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Yang Mingze
Yang Mingze
Personal Profile
Yang Mingze (De San), courtesy name Hou Tu, studio names San Le Tang, Fu Niu Cao Tang, and Hou Tu Art. Born in September 1980 in Laojialing, Nanyang. He has studied under the Chinese Zen painting master Master Xue Hong and Teacher Lv Bingning. Currently:Hong Kong Special Administrative Region Federation of Literary and Art Circles Member of the China Artists Association, Member of the China Contemporary Calligraphy and Painting Artists Association, Henan Famous Artists Calligraphy and Painting Art Research Society Council Member, Inner Mongolia Calligraphy and Painting Academy Invited Calligrapher and Painter, Sichuan Meishan Huaxia Calligraphy and Painting Art Academy Senior Calligraphy and Painting Researcher, Member of Zhengzhou Huaxia Art Museum.
Since childhood, he has been deeply passionate about calligraphy and painting, dedicating himself to studying ancient and modern masters’ theories on brushwork and painting techniques. He delights in exploring vast mountains and valleys, embracing the simplicity of natural life, and intuitively sensing the spiritual essence of all things under heaven and earth. Through Zen meditation and Buddhist contemplation, he integrates the forms of nature into his artistic vision. Calligraphy and painting have no fixed methods; from formlessness arises method; all methods arise from the mind, shaped by context—without root or basis, yet every method exists. All conditioned phenomena are ultimately without any single method. Thus, the observer realizes: “Wu” (emptiness) means art has no limits, the sea of art is boundless. The method beyond method generates being and non-being, giving birth endlessly to new forms, entering the state of formless art.
His artworks have repeatedly won gold, silver, bronze, first prize, second prize, and excellence awards in national calligraphy and painting exhibitions. His works have been included in numerous prestigious art anthologies and collections, earning widespread trust and collection by art enthusiasts.
Artistic Characteristics:
Regarding calligraphy and painting, I have diligently practiced and profoundly contemplated, gradually penetrating their essence—beyond technique lies a mind free of method. Outside the mind, there is no method; this very mind is the method; beyond method, there is no other method. Mind is the method, method is the mind, mind is Buddhist Dharma. Man follows Earth, Earth follows Heaven, Heaven follows Dao, Dao follows Nature—the Great Form has no shape. Calligraphy and painting embody the myriad phenomena, laws, and distances of nature; ink and water possess no fixed form—the mind’s law is no law, truly a path of freedom and return to authenticity,
Since childhood, he has been deeply passionate about calligraphy and painting, dedicating himself to studying ancient and modern masters’ theories on brushwork and painting techniques. He delights in exploring vast mountains and valleys, embracing the simplicity of natural life, and intuitively sensing the spiritual essence of all things under heaven and earth. Through Zen meditation and Buddhist contemplation, he integrates the forms of nature into his artistic vision. Calligraphy and painting have no fixed methods; from formlessness arises method; all methods arise from the mind, shaped by context—without root or basis, yet every method exists. All conditioned phenomena are ultimately without any single method. Thus, the observer realizes: “Wu” (emptiness) means art has no limits, the sea of art is boundless. The method beyond method generates being and non-being, giving birth endlessly to new forms, entering the state of formless art.
His artworks have repeatedly won gold, silver, bronze, first prize, second prize, and excellence awards in national calligraphy and painting exhibitions. His works have been included in numerous prestigious art anthologies and collections, earning widespread trust and collection by art enthusiasts.
Artistic Characteristics:
Regarding calligraphy and painting, I have diligently practiced and profoundly contemplated, gradually penetrating their essence—beyond technique lies a mind free of method. Outside the mind, there is no method; this very mind is the method; beyond method, there is no other method. Mind is the method, method is the mind, mind is Buddhist Dharma. Man follows Earth, Earth follows Heaven, Heaven follows Dao, Dao follows Nature—the Great Form has no shape. Calligraphy and painting embody the myriad phenomena, laws, and distances of nature; ink and water possess no fixed form—the mind’s law is no law, truly a path of freedom and return to authenticity,
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Yang Mingze