Huang Tingjian (1045-1105), whose courtesy name was Lu Zhi, also known as Fu Weng, a Taoist in the Valley, was born in Fenning, Hongzhou (now Xiushui, Jiangxi), and was known as "Huang Valley" in the world. The poet of the Northern Song Dynasty, together with Zhang Lei, Chao Buzhi and Qin Guan, traveled to study under Su Shi's family. He was known as the "Four Scholars of the Su family" in the world and founded the Jiangxi Poetry School.

  Huang Tingjian was born in a family with profound knowledge. His father was a famous poet and he had contacts with Wang Anshi, Ouyang Xiu and Mei Yaochen at that time. He was extremely intelligent since he was a child, but he had many fates and bumpy official career. He was very similar to Su Dongpo. He was also passionate about Buddhism and Laoism, no less than Su. "History of the Song Dynasty·Biography of Wenyuan" said of him: "Ting Jian's knowledge and articles are innate", and Chen Shidao said that he "learned from Du Fu in poetry, was good at cursive script, and also developed his own style of regular script." He himself said: "I have studied cursive script for more than 30 years. At first, he took Zhou Yue as his teacher, so he kept up his vulgarity for twenty years. Later, he got Su Caiweng (Shun Qin)'s beautiful calligraphy, and he got the ancients' writing style. Later, he got Zhang Changshi, Huai Su, Gao Xian Ink marks are a glimpse into the beauty of brushwork." His running calligraphy, such as "Songfeng Pavilion" and "Su Shi's Cold Food Poetry Postscript", uses the pen as mentioned in Feng Ban's "Buyin Miscellaneous Records" of the Ming Dynasty: "The pen starts from the painting and returns to the painting. The brush strokes to the left and then to the right, but then jumps again, just like the clouds encountering the wind, they go forward but then return." His starting point of the stroke was to go right and then to the left, and reversed from the hidden front in the painting to the left stroke. , and then level out, "there is no level, no slope", the first stroke is intended to change; the end of the stroke returns to Feng Zangying. Be good at hiding the edge, pay attention to pauses and setbacks, and use the "painting bamboo method to write calligraphy" to give people a "calm and happy" feeling. Its structure was inspired by Liu Gongquan's regular script. The central palace is tightened and radiated from the center outwards, extending vertically and horizontally, like a rowing oar or a boat. It is grand and majestic. His personality characteristics are very obvious. To learn his calligraphy, you must pay attention to the "calmness and joy" of the dot painting brush and the stretch and magnanimity of the structure. As for his cursive script, Zhao Mengfu said: "Huang Taishi's book has the meaning of Zhang Changshi's roundness and vigorous flying." "It is like a noble and elegant scholar, and it is admirable to read it."

 Discussing books
 Pang Jushi Hanshanzi's poems
 Du Fu's poems in cursive script
 A poem for my forty-nine nephews