Hanpu Jiku: A Collection of Works by Faculty and Students of the Institute of Chinese Calligraphy Culture, Capital Normal University

Author: Institute of Chinese Calligraphy Culture, Capital Normal University
Publisher:
Publish Date: 2002-02-01
Features: The collection of works by faculty and students of the Institute of Chinese Calligraphy Culture is about to be published. The institute's director, the renowned calligrapher Professor Ouyang Zhongshi, has inscribed the title "[Hanguo Jiku]" for this collection. His meaning is that the Institute of Chinese Calligraphy Culture at Capital Normal University is a [garden] for studying and researching Chinese calligraphy, where faculty and students [cultivate]. Although some achievements have been made in theoretical research and calligraphic practice, the steps taken forward have not been significant—only half steps or small steps—so it is called "[Jiku]." The publication of the collection of works by faculty and students of the Institute of Chinese Calligraphy Culture is not an outstanding achievement; it is merely a [report] and a starting point for taking further steps forward. In recent years, under the leadership of Professor Ouyang, the Institute of Chinese Calligraphy Culture at Capital Normal University has grown steadily, having enrolled eleven batches of Chinese and foreign master's students and six batches of Chinese and foreign doctoral students. Since 1999, postdoctoral researchers have been admitted to the institute to conduct research projects. Additionally, five batches of master's students in major courses and two batches of master's students with equivalent academic qualifications have been enrolled, and the institute has continuously accepted visiting scholars and trainees from all over the country for seven consecutive years. Those who come are all [scholars], all coming for [studying] and researching calligraphy. Professor Ouyang requires all faculty and students in the institute to: first, study Chinese calligraphy as a discipline, not just as an art but also as a cultural phenomenon, placing it within the broader context of Chinese culture. Studying Chinese calligraphy is a long-term [major topic]. Second, all faculty and students must learn to write characters, studying while researching and researching while studying. Professor Ouyang believes that master's and doctoral students in calligraphy majors who cannot write characters or write poorly are not qualified. He has always emphasized that both researching and writing must be grasped firmly by both hands. Having characters without culture is not good; having culture without characters is also not acceptable. Therefore, our requirement is [having both culture and characters]. Only in this way can we live up to the responsibility society has entrusted to us.