Cao Changqing

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Cao Changqingmian's Personal Profile and Artistic Works
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Introduction to Painter Cao Changqingmian and Calligrapher Cao Changqingmian

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Cao Changqing

Personal Profile

Cao Changqing, male, Han ethnicity, bachelor's degree. Master of Literature. Since 1992, he has continuously served as the Director of the Office of Nanyang College, Assistant to the President, Vice President, and Principal of Nanyang Institute of Technology. Member of the Adult Education Association of the Ministry of Education, member of the Guoxue Research Society of Guangdong Province. Senior calligrapher in the National Art Talent Database of the Ministry of Culture. Since childhood, he has been interested in calligraphy, starting to copy characters at the age of seven. As a child, he learned to write under the guidance of his well-educated maternal uncle Xie Yuanzhi and his second maternal uncle Xie Yuanshun, who taught him by word of mouth. In high school, he was personally taught by Teacher Li Jianqiu, who was known for his "瘦金体" (slim gold script). After starting work, he often used tasks such as blackboard posters, publicity windows, communication reports, and engraving and printing plates to practice brush and hard pen writing, sacrificing a lot of rest time. Since the early 1990s, when he started working in higher education institutions in Guangdong, his horizons have broadened. He felt that calligraphy had much more to it, especially the "external skills" were like an endless pit. Therefore, he visited famous figures in the Lingnan art circle such as Guan Shan Yue (1912–2000, a renowned Chinese painter and educator, representative of the Lingnan School), Li Xiongcai (1910–2001, contemporary Chinese painter and art educator, a prominent representative of the Lingnan School), and Wu Mengzhao (Honorary President of the China Poetry, Painting and Calligraphy Research Institute, President of the Guangzhou Calligraphy Specialized College). He collected works and essays from these masters, which greatly broadened his horizons. Especially he collected the "Student and Teacher Calligraphy Works Collection" of the Guangzhou Calligraphy Specialized College (published annually), carefully studied and compared them, and began to pay attention to the study and practice of calligraphy history and theory. With the guidance of master teachers, he made arduous efforts and exploration in artistic language, accumulating a wealth of experience. Learning Mi Fu, he not only mastered the slanting, dangerous, and free brushwork, but also especially focused on drawing on the strengths of many others, making the running script consistent and coherent. Comparing differences and similarities, he sought the development of running script and the reasons for the formation of different styles. He could apply one example to another, without being limited to a single master or school. With the guidance of master teachers, correct methods, and hard work (practicing two hours a day), his calligraphy made a breakthrough. He practiced regular script, seal script, running script, and cursive script, especially enjoying running and cursive scripts. Wang Xizhi dared to innovate, reforming Zhong Yao's ancient and simple brush techniques, creating a style of elegance, antiquity, and spirit that deeply attracted me. He said, I have been pursuing the style of the Two Kings (Wang Xizhi and Wang Xianzhi) and long for Tao Yuanming's poetry of leisure. I hope for social peace and tranquility, and wish my works could also bring colleagues aesthetic pleasure. I realized that if the graceful and elegant style of the Eastern Jin dynasty lacked strong bone power, it would easily become "light and beautiful". Therefore, I chose the path of combining stone steles and calligraphy scrolls, investing a great deal of effort into Han clerical script, the Li Sichun Stele, and Xu Wei's calligraphy. Using the rough, simple brushwork of the stele school to compensate for the smooth and sweet brushwork of the scroll school. For cursive script, I first studied Sun Guoting, then copied Zhang Zhi, Zhang Xu, Huai Su, Wang Duo, and Dong Qichang. I also had a special fondness for the wild cursive script of the Ming Dynasty's great calligrapher, Minister Xie Jin. Occasionally, I also wrote Mao-style calligraphy. I also took the path of "collecting ancient characters" as Mi Fu did. Intensive reading and copying of characters, combined with copying, memorizing, and creative practice (one day for copying, one day for creation, never stopping), the effort was not in vain, gradually forming Cao's cursive script style of "Zhang Huai as the foundation, the surface of the scroll and the bones of the stele." The work "Cao Changqing's Running Script of Tang Poetry" has a refined and harmonious atmosphere, clear and open, free and unconfined. It has both the scholarly elegance of the Eastern Jin literati and the natural simplicity and sincerity of the folk. The characters reveal the influence of the Two Kings, Su Shi, Mi Fu, Sun Guoting, Xu Wei, Zhang Ruizhu, Wang Duo, and Dong Qichang; the structure is no longer attributable to any particular school, yet contains elements of famous schools; when examining the brushwork, there is both delicate and lively beauty and a rustic, sincere charm. The work "Cao Changqing's Cursive Script of Lantingxu" completely breaks away from the "Number One Running Script" of Wang Xizhi, daring to challenge the wild cursive script. It has the brushwork of Zhang Huai and the rules of Sun Guoting, embodying the idea that "the form is the essence, and the strokes are the nature." It focuses on lines, balance, brush movement, spirit, and temperament, presenting a new appearance, with changes in rhythm, style, and ink interest. The brushwork fluctuates, with alternating motion and stillness. Throughout the piece, the strokes are full, with few weak and slippery lines. He has been engaged in calligraphy and literary teaching for 34 years. He is proficient in five types of calligraphy and excels in cursive script. His personal information is included in the "Dictionary of Chinese Experts' Names." He has written 2.8 million words of literary works and 300,000 words of calligraphy essays. He has edited and reviewed more than ten university textbooks, including "Calligraphy Tutorial," "Aesthetics," "College Chinese," and "Essence of Guoxue." His essay "Returning to Yuyin, No Need to See the Garden" is included in the "Eleventh Five-Year Plan" and "Twelfth Five-Year Plan" higher education planning textbook "College Chinese." In July 2014, he was selected for the large-scale painting and calligraphy exhibition "Chinese Dream, Cross-Strait Sentiment" by the China-Taiwan Exchange Promotion Association (provincial and ministerial level). In July 2016, he won the first prize in the calligraphy competition of Conghua District, Guangzhou (municipal level). In July 2015, he received the honorary award for the "Party in My Heart" calligraphy competition in Conghua District. In 2016, he received the "Innovation Award for Artistic Works" from the Ministry of Culture and the "Cultural Elite Cup" first prize for calligraphy. He has won 18 awards in various calligraphy competitions. In 2017, he received the titles of "Trustworthy Artist" and "Loudi Trustworthy Ambassador" from the Ministry of Culture. On the path of calligraphy art, he is a slow bird that flies first. He learned regular script from Ouyang Xun. He followed Wang Duo's method of "one day copying, one day creating," rarely interrupting. Gradually, he formed the cursive script style of "Zhang Huai as the foundation, the surface of the scroll and the bones of the stele." Having worked in higher education calligraphy teaching for many years, he recently founded the Zishui Youyou Literature and Calligraphy Society, cultivating artistic and literary talents for society.

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