I have been studying at home since I was a child, and I have been studying for more than forty years. In recent years, he diligently studied the development of traditional calligraphy in China, and finally accumulated a wealth of books, created a three-dimensional list, and expanded the two-dimensional expression space of traditional calligraphy in China into a three-dimensional expression space, and his calligraphy works won national invention patents and national copyright protection.
In 20 12, the works were selected to fly to Tiangong-1 Space Station with Shenzhou-9 spacecraft, and the works were collected by the General Armament Department, China Aerospace Flight Control Center, China Astronaut Research and Training Center, Party School of the Ministry of Railways and other units.
Mr. Wang Chengming was born in a scholarly family in Weifang, Shandong Province. His family has been inheriting the excellent traditional culture of China. Educated by my father since childhood, I often deal with writing brushes after meals. Childhood experience not only laid a good foundation for Wang Chengming's calligraphy, but also imprinted his ideal of calligraphy creation in his heart.
1977, the college entrance examination system in China was restored after ten years' interruption due to the Cultural Revolution. That is to say, in the autumn of 1978, Wang Chengming, who was only 16 years old, was admitted to the Department of Automatic Control of Taiyuan Institute of Machinery with solid learning skills and became the second batch of college students after resuming the college entrance examination. Although Wang Chengming studied engineering, he always kept the habit of learning and practicing calligraphy. In the second year of entering the university, Wang Chengming's calligraphy works won the first prize in the university calligraphy competition.
After graduating from college, Wang Chengming entered a state-owned enterprise under the Ministry of Ordnance Industry. With intelligence and continuous efforts, he was awarded the title of engineer at the age of 25, and was rated as a senior engineer at the age of 3/kloc-0. Although he plays an important role in the unit, he still insists on learning calligraphy and makes time to study and practice calligraphy. Starting from Ou Kai, he studied cursive script for more than forty years. During this period, he studied the inscriptions of the two kings and studied under the weeds in Huai Su, which was well known by many scholars.
In the process of studying ancient calligraphy, Mr. Wang Chengming found that no matter how the pen is used in traditional calligraphy, the words written are flat and the expressive force is slightly thin. Even the pen heart is difficult to reflect the three-dimensional effect. How to improve and innovate has not been thoroughly studied and explored, or the corresponding results have not been shown to the world. So after work, I began to study the development of traditional calligraphy in China.
Mr. Wang Chengming found that China's calligraphy was limited to the tools and uses of calligraphy before the rise of the list book, mostly practical, mostly small and elegant. With the improvement of calligraphy tools and the enhancement of calligraphy artistry, Chinese characters and tables have become a calligraphy art, while Chinese characters in tables pay attention to "potential", which is the advantage of three-dimensional calligraphy.
Small words should be "put" and big words should be "closed". Each word in the list should be one or two meters long. After writing it, it will be dark, and the unity of "potential" and "elegance" cannot be achieved. Mr. Wang Chengming gave full play to the advantages of a senior engineer in experiment, summary and innovation. After a lot of "experiments-failures-re-experiments", he finally accumulated a large number of books and created pop-up book's single, which expanded the two-dimensional expression space of China's traditional calligraphy into a three-dimensional expression space, created a precedent for the three-dimensional expression of China's calligraphy, and unified the "potential" of the single book with the "elegance" of small and medium-sized calligraphy.
(Editor: Liu)