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Liu Renshan
Liu Renshan
Personal Profile
Liu Renshan, also known as Xian Dongshan Ren, was born in 1958 in Fengshun, Guangdong. He is currently a member of the Board of Directors of the China Calligraphy and Painting Collectors Association, a member of the Chinese Couplets Society, a committee member of the Art Committee of Calligraphy and Painting, a member of the Chinese Hard Pen Calligraphy Association, a committee member of the Art Committee of the Chinese Calligraphy Art Research Institute, a member of the Hong Kong Special Administrative Region Federation of Literary and Art Associations, Deputy Director of the Chinese Arts Center of China Release Network, a member of the Guangdong and Shenzhen Calligraphy Associations, a member of the Guangdong Folk Arts Association, Vice Chairman of the Folk Arts Association of the Futi District Federation of Literature and Art of Shenzhen, and Deputy Director of the Arts Department of the Hezheng Art Museum of Shenzhen, among other positions.
His works have been exhibited in the Great Hall of the People, the CPPCC Hall, the Central Party School, New York, USA, Canada, Japan, South Korea, Singapore, the Philippines, Hong Kong, and other places. He has won many awards in various national and international Chinese calligraphy and painting exhibitions and competitions, and has been invited to participate in the Chinese Calligraphy and Art Delegation, visiting Japan, South Korea, and Taiwan, etc.
His works have been selected for books such as "Art Life - The Most Valuable Artistic Value and Market Potential Calligraphers' Works Collection on the 60th Anniversary of the Founding of the Nation" and "Selected Calligraphers of the New China", "Compendium of New China's Fine Arts", "Selected Collection of Chinese Clerical Script", "Overview of Contemporary Couplets Writers", etc., organized and edited by the People's Fine Arts Publishing House. His clerical script works are engraved and set up in the International Stele Forest of the World Famous Cultural Village and many scenic spots; more than 30 works were aired in individual interviews during the 2011 World University Games by the "People's Daily - Calligraphy and Painting Collection" channel, "China Report Network" Guangdong News, South China Satellite TV, Shenzhen TV Mobile Channel. In 2015, he was invited to create multiple works for the "State Administration of Government Affairs Management Beidahai Service Bureau" and they are permanently collected. His artistic style is deeply loved by collectors and enthusiasts at home and abroad, and has been collected by the "China Revolutionary History Museum", "Xibaipo Memorial", "Comrade Kong Fansen Memorial", "Singapore Art Association", government officials from Japan, South Korea, Malaysia, friends at home and abroad, and well-known people in Hong Kong; his Buddhist cultural work "Heart Sutra" has been permanently collected by "Buddha's Light Mountain" hosted by Master Hsing Yun in Taiwan, and temples such as "Baita Temple" in Anhui, "Donghua Chan Temple", "Ronghu Temple", and "Taiping Temple" in Guangdong.Wang Yun, former chairman of the Shandong Calligraphy Association and a member of the China Calligraphy Association, commented: "Pure and refined, elegant and serene."
Looking at the contemporary Chinese calligraphy scene, Liu Renshan is undoubtedly a scholar-type calligrapher who does not pursue fashion but emphasizes tradition and values elegance. Observing his calligraphy life, one can feel a subtle atmosphere of scholarly fragrance.
He has devoted himself to calligraphy art for many years, innovating on the basis of tradition, making his calligraphy style increasingly mature. His path of calligraphy practice is based on the combination of steles and scrolls, using steles to strengthen the power of the brush, and using scrolls to refine the rhythm. When carefully appreciating his calligraphy works, it is like reading his character, pure, simple, and without an ornate or vulgar appearance, modest and elegant with the bones of a gentleman.
He is skilled at drawing nourishment from ancient calligraphy, standing on tradition, yet not confined to existing forms, showing a strong sense of the times. His calligraphy works are bright, brisk, yet simple and solid, with a bold spirit that is free and controlled. The ink is thick but not stagnant, the signature is lively and scattered, complementing the main text. The brushwork is dignified and elegant, with proper opening and closing, and the characters exude a relaxed and tranquil flavor. Each character in his works is meticulously crafted, and every subtle movement in the process of writing, turning, connecting, and stopping reveals the author's refinement of lines, careful consideration of ink, and unique creativity in space arrangement and seal selection.
His clerical script works are vivid and varied. Whether it is the sweeping waves or the silkworm head and swallow tail, they all incorporate the thickness and antiquity of traditional steles and scrolls, the elegance and beauty, and his unique artistic style of the times, giving people a visual aesthetic impact.
