Editor's note：

Chinese characters, the core gene of Chinese civilization; Calligraphy is the most rhythmic and philosophical expression. From the scratches on oracle bones to the ink on Xuan paper, a brush has been dancing for thousands of years, and the vitality of calligraphy comes from its continuous inheritance. This kind of inheritance is not only the refinement of the techniques of pointillism, composition, and ink, but also the realization of the "Dao" of integrating the writer's learning, temperament, and cosmology into the brushwork. 'Learn from the past without being stuck in the past', seek self-expression in reverence for tradition, and form a constantly flowing cultural bloodline.

In the context of globalization and mutual learning of the "the Belt and Road" civilization, Chinese calligraphy, with its visual power and profound connotation beyond language, has become an important cultural ambassador. Its abstract line rhythm，And the aesthetic pursuit of "vivid charm" provides a unique window for the world to perceive Chinese civilization.

At the forefront of international dissemination of contemporary calligraphy,Visiting Professor at Tsinghua University and Central Academy of Fine ArtsThe figure of Dr. Li Haifeng, a national first-class artist and member of the State Council National Gift Evaluation Committee, is particularly eye-catching. This calligraphy master, who integrates scholars, artists, and educators, has become an international storyteller of Chinese stories with his brush and ink skills of "iron painting and silver hook" and his cultural perspective of "inclusiveness".

In 2018, his works were showcased at the "Understanding China" international conference and became the focus of the Silk Road Culture and Art Exhibition. Theme creations such as "Never Forget Our Original Aspiration" and "Joining Hands to Build a Community with a Shared Future for Mankind" interpret the spirit of China in the new era with ink, resonating with more than 30 international politicians including former British Prime Minister Brown and former Mexican President Zedillo.

In this issue of 'Ningdian Interview', we focus on the calligraphy art that carries a profound historical and contemporary mission. We invite Dr. Li Haifeng, a practitioner who has made outstanding achievements in calligraphy inheritance, education popularization, and international cultural exchange, to listen to his profound thoughts on calligraphy inheritance, pen and ink innovation, and the new brilliance of this ancient art on the world stage.

You were influenced by military culture in your early years, and this special experience has given you unique perspectives on traditional culture and artistic creation? What profound impact has this fusion of "iron bones" and "ink charm" had on your calligraphy creation?

Li Haifeng: I started writing and studying at the age of six, and received traditional cultural enlightenment in the fragrance of ink. Joined the military in September 1979. The strong cultural atmosphere of the military and the guidance of many calligraphy masters allowed me to delve deeper into my studies during my youth. During my tenure as a clerk, calligraphy was not only necessary for my work, but also my passion for participating in the cultural construction of the company. This love was rooted in the traditional cultural education before joining the army.

The resilient character honed through military career has a profound impact. The willpower and character forged through arduous training have deeply impressed me: the art of calligraphy is like a soldier honing oneself, valued in perseverance and gradual progress, and is the result of continuous improvement over long years.

The fusion of this "iron bone" spirit and the "ink rhyme" I learned from a young age has shaped my unique understanding of calligraphy: we not only need to devoutly inherit the wisdom and laws of the ancients, but also combine our own life experiences and artistic insights, and be brave in exploring and innovating techniques, in order to gain something in the path of calligraphy and naturally blend toughness and elegance in our writing.

You have extensively covered inscriptions from various dynasties, with a particular emphasis on famous figures such as the "Two Kings", Mi Fu, Su Dongpo, and Qi Gong, ultimately forming your personal style. Can you share your key insights in the process of learning, choosing, and integrating the essence of these masters? What insights does this process of learning from others' strengths and integrating them provide for us to understand and respect cultural diversity in cross-cultural communication?

Li Haifeng: After studying the Buddhist scriptures of various dynasties, my understanding is that learning from the past is more important than simply copying its form. The ancient Buddhist scriptures are role models and cornerstones, but they are not the end point. Even giants like Ouyang Xun's methods are only a ladder for us to climb - it is not necessary or difficult for modern people to completely surpass the ancients in terms of techniques.

The true refinement lies in 'embracing diversity'. Like searching for gold in the sand, visiting ten different places can truly touch one's heartstrings and blend into oneself, with only a few strokes. This requires deep sedimentation and unique understanding, almost like cultivation. I have been studying calligraphy for 60 years since I was six years old, and I have been by the pond every day without stopping. I have not only deeply studied the subtle brushwork and intricate structure of ancient Chinese characters, but also deeply appreciated their external charm and spirit. Only in this way can we turn the "legacy" of the ancients into our own use.

Both "integration and integration" and "upholding integrity and innovation" are indispensable. We need to deeply understand and respect the essence of tradition, such as the mysterious layers of "ink divided into five colors" and the powerful brushwork of "iron painting and silver hooks". These are unique languages that have been accumulated in Chinese calligraphy for thousands of years, and are the soul that AI cannot replicate - carrying the writer's passion for life and humanistic accumulation.

However, reverence does not equate to mud. On the basis of solid inheritance, combined with the reflection of the times and personal nature, we can explore techniques and style fusion to achieve our own appearance. The pursuit of the ancient people's "eight sided sharpness" has remained consistent in direction.

How do you unify the roles of being the editor in chief of the "Calligraphy" textbook from compulsory education to high school, and also serving as a member of the State Council's National Gift Evaluation Committee? How can universal sex education lay the foundation for the future advancement of art? In the practice of promoting calligraphy "into schools", which core competencies are you most concerned about cultivating in students?

