HANGZHOU, China, Oct. 16, 2021 /PRNewswire/ — The exhibition “From Inception: Wang Dongling 60 Years of Calligraphy” opens at the Zhejiang Art Museum on October 16, 2021. This exhibition focuses on China Academy of Art’s professor, Wang Dongling’s 60-year analysis of calligraphy art, from acceptable calligraphy to added styles such as Chaos-Writing (Entangled Calligraphy), Big Writing, Argent Gelatin Calligraphy, Calligraphy on Bamboo Stalks, Calligraphy application immersive basal reality, and so on. The continued amount of time covered by the exhibits, the assortment of styles, the abyss of bookish research, and the change of media analysis are aberrant not alone in Wang Dongling’s abandoned exhibition history, but additionally in Chinese calligraphy exhibition history.
For a calligraphy artisan with six decades’ experience, Wang Dongling consistently charcoal advanced to arising media technologies. In his view, a chat with new technologies is a chat with the future. In October 2015, Tim Cook, CEO of Apple Inc., came to Hangzhou and paid a appointment to Wang Dongling to apprentice Chinese calligraphy from him. The accident led to a acrimonious altercation by bodies from all walks of life, domestically and internationally. Earlier in 2013, Wang Dongling cooperated with the acclaimed new media artisan Jeffrey Shaw on “Big Writing.” In 2020, during the all-around acerbity of Covid-19, he was arrive by American administrator Peter Sellars to participate in the trans-disciplinary art activity blue-blooded “This anatomy is so impermanent…”
Wang Dongling has been administering all-encompassing and all-embracing calligraphy abstracts back the 1990s. He never commendations calligraphy as a affectionate of legacy, but promotes the open, beginning abeyant of calligraphy so that calligraphy, as an age-old art form, can become a affiliate of the abreast art world.
In Exhibition Hall No. 4 of Zhejiang Art Museum , called “Fantasy Land of Calligraphy,” is a apple of black coat aflame by both lights and colors: from abstruse ink paintings to argent gelatin calligraphy, to the use of abstracts like stainless animate mirror and bright acrylic, and to the abundant representations through new media such as iPad calligraphy and motion abduction agenda art.
In Exhibition Hall No. 5, called “Scholar’s Snow Cave,” the small-sized works in Regular Script and big-sized works in Cursive Script beset calligraphy genres such as anthology leaves, scrolls, book inscriptions, screens, etc. Created with deliberate, accurate laws and conduct as able-bodied as a grandiose, appropriate beauty, these works accurate the artist’s abstruse captivation and training in the calligraphy attitude and action against adventurous possibilities for innovation.
The blind scrolls in four scripts in Exhibition Hall No.6 advertise the six decades’ aesthetic adventure of Wang Dongling. The anew created “Big Writing” accession in celebration of the 2,500th ceremony of Confucius’ casual represents the contours of the adventure of Confucius. The about-face from Cursive Script of abstruse acceptable abyss to Entangled Calligraphy is additionally a acknowledgment to the artist’s claimed activity journey.
Wang Dongling discussed teaching adopted acceptance and the broad-mindedness that resulted from it: “In 1981, I accomplished calligraphy to adopted students. Adopted acceptance aggressive me to attending at calligraphy in new means and to accede how bodies alfresco of our amphitheater appearance art. My accepted calligraphy convenance had become too accountable and banausic for me. I accept that new account should be developed to strengthen and augment the aesthetic announcement of calligraphy. After a chat with a barbate Colombian apprentice in 1983, I began “secretly” practicing avant-garde calligraphy. “Powerful and Unconstrained (Tian Ma Xing Kong)” was my aboriginal avant-garde calligraphy piece. I had a starting point to augment my calligraphy abilities from again on.”
In the 1990s, he alone accomplished at the University of Minnesota and abundant added college institutions and actively alternate in beyond bookish activities on abreast art. He said, “I’ve accomplished calligraphy at several universities in the United States, Germany, and Japan. I’ve accomplished adopted acceptance pen and ink abilities in Chinese calligraphy, but I don’t appetite them to become “Chinese calligraphers” who can imitate classical works of acclaimed writers such as Yan Zhenqing well. Instead, I appetite them to be able to apply this best basal and acceptable aesthetic accent of China already they’ve baffled and internalized it, so that their adroitness can curl and adorn their own aesthetic creation”. When discussing his acquaintance teaching calligraphy in the United States, he fatigued that “some Westerners address calligraphy not to address Chinese characters, but to draw abstruse images, and they apprentice calligraphy not to be a Chinese calligrapher, but to apprentice art techniques and afflatus from calligraphy to actualize added art. I began to apprehend that calligraphy is not alone a chat with tradition, but additionally with the all-around civilization. It is not alone about a chat with abreast art but additionally with agenda technology. “
Since the new century, he alone accomplished the activity blue-blooded “Big Characters Travel the World,” a plan to assemble autograph scenes of Chinese calligraphy at the best important art institutions about the globe, announcement bookish advice amid calligraphy and all-embracing art circle. In his view, Chinese calligraphers charge proactively and confidently access assimilate the scenes of all-embracing art for alternate beam and afflatus in cross-cultural exchange. It is alone by “manifesting the accepted through differences” that calligraphy can acknowledgment to its accurate agent in cultural dialogues and accomplish due contributions to the ability of altruism as a whole. As a result, calligraphy charge transcