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Cheng Xinjie
Cheng Xinjie
Personal Profile
Cheng Xinjie was born on February 9, 1963, in Chengying Village, Zhidian Town, Shenqiu County, Henan Province, into a peasant family. His courtesy name is Huanzhi, pseudonym Aoxiang, and studio names are Mige Caoyun and Shangxinzhai. He is currently a member of the Shenqiu County Calligraphers Association, senior calligrapher of Henan Zhongyuan Academy of Painting and Calligraphy, member of the China Practical Calligraphers and Painters Association, member of the Henan Calligraphers Association, and council member of the Global Chinese General Association Research Institute, among others.
Influenced by his grandfather Mr. Cheng Liangchen since childhood, he developed a deep passion for calligraphy. Due to his busy schedule, his progress was slow. He collected numerous famous calligraphic works from various dynasties; whenever he had free time, he delved into ancient texts and immersed himself in studying classical calligraphy models. Over time, he gradually gained insight into the essence of calligraphy. He specializes in running and cursive scripts, imitating Yu Youren’s Cursive Script Thousand Character Classic, the Complete Collection of Mao Zedong’s Calligraphy, and handwritten Mao-style wild cursive script models. He received personal guidance from renowned local calligrapher Mr. Tang Jingming and meticulous instruction from nationally acclaimed calligrapher Mr. Tang Siling. He was also mentored by national first-class calligrapher Mr. Zhang Dongjin and Chan Master Shi Yongqing of Shaolin Temple on Mount Song. Many people, upon discussing Cheng Xinjie’s calligraphy, remark that he is a multi-talented individual whose innate talent particularly excels in cursive script with majestic momentum. However, when asked about his representative works, they often shake their heads silently. Some may recall his imitations of famous poetic works such as “Seven-Character Regulated Verse: The Long March,” “Qinyuanchun: Snow,” “Qingpingyue: Liupan Mountain,” and “Busuanzi: Ode to Plum Blossoms.” But if further asked which family Mao’s script originates from or who his master was, few can answer. Some simply respond: “No particular school, self-established style,” similar to Huo Yuanjia’s “Mizong Fist,” which is difficult to clearly define. This perspective seems reasonable. Yet every artist’s success, regardless of whom they studied under, follows a developmental journey. Their achievements essentially stem from absorbing the essence of what they have learned. Cheng Xinjie writes beautifully because he excels at learning, absorbing, summarizing experience, and gaining inner understanding. Whenever he grew tired from studying, he would sing a popular song.
Given this, let us appreciate Cheng Xinjie’s calligraphy by examining his learning journey and environmental context. Reviewing his works, his early period focused mainly on regular script and semi-cursive script, adopting the outward and inward brush techniques of the Two Wangs (Wang Xizhi and Wang Xianzhi), with character structures featuring dramatic, slanted postures. Later, beyond the Two Wangs, he took Zhang Xu and Huai Su as his models, gradually evolving from slanted postures to “returning to balanced stability.” As early as his teenage years, around ten years old, Cheng Xinjie began practicing by writing and sketching with chalk on the ground—copying Ouyang Xun’s “Jiucheng Palace Lique Spring Inscription,” Wang Xizhi’s “Preface to the Orchid Pavilion,” and small regular scripts from the Jin and Tang dynasties, transcribing texts such as “Three-Character Classic” and “Yu Youren’s Cursive Script Thousand Character Classic.” At eighteen, he entered society and found personal joy in daily life through “empty imitation” and “mental imitation.” When standing became tiring, he sang classic songs by famous singers such as Jiang Dawei, Yang Hongji, Tong Tiexin, Dai Yuqiang, and Liao Changyong. From then on, combining work with leisure, he pursued calligraphy with great interest. Cheng Xinjie’s small running script blends the dignity and elegance of regular script, presenting neat, rigorous compositions throughout, while incorporating the fluidity and dynamism of cursive script—“falling onto paper like drifting clouds and smoke.” His characters are elongated; brushwork primarily employs concealed-tip, rounded strokes. The structure combines square and round elements, balancing hardness and softness, each character exuding powerful bone structure, novel and open composition, revealing cleverness within simplicity: “Even if not perfectly upright, they possess a spirited, refreshing aura.” In bending and turning strokes, steel-like hooks and pulling lines descend like strong needles, exerting force equivalent to a thousand jun. Characters are spaced widely while lines remain dense, resembling galloping horses or a symphony of complex, interwoven melodies. His brushwork alternates between swift and restrained, moist and smooth; even when strokes break, the meaning remains connected, full of delightful charm. The momentum flows seamlessly, completed in one breath. His works are collected by institutions including Henan Zhongyuan Academy of Painting and Calligraphy, Shaanxi Global Chinese General Association, Anhui Travel Agency, Shanxi Travel Agency, Guangxi Travel Agency, and travel agencies in Beijing, Tianjin, and Shanghai. Artistic achievements: In 2016, he won the Second Prize in the Global Chinese Calligraphy and Painting Competition; in 2018, he received an Excellence Award in the “7th National Calligraphy and Painting Competition”; and again in 2018, he received an Excellence Award in the “9th National Calligraphy and Painting Competition.” His calligraphic art embodies the cultural essence of thousands of years of Chinese tradition, demonstrating profound classical skill, and has been significantly influenced by the Central Plains region.
Given this, let us appreciate Cheng Xinjie’s calligraphy by examining his learning journey and environmental context. Reviewing his works, his early period focused mainly on regular script and semi-cursive script, adopting the outward and inward brush techniques of the Two Wangs (Wang Xizhi and Wang Xianzhi), with character structures featuring dramatic, slanted postures. Later, beyond the Two Wangs, he took Zhang Xu and Huai Su as his models, gradually evolving from slanted postures to “returning to balanced stability.” As early as his teenage years, around ten years old, Cheng Xinjie began practicing by writing and sketching with chalk on the ground—copying Ouyang Xun’s “Jiucheng Palace Lique Spring Inscription,” Wang Xizhi’s “Preface to the Orchid Pavilion,” and small regular scripts from the Jin and Tang dynasties, transcribing texts such as “Three-Character Classic” and “Yu Youren’s Cursive Script Thousand Character Classic.” At eighteen, he entered society and found personal joy in daily life through “empty imitation” and “mental imitation.” When standing became tiring, he sang classic songs by famous singers such as Jiang Dawei, Yang Hongji, Tong Tiexin, Dai Yuqiang, and Liao Changyong. From then on, combining work with leisure, he pursued calligraphy with great interest. Cheng Xinjie’s small running script blends the dignity and elegance of regular script, presenting neat, rigorous compositions throughout, while incorporating the fluidity and dynamism of cursive script—“falling onto paper like drifting clouds and smoke.” His characters are elongated; brushwork primarily employs concealed-tip, rounded strokes. The structure combines square and round elements, balancing hardness and softness, each character exuding powerful bone structure, novel and open composition, revealing cleverness within simplicity: “Even if not perfectly upright, they possess a spirited, refreshing aura.” In bending and turning strokes, steel-like hooks and pulling lines descend like strong needles, exerting force equivalent to a thousand jun. Characters are spaced widely while lines remain dense, resembling galloping horses or a symphony of complex, interwoven melodies. His brushwork alternates between swift and restrained, moist and smooth; even when strokes break, the meaning remains connected, full of delightful charm. The momentum flows seamlessly, completed in one breath. His works are collected by institutions including Henan Zhongyuan Academy of Painting and Calligraphy, Shaanxi Global Chinese General Association, Anhui Travel Agency, Shanxi Travel Agency, Guangxi Travel Agency, and travel agencies in Beijing, Tianjin, and Shanghai. Artistic achievements: In 2016, he won the Second Prize in the Global Chinese Calligraphy and Painting Competition; in 2018, he received an Excellence Award in the “7th National Calligraphy and Painting Competition”; and again in 2018, he received an Excellence Award in the “9th National Calligraphy and Painting Competition.” His calligraphic art embodies the cultural essence of thousands of years of Chinese tradition, demonstrating profound classical skill, and has been significantly influenced by the Central Plains region.
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Cheng Xinjie