restraint, and distant grace—and gradually pursues the ultimate state where wildness transforms into tranquility, achieving a refined and balanced atmosphere. This reflects a deep exploration of life consciousness through calligraphy, ultimately manifesting human vitality intensely in his art. Intentionally integrating the styles of Ouyang Xun to the Wang brothers, he gradually developed a style that is grand and expansive, with outward-directed brushwork and stable, upright composition, establishing his own distinct identity in the calligraphic world. Shang Fuming rises high because his voice naturally carries far—no need for autumn winds to amplify it. Living in Beijing, over thirty years of daily study of ancient models, exposure to calligraphy circles, participation in gatherings, and wide networking with fellow artists have provided him opportunities to seek guidance from renowned masters such as Liu Yi, Wu Xiu, Zhou Ming, Liao Tingjian, and Tian Yingzhang. Together with peers, he has accumulated gradual progress. His scrolls, couplets, horizontal banners, and daily practiced characters—such as “Royal Tiger,” “Tiger Head Chan”—have earned recognition from experts and widespread praise. Born in Zhouzhi County, Xi’an, Shaanxi Province, in 1963, Shang Fuming joined the workforce in 1981 as a council member of the China World Culture Promotion and Exchange Association, a member of the Beijing-Korea Calligraphers’ Association, and a member of the Shaanxi Yu Youren Calligraphy Association. He also serves as honorary president of the Beijing Famous People Food Health Association. His works have been exhibited multiple times and widely collected. These experiences mutually reinforce and benefit his calligraphy, complementing each other beautifully. May 22, 2016, night, by the site of Daming Palace
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Shang Fuming