Xinming’s new book was officially published in January 2024, and it was well-received and warmly welcomed by peers and major practitioners in this field. As the publisher, we are delighted to see such reactions from the market, and we are also happy to see a good headstart of the series that to be published in the years to come.
It was more than a decade ago when I first came to The Art and Humanity Institute (TAHI) where I got utterly amazed by Master Xinming’s artwork and decided to become a student.
TAHI was created by Master Zixuan and Master Xinming, and it has adopted the pedagogy of a traditional Chinese academy, based on the theories of the Jin Shi Shu Hua School. It starts its teaching via Chinese calligraphy, imparting to students the combination and concentration of
the histories of Chinese thoughts, art and culture. After decades of research and empirical experience accumulated from teaching, Master Xinming traced back the root of Chinese calligraphy from oracle bones to the calligraphic symbols of the universal spiral qi, and she ingeniously employed them in the introduction of calligraphy study, setting a new milestone!
Translating Master Xinming’s works is an honour and a burden. Despite years of studying and a good understanding of her theories and findings, it still makes me nervous and humbles me even thinking of the attempt to translate such “rich deposit” into English with the accuracy and elegance it deserves. However, after two years of collective hard work, this book was finally translated and published, and I hope it didn’t fall short of the expectations. This book is also the first of a number of English publications of Master Xinming’s works, such as ‘The Inheritance of Jinshi Calligraphy School Practices Overseas’, ‘Xinming Sinological Studies and Big Footprints II – Essays and Portfolios’, ‘Xinming Sinology and Calligraphy Class for Juniors – Model Works’, ‘Xinming Zhao Chen Copying Ancient Model Calligraphic Works – Selected Works’, ‘Xinming Collectanea’ and more, revealing the findings and achievements of Master Xinming in the last three decades. These publications will wield enormous influence in the study of Chinese calligraphy overseas.
Time travels fast and with a blink of an eye, I am no longer the young man I used to know. Looking back at my days here at TAHI, I have transformed from a green-handed and inexperienced boy with some superficial knowledge, to a humbled scholar who commits to actions and internal cultivation. My 8-year-old daughter Victoria is also learning with Master Xinming, though starting early, she has already demonstrated the desirable nature of a cultivated soul. Every time I come back to TAHI, I feel like coming back home, warm and quiet.
Words fail me when I try to depict the compassions of Master Xinming and Master Zixuan, their tender and constant guidance, and their assiduous and patient teachings. This book will influence more. It is an announcement to the world of what TAHI stands for!
“I deeply admire Master Xinming’s persistence in researching and promoting traditional Chinese culture. I truly appreciate the profound knowledge that both you and Master Xinming possess in classical Chinese studies. We are currently building a digital platform that will become a global channel for spreading Chinese culture internationally. You will undoubtedly have a place in it, allowing Master Xinming’s dedication to flourish and gain recognition worldwide.”
Deqing Yangzong is the chief expert at the Development Research Center of the State Council of China and a member of the think tank group for the National Cultural and Educational Development Program. She has proposed a talent development philosophy focused on “global vision, innovative thinking, human-centered planning, and personalized development.” She has contributed to creating a positive cycle in education, technology, and talent development, while fostering the innovative essence of traditional Chinese culture and building an environment that encourages exploration and tolerates failure.
“The origins of Chinese characters lie in primitive pictograms. The concept of ‘observing the heavens above and examining the earth below’ suggests that characters were formed from imitating patterns such as bird and turtle tracks, with many characters originally being pictographic. Over time, these evolved through methods like ideographs and phonetic compounds. Traditional Chinese scholars and painters often emphasise the principle of ‘the shared origin of calligraphy and painting.’ Zhao Mengfu wrote in a poem: ‘Rocks resemble the flying-white script, trees resemble the ancient seal script; to paint bamboo, one must understand the eight principles of brush strokes. Those who grasp this realise that calligraphy and painting are fundamentally the same.
