Zhao Fengchi is a member of China Calligraphers Association.

Mr. Zhao Fengchi began to practice calligraphy as early as before the Cultural Revolution. In the early 1980s, he won the gold medal in the national exhibition sponsored by China Book Association. Lin Sanzhi, a master of modern Chinese calligraphy, also wrote such an evaluation for him: "Mr. Zhao's running script is well written and rare in contemporary times." By the end of 1990s, China's famous aesthetic critics even called Mr. Zhao's calligraphy "The Old Man and the Book" and listed it as a national book celebrity. However, it goes without saying that in the whole country, even in Huaibei City, few people know that there is another Zhao Fengchi who can write in Huaibei City except insiders. If Mr. Zhao Lao is not in Huaibei, but in Beijing and other big cities, or if Mr. Zhao Lao can work in the China Book Association, or if Mr. Zhao Lao can package and publicize like some booksellers now, and use market leverage to pry pen and ink, then the price of his words will probably be valued by the number of words, like some famous artists. I certainly won't write at the dinner table like the shack with only 50 square meters now. Three years ago, the family finally had a decent book case, which was sent by Zhang Yu, chairman of the trade union of Huaibei Coal and Electricity Company. Calligraphy art seems to never get rid of the shackles of author status, influence, economy and hype. At present, some works in China are easily thousands of yuan per square meter, but how many people will applaud that kind of word if it is not stamped with his name? What's more, in the history of calligraphy in China, few works handed down from ancient times were made of folk cloth. This is an inevitable objective existence and a helpless thing. However, the words of Ms. Lin Yuying, Vice Chairman of the Municipal Book Association, gave me a lot of comfort. She said that if Mr. Zhao didn't hide in the farmhouse and concentrate on training after winning the prize in the 1980s, but ran around with Lin Sanzhi's handwriting, I'm afraid it would be difficult to reach the present state. Since the mid-1990s, Mr. Zhao Lao has built several bungalows, enclosed a small courtyard, planted several pines and cypresses, several bamboo poles and several daisies in his hometown of Zhaomiao, Taihe County, and began to write quietly and concentrate on it, which can also be said to be "seclusion", which is rare in the materialistic era. It was not until 2003 that he really returned to his hometown in Huaibei under my repeated persuasion. Mr. Zhao Lao told me many times before his death that there should be no distractions in writing. The quieter the heart, the better the spirit. His son also told me that before Mr. Zhao died, his illness made him sometimes miserable, but as soon as he picked up the pen, he was refreshed. It seems that calligraphy art is very strange. The real good works handed down from generation to generation are mostly beyond the reach of secular pen and ink. The truly outstanding writers are mostly people who seem to be "divorced from reality". This seems to be an artistic law.