Xie Chengguang was born in Xiamen. His father came to Xiamen from Longyan when he was a teenager, and took refuge in his uncle who was the principal of a primary school in Haicang. Later, I worked in a medical hotel, learned the bonesetting and pharmaceutical techniques of traditional Chinese medicine, opened my own small pharmacy and got married in Xiamen. Xie Chengguang was only 6 years old when the Japanese army occupied Xiamen. For the safety of his family, his father moved his family back to his hometown, Moderate Town, Longyan. There is no land to grow in my hometown. My father's pharmacy went bankrupt because his partner fled, and Xie Chengguang's family fell into poverty. It is common practice for young Xie Chengguang to dig wild vegetables and collect firewood in the mountains. My mother exchanged hand embroidery for local farmers to help with farm work, while my father still exchanged crafts for some food. Although the family is poor, they share weal and woe and live in harmony, which makes Xie Chengguang very emotional. Speaking of that time when his mother fished up all the rice in the porridge for the children to eat and only drank rice soup, he still blushed and shed tears.

Let Xie Chengguang really fall in love with calligraphy and develop his talents, which is also related to his father. In the old society, doctors often had to be able to write good words with a brush, but my father didn't go to school, so he always asked Xie Chengguang's eldest brother or Xie Chengguang to write for him. Eldest brother is good at poetry, and Xie Chengguang writes beautifully. Therefore, my father specially asked Xie Chengguang to help write a prescription. "Angelica has two dollars, Du Zhong has one dollar ..." This experience was described by Xie Chengguang himself-"I loved calligraphy when I was in junior high school in my hometown of Longyan, Fujian Province, but it was the war years in War of Resistance against Japanese Aggression, and in a remote place, my family was poor and I couldn't buy copybooks. Later, in calligraphy class, several students of scholarly family brought several copybooks, which I envy, especially "The Essence of Yan Da Zi Ma Gu Xian Tan", which may be me in our nature. So I borrowed it from my classmates, filled it with ink with thin paper hooks, and bound it with thread. I study in the morning and evening, and I begin to study beauty. A year later, I will be able to write Spring Festival couplets for myself and my neighbors and win the second place in the whole school calligraphy competition. "

Yan Zhenqing's calligraphy is thick, magnificent and magnificent, which has become another tall monument in the history of China's calligraphy after Wang Xizhi. Xie Chengguang liked Yan Zhenqing's calligraphy since he was a child and admired him even more when he grew up. "I have mastered the strict brushwork and shelf, solemn, steady, strong and generous, and then transferred to the seal script, the inscriptions of the Six Dynasties and cursive scripts, and even the book list, and I realized that learning strict style is really wonderful." His calligraphy began in Yan Zhenqing, and later spread to Zhuanli and Six Dynasties. On the basis of learning from others, he formed a calligraphy style with Yan Ti and Mount Tai Diamond Sutra as the main body, rich in the brushwork of seal script and Six Dynasties, and distinctive personal characteristics.

Xie Chengguang's calligraphy is vigorous and magnificent, and he is full of interest in the richness of Gu Zhuo. Teacher Xie Chengguang and Rodin, a famous calligrapher in Xiamen, once commented on poetry: "Ancient calligraphers are knowledgeable and beautiful, and their lofty spirit remains in the world. Under this standard, who can learn from it? I envy you having a healthy pen when you were young. Looking at the present in the afterlife is awesome, just like the South Garden will eventually enter the house. Old and tired, the east wind is full of flowers. Looking at the wings in the sky, the cone is the most pitiful. " Gao Huai, another calligrapher in Xiamen, said, "Cheng Guang's calligraphy is solid and powerful, just like his tolerance and kindness. On weekdays, he is honest and easy-going, but he has a clear-cut flag. He never gets mixed with mud, just as his pen and ink are masculine and not arrogant, and he is delicate and not pink. " As calligrapher Lin Yingyi said, "The heart is right and the pen is smooth, the words are like people, and people are decent and easy-going." Xie Chengguang has always been very popular, generous and kind, and his books and character are praised. As the saying goes, "books are like people" and "books are like people". Xie Chengguang is optimistic and cheerful, and he is humble. He used to give everything to people who came here to ask for words. He didn't write for fame and fortune. Whether he was a primary school student or a rural postman, he always promised. He also took an active part in charity sale activities of some charities.

Xie Chengguang's motto for himself is "not satisfied, not satisfied". "Contentment" means that you have been satisfied with material and fame, and "dissatisfaction" means that your accomplishments in calligraphy and personal cultivation are endless. "Don't cling to the remnants" means inheriting the tradition and not sticking to it.

After moving back to Xiamen with his mother, in order to reduce the burden on his family, Xie Chengguang was admitted to Xiamen Normal University at public expense. 1953 After graduation, he neither became a primary school teacher nor accepted being sent to Beijing Normal University and other institutions of higher learning for further study. Because of his good grades, he joined the party early and was good at paperwork. He was chosen to stay as a clerk in the secretarial section of the Education Bureau. Then the assistant secretary and section chief, also exercising in the countryside, worked as a secretary of the municipal party Committee office and worked in the organization department of the municipal party Committee. Finally, I worked in the Federation of Literary and Art Circles and became the chairman of the Federation.

Yan Zhenqing's Calligraphy Art was written at the age of 7 1, which lasted more than three years from the beginning of 2000 to May 2003 after Xie Chengguang retired in 1997. In order to write this book, Xie Chengguang collected all previous research works on Yan Zhenqing, from the life of Yan Zhenqing to the inheritance of Yan's calligraphy, and then to the analysis and guidance of his calligraphy characteristics. Xie Chengguang spent a lot of time collecting information and writing, and wrote the most comprehensive book about Yan Zhenqing's calligraphy with a manuscript half a meter high. Shen Peng, chairman of China Calligraphers Association, also wrote the title of the book and sent a letter of congratulations. "Yan Zhenqing Calligraphy Art" has both popularization and improvement functions, and integrates knowledge, practicality, scholarship and ideology, which is not only convenient for beginners to get started, but also helpful for researchers to refer. This book not only absorbs the valuable achievements of traditional calligraphy theory, but also combines my long-term practical experience in learning calligraphy, broadens my horizons, draws lessons from many beneficial inspirations from modern aesthetics, psychology, talents, creativity and other disciplines, and explores the law of success in calligraphy art.

Few people know that Xie Chengguang's knowledge of classical Chinese is still very good. He works with the rhythm of poetry and prose, and his words to his friends are often his own poems. The song "Pine on the Ridge" hanging in his living room is his own poem and a summary of his life-"Pine on the Ridge is awesome. The withered willow bends, and the branches sting the dragon. Lingfeng standard strength festival, fighting snow lush. Rooted as a rock, it will remain unchanged for thousands of years. "