Mr. Liu Renshan has profound expertise in handling brushes and ink. He does not overly emphasize the changes in the concentration, dryness, and wetness of the ink, but focuses on the integrity and independence of the structure of the composition, emphasizing the coordination of the entire work. By "counting white as black," simplifying the complex, seeking density in the sparse, as the saying goes, "not expecting to be exquisite but naturally exquisite," "the interplay of void and substance, the absence of ink becomes a wonderful realm," thus providing people with a peaceful and serene, elegant and harmonious beautiful experience.
His works have been exhibited in the Great Hall of the People, the CPPCC Hall, the Central Party School, New York, USA, Canada, Japan, South Korea, Singapore, the Philippines, Hong Kong, and other places. He has won many awards in various national and international Chinese calligraphy and painting exhibitions and competitions, and has been invited to participate in the Chinese Calligraphy and Art Delegation, visiting Japan, South Korea, and Taiwan, etc.
His works have been selected for books such as "Art Life - The Most Valuable Artistic Value and Market Potential Calligraphers' Works Collection on the 60th Anniversary of the Founding of the Nation" and "Selected Calligraphers of the New China", "Compendium of New China's Fine Arts", "Selected Collection of Chinese Clerical Script", "Overview of Contemporary Couplets Writers", etc., organized and edited by the People's Fine Arts Publishing House. His clerical script works are engraved and set up in the International Stele Forest of the World Famous Cultural Village and many scenic spots; more than 30 works were aired in individual interviews during the 2011 World University Games by the "People's Daily - Calligraphy and Painting Collection" channel, "China Report Network" Guangdong News, South China Satellite TV, Shenzhen TV Mobile Channel. In 2015, he was invited to create multiple works for the "State Administration of Government Affairs Management Beidahai Service Bureau" and they are permanently collected. His artistic style is deeply loved by collectors and enthusiasts at home and abroad, and has been collected by the "China Revolutionary History Museum", "Xibaipo Memorial", "Comrade Kong Fansen Memorial", "Singapore Art Association", government officials from Japan, South Korea, Malaysia, friends at home and abroad, and well-known people in Hong Kong; his Buddhist cultural work "Heart Sutra" has been permanently collected by "Buddha's Light Mountain" hosted by Master Hsing Yun in Taiwan, and temples such as "Baita Temple" in Anhui, "Donghua Chan Temple", "Ronghu Temple", and "Taiping Temple" in Guangdong.Wang Yun, former chairman of the Shandong Calligraphy Association and a member of the China Calligraphy Association, commented: "Pure and refined, elegant and serene."
Looking at the contemporary Chinese calligraphy scene, Liu Renshan is undoubtedly a scholar-type calligrapher who does not pursue fashion but emphasizes tradition and values elegance. Observing his calligraphy life, one can feel a subtle atmosphere of scholarly fragrance.
He has devoted himself to calligraphy art for many years, innovating on the basis of tradition, making his calligraphy style increasingly mature. His path of calligraphy practice is based on the combination of steles and scrolls, using steles to strengthen the power of the brush, and using scrolls to refine the rhythm. When carefully appreciating his calligraphy works, it is like reading his character, pure, simple, and without an ornate or vulgar appearance, modest and elegant with the bones of a gentleman.
He is skilled at drawing nourishment from ancient calligraphy, standing on tradition, yet not confined to existing forms, showing a strong sense of the times. His calligraphy works are bright, brisk, yet simple and solid, with a bold spirit that is free and controlled. The ink is thick but not stagnant, the signature is lively and scattered, complementing the main text. The brushwork is dignified and elegant, with proper opening and closing, and the characters exude a relaxed and tranquil flavor. Each character in his works is meticulously crafted, and every subtle movement in the process of writing, turning, connecting, and stopping reveals the author's refinement of lines, careful consideration of ink, and unique creativity in space arrangement and seal selection.
His clerical script works are vivid and varied. Whether it is the sweeping waves or the silkworm head and swallow tail, they all incorporate the thickness and antiquity of traditional steles and scrolls, the elegance and beauty, and his unique artistic style of the times, giving people a visual aesthetic impact.
Mr. Liu Renshan has profound expertise in handling brushes and ink. He does not overly emphasize the changes in the concentration, dryness, and wetness of the ink, but focuses on the integrity and independence of the structure of the composition, emphasizing the coordination of the entire work. By "counting white as black," simplifying the complex, seeking density in the sparse, as the saying goes, "not expecting to be exquisite but naturally exquisite," "the interplay of void and substance, the absence of ink becomes a wonderful realm," thus providing people with a peaceful and serene, elegant and harmonious beautiful experience.
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Liu Renshan