Viewing ancient paintings, carved symbols, and patterns evokes a sense of mystery and beauty. This pursuit of ancient aesthetics has always been a goal in Chinese calligraphy. In teaching, utilizing these symbols can spark interest in learners, meet the high standards of ‘taking the law from the highest,’ and, because of the simplicity and purity of their brushwork, efficiently guide beginners to grasp the principles of calligraphy. ‘The structure of characters changes with the times, but brush techniques remain eternal.’ Only by mastering the brush techniques of seal and ancient scripts can one make significant progress in calligraphy.
Master Chen Zhaoxinming’s calligraphy model books are clear in their intent and draw from high standards. While maintaining a sense of fun, they address key challenges in calligraphy learning. His teaching methods are sophisticated and effective. The annotations at the end of the book, which list names of symbols from ancient and modern scripts, could benefit further by including corresponding examples from classical calligraphic works that reflect the spirit and essence of these symbols.”
Zhou Zheng holds a doctorate in calligraphy from the School of Arts and Media at Beijing Normal University.
楼可程:
“心明、子玄女史好,大作收阅,直追上古,可谓穷流溯源,可敬可佩。”
楼可程是浙江大学艺术与考古博物馆 馆长。
Lou Kecheng:
“Greetings, Xinming and Zixuan. I have received your masterpiece, which traces the origins of ancient traditions. It can be described as delving into the source of the river’s flow—a truly admirable effort.”
Lou Kecheng is the director of the Art and Archaeology Museum at Zhejiang University.
“Ten years ago, I was fortunate to encounter ‘Zixuan Cottage’ in New Zealand, where I learned about Master Xinming’s thirty-year-long commitment to the study, creation, and teaching of Chinese painting and calligraphy. Her dedication has been unwavering. Master Xinming’s perseverance in upholding and passing on Chinese culture and calligraphy has deeply moved me.
As a mother, I had a wish for my children to find a method for learning calligraphy and painting. Eight years later, that wish came true when I became a disciple of the master and began my journey in calligraphy and painting。
Through in-depth study, I realised how deeply rooted Chinese calligraphy is. Our master’s lineage traces back to Li Ruiqing (Qing Dao Ren), a master calligrapher of the late Qing dynasty. With a thorough understanding of three millennia of calligraphic tradition, the master was proficient in all scripts. He advocated for ‘exploring the essence of three ancient dynasties, immersing oneself in the Qin and Han, integrating seal script with stone inscriptions, and inscriptions with model books.’
Following in the master’s footsteps, Master Xinming has carried forward the teachings of the lineage. After years of focused research, he boldly proposed that ‘the study of calligraphy should begin with the cosmic spiral energy field symbols.’ This insight is documented in her newly published book.
The book illustrates how these spiral energy field symbols have existed from the Three Sovereigns of ancient times to the present day. As the saying goes, ‘Seal script represents transmission and citation.’ Master Xinming has followed the tradition of ‘taking the law from the highest’ in calligraphy, presenting these discoveries through innovative editorial and design methods, making them accessible to learners. Once published, disciples at the Beijing school treasured the book, understanding that the origins of Chinese calligraphy are as ancient as the origin of writing itself.
With the guidance from this book, children no longer practice mindlessly, stroke by stroke. Instead, their study of calligraphy is now rooted in tradition, connected to a legacy thousands of years old.
Master Xinming gradually integrates calligraphy into the broader training of Chinese culture and aesthetics through the study of brushwork, structure, and philology. The learning process eventually leads to a harmonious balance of skill and virtue. As the saying goes, ‘The brush reveals the personality and the brush reveals the heart.’ After years of following the master, I have come to firmly believe in her words: ‘The study of calligraphy is the study of self-awareness and self-cultivation—it is a good path to personal growth and moral development.’”
Xiong Ying is the headmaster of a school in Beijing.
“Today, I had the pleasure of reading my sister’s work and was deeply impressed. My sister studies spiral energy fields, and her calligraphy is highly accomplished—natural and unpretentious. It beautifully combines ancient Chinese calligraphy with the artistic influence of her adopted homeland, making it truly remarkable.
Currently, few people in the world study spiral energy fields. The author has unearthed patterns from ancient relics to validate her findings, which is no easy task. I must also say that her calligraphy reveals a rare, ancient quality—a high aesthetic that seems to have been lost among the Chinese people. Researching primitive art offers a universal language that can open windows for dialogue with the world.”