Li Haifeng: These two roles are to me like the base and tip of a pyramid, internally unified and complementary. The textbook of Calligraphy is about foundation construction. Calligraphy as a Chinese languageThe core genes of Ming are not just techniques, but also the starting point for cultural identity and spiritual cultivation. Calligraphy class is a key window for children to come into contact with, understand, and love traditional culture. It guides them to experience the rhythm of lines, the balance of structure, and the atmosphere of composition from the beginning of holding the pen, and cultivates focus, patience, and aesthetics through practice. This is the continuation of cultural heritage.

The evaluation of national etiquette represents the top standard of the country's artistic level, requiring the utmost insight and grasp of the purity, classicism, innovation of calligraphy art, as well as the national image and cultural heritage it carries. It is necessary to have a profound understanding of the essence of past legal texts and a keen judgment of the forefront of contemporary creation.

The core of their unity lies in "respecting tradition, focusing on the present, and facing the future". Textbook writing is the process of transforming the classic principles and aesthetic spirit contained in the highest artistic standards into accessible and learnable content, ensuring the "positive pulse" and "height" of basic education. Only by planting fertile soil can talents emerge to reach the pinnacle of art in the future.

Millions of students' exposure to calligraphy is like sowing seeds on a large scale. Universal education not only stimulates interest, identifies talents, lays the foundation for selecting professional talents, but also enhances the aesthetic literacy of the whole nation. When more people can appreciate the beauty of calligraphy and understand its cultural connotations, the overall recognition and demand for high-level artistic creation in society will increase, providing artists with a richer soil.

The primary and fundamental aspect of cultivating students is to stimulate their interest in traditional culture. This passion is the source of active exploration. Through humanistic stories that embody wisdom and beauty, we aim to bring children closer to traditional culture and encourage them to embrace this art. Secondly, it is crucial to cultivate the ability to remain calm and focused beyond interests. The pace of today's society is fast and the atmosphere is impetuous. Calligraphy is a good remedy. Holding a pen and writing a letter, settling one's mind and spirit in the detailed outline of each stroke, is a precious practice in itself, which can effectively sharpen one's character and enhance concentration. Of course, it is also necessary to guide them to follow the font structure, stroke order, and writing rules. This is not a constraint, but an understanding and respect for the inherent laws of art.

The beauty of calligraphy is deeply rooted in rigorous discipline. Every stroke and painting has its own emphasis. Through following and practicing rules, children not only learn techniques, but also cultivate self-discipline and rigorous character, and experience the truth that 'rules make a circle'.

In your frequent international exchanges, where do you feel the deepest resonance with Chinese calligraphy among overseas audiences? How do you effectively tell Chinese stories and convey Chinese spirit through calligraphy as a medium, facing different cultural backgrounds? What do you think is the core competitiveness of Chinese calligraphy going global?

Li Haifeng: The deepest resonance with overseas audiences lies in their unique artistic charm and profound cultural connotations. Chinese calligraphy is the only written form of art in the world that can be hung and appreciated as a work of art. When other characters mainly carry information, Chinese characters elevate language into visual art through the rhythm of brush and ink. This characteristic of "expressing meaning through form" makes calligraphy the spiritual key to decoding Chinese civilization.

In international communication practice, calligraphy has always played the role of a cultural ambassador. From the Yanqi Lake International Conference to the "Understanding China" Forum, calligraphy works use ink painting as a medium to integrate the philosophical ideas of "harmony between man and nature" and the wisdom of "moderation and peace" into the rhythm of lines. This kind of expression that transcends language can effectively bridge cultural barriers and make abstract values tangible.

The core competitiveness of calligraphy in the world lies in the unity of three dimensions: the integration of artistic and cultural elements, and the Eastern wisdom of balancing yin and yang behind the brushwork techniques; The dialogue between historicity and modernity, the antiquity of oracle bone inscriptions and the innovation of modern calligraphy form the inheritance of civilization; The resonance between national and global characteristics, when the Paris Metro adopted Chinese signage and New York auction houses repeatedly displayed sky high calligraphy prices, this art has broken through geographical limitations and become a common cultural heritage of humanity.

What core mission do you assign to the "Wenbo Tang" art museums that you have established in many parts of China? Looking ahead to the future, what are your more groundbreaking plans or visions for the "Wenbo Tang" network and your personal efforts to connect Chinese and foreign art and expand the boundaries of art?

Li Haifeng: "Wenbotang" is my studio name, which originated from my love for archaeology and Chinese literature, history, painting and calligraphy. With this original intention, I established art museums of the same name in Chengdu, Three Gorges, Shenzhen, Wuhan and other places. Its core mission is to promote the spiritual core of traditional Chinese culture and strive for its continuous developmentLand inheritance. I really hope that this career can continue from generation to generation.

I have observed many friends who love Chinese culture overseas, especially in places along the "the Belt and Road" such as Malaysia, Japan, Laos, etc. Driven by like-minded individuals, I have developed a vision to establish the Wenbo Hall on these cultural soil, which will be an important expansion for the inheritance, dissemination, and exchange of traditional culture.

Of course, implementing this cross-cultural communication blueprint requires careful management and effective management. Only by relying on strong and caring partners for stable operation can Wenbo Tang truly take root overseas and effectively play the role of a bridge connecting Chinese and foreign art and deepening cultural mutual learning. This is also the direction I am currently deeply thinking about and actively planning for.