Guan Chunhe

Guan Chunhe, born in 1957, is a native of Pingdu City, Qingdao, Shandong. Passionate about calligraphy since childhood, his calligraphic talent became well-known locally after he became a middle school teacher upon graduating from high school at the age of eighteen. From middle school through university and into his professional life as a renowned physician specializing in neck, shoulder, waist, and leg pain, he has consistently devoted his spare time to daily practice—never letting his inkstone dry, always keeping a brush in hand, diligently copying classical models, standing to create original works, writing regular script with suspended wrist, freely composing cursive script, achieving harmony between mind and body, and balancing form with spirit.
      Starting with Yan Zhenqing’s “Duobao Pagoda Stele,” progressing through Liu Gongquan’s “Xuanmi Pagoda Stele,” Ouyang Xun’s “Jiucheng Palace Lique Spring Inscription,” Wang Xizhi’s “Preface to the Orchid Pavilion,” Huaisu’s “Autobiographical Scroll,” Zhao Mengfu’s “Kuaixue Shiqing Tie,” and other masterpieces from successive dynasties, he absorbed nourishment from these classical works, mastering a firm Ouyang-style regular script, elegant running script and clerical script, and powerful Wei-style script, synthesizing the strengths of various masters and integrating the essence of numerous schools. One renowned calligrapher commented on his works as follows: “His brushwork flows smoothly, integrating the quintessence of past sages; his compositions are grand and majestic, with brushstrokes resembling dragons and serpents. His works are visually compelling, directly capturing the myriad phenomena of nature—magnificent and imposing, uniquely crafted. They exude a graceful, unrestrained elegance without losing solidity and steadiness; they are vividly expressive yet never violate rules. Indeed, they embody tranquility within motion and control motion through stillness, infinitely intriguing and extraordinary in bearing.” Yet he remains indifferent to fame and fortune in the business world, uninterested in political prominence, and avoids superficiality in the art world—seeking only inner virtue and personal fulfillment.
      His works have been selected for over 20 domestic calligraphy and painting exhibitions and competitions, earning awards. He has participated in cultural exchanges with Chinese calligraphy and painting delegations to South Korea, Taiwan, Singapore, and other regions. His works have been collected by numerous prominent domestic figures and introduced in over ten domestic media reports. Simultaneously, he emphasizes equal importance of theory and creation, extensively cultivating “skills beyond the brush,” passionately engaging with Chinese folk arts, Peking Opera, and other genres, perceiving the intricate connections between calligraphy and music. His works were selected for the 2012 “Top 100 Chinese Calligraphy and Painting Artists” series of postal postcards issued by China Post.