Li Junan

Li Junan, style name Yi Sheng, pseudonym Chanxiang Jushi. Born in 1970, a defender of traditional calligraphy. Simple and unpretentious by nature, not bound by convention. Values promises; whatever he is capable of, he will take responsibility for. Sincere in character, never suspects others. Though this has caused him losses, he finds it difficult to change his inherent nature. Was lazy in study during youth; both parents lacked education, thus there was no foundation or accumulation. Only after age 20 did he begin to strive in reading, but ultimately due to low talent, could not achieve much—like a bottle with a leaky bottom, hard to expect it full. Fond of Daoist immortals and Buddhism, well-versed in Confucianism. At age 18, he began studying under Mr. Liu Yongshan, a local calligrapher, first learning how to copy models. Started with Han dynasty clerical script, and within less than a year mastered its brush techniques. Studied regular script from Ouyang Xun, and within a year grasped the brush method of Ouyang's style. Then turned to running script, following Wang Xizhi, yet found its profundity obscure and difficult. By chance encountered a model book of Dong Qichang; practiced for over a month and made great progress. Thereupon abandoned Wang and devoted himself to Dong, focused intently for three years, and finally achieved success. Initially, none in his hometown surpassed him; later moved to Tiaobingshan and Tieling. In 1992 and 1994, his works were selected twice for provincial exhibitions. However, for national exhibitions, because he was not skilled in contemporary trends, he repeatedly failed—an immense regret. After age 30, he burned all award certificates, resolved never again to participate in exhibitions, nor seek teachers or visit friends for discussion. Determined wholeheartedly, he studied alone, refusing to look at any works by modern people, refusing to read any contemporary theoretical articles. Single-mindedly copied the masters of the Two Wangs, Tang, Song, Yuan, and Ming dynasties, practicing until reaching excellence. After age 40, he finally stood firm; after 45, further strengthened his artistic integrity, gradually shedding weak and flaccid habits, developing strong bone structure and majestic momentum like clouds. His calligraphy integrates the elegance of Wang Xizhi, the clarity and firmness of Ouyang Xun, the solemn grace of Zhao Mengfu, the romantic flair of Dong Qichang, and the bold weight of Li Yong—forming a new appearance of the epistolary school. The refined elegance of the Jiangzuo tradition reappears. Ancient brush methods have been revived. His regular script is rich in rhythm and law; his running script, elegant and free-spirited; his cursive script, unrestrained and fluent; his clerical script, ancient, simple, and powerful; his small seal script, graceful and delicate. His works are noble in quality, strong in spirit. How can they be compared to the scribbles and symbols of today’s amateurs? Address: No. 35-3, Guizhou Road, Xinchengzi Subdistrict, Shenyang North New District, Shenyang City, inside the north gate courtyard of Funing Apartment.
 Works Display