Yang Min

Yang Min: Born in 1968 in Queshan, Henan Province. Graduated with a bachelor’s degree from Henan University of Traditional Chinese Medicine in 1993. Associate Chief Physician, currently residing in Zhengzhou. 22nd-generation disciple of the Quanzhen Sect; pioneer of Fuyang Traditional Chinese Medicine in Central China; guest lecturer on health preservation culture; member of the Chinese Calligraphers Association, member of the Calligraphy Committee of China Cultural Management Association, member of Henan Calligraphers Association, and director of Zhengzhou Calligraphy Research Association.
Personal Achievements:
2017, First Prize in the Henan Provincial Directly-Administered Institutions Calligraphy Exhibition;
2017, First Prize in the Henan Provincial People’s Congress Calligraphy Exhibition;
2018, Excellence Award in the Henan Provincial Calligraphy Exhibition;
2018, Second Prize in the First China Original Calligraphy and Painting Competition.
    Yang Min has been deeply passionate about Chinese culture since childhood, revering classical Chinese studies, history, humanities, and calligraphy. For decades, he has devoted himself day after day to the development and research of Chinese calligraphy and painting. He believes that Chinese calligraphy is intrinsically linked to traditional Chinese culture and represents the essence of Chinese civilization. Only by truly becoming inheritors of Chinese civilization can one properly inherit and promote Chinese calligraphy.
    Yang Min has extensively studied ancient and modern Chinese literature and history, conducting profound research into China’s 5,000-year cultural, historical, humanistic, and natural heritage. Beginning with fragmented records from the Records of the Grand Historian, he collected and explored Yangshao culture, studied the metaphysics of the I Ching, and listened to the dialogues between the Yellow Emperor and Qibo. Through the accumulated depth of Chinese culture, he established a profound foundation in traditional Chinese culture. He deeply comprehends the meaning of “Great physicians govern the state; moderate physicians treat people; lesser physicians treat diseases.” Particularly after encountering Zheng Qin’an’s academic concept of “Fuyang” (supporting yang energy), and through clinical insights from Master Li Ke and Tong Xiaolin’s “Heavy Dosages to Treat Severe Illnesses,” he ultimately realized that the burdens borne by the nation and the survival of Traditional Chinese Medicine in the cracks of modern society both stem from millennia of self-imposed constraints. Transitioning from Western medicine back to Traditional Chinese Medicine, he devoted himself to studying the wisdom of ancient Chinese sages and the essence of national treasures, forming a unique Fuyang philosophy rooted in traditional Chinese culture and aligned with the universal laws of nature. Heaven and Earth divide into two poles; like energies attract. Yin and Yang are the spirits of all things; Yang is the ceaseless source of life. Clinically, enhancing and supporting yang energy is fundamental to health. As an innovative practitioner of Fuyang philosophy, Yang Min has raised the banner of Fuyang Traditional Chinese Medicine in Central China.
    While dedicating decades to Chinese culture, Yang Min has never abandoned his pursuit of calligraphy. For decades, he has diligently explored the art of calligraphy, firmly grounded in tradition while daring to innovate. He excels in running-regular script and is also skilled in running-cursive script. His brushwork flows naturally with variation, and his composition is well-balanced. Rather than imitating specific schools of calligraphy, he draws broadly from ancient and modern masters, taking as models everything from ancient totems, oracle bone script, seal script, clerical script, Wei steles, to masterpieces of calligraphers throughout dynasties. Infused with the heroic spirit of Chu and Han cultures, he boldly expresses the elegance, fluency, and charm of calligraphy. His works are profoundly influenced by renowned masters, drawing rich nourishment especially from running-cursive script—which best conveys the artist’s emotions—and from classical masterpieces. From character structure to overall composition, from central-tip brushwork to brush movement, turning, lifting, and pressing, he rigorously adheres to traditional rules while striving for expressive freedom. His works exude a powerful, rugged aura, revealing his solid foundation in traditional techniques and superb brush control. His calligraphy strongly embodies the stylistic principles of the Tie School: simplicity, spaciousness, embedding softness within strength, emphasizing individuality and emotional expression. His brushwork alternates between swift and slow, begins lightly and ends heavily, incorporates both round and angular strokes, disregards rigid straightness, and conveys a resolute, unrestrained spirit. His compositions are expansive and dynamic, exhibiting strict discipline even in exuberance, and within condensed, substantial forms, reveal a graceful, open, and uniquely expressive rhythm—delivering a powerful visual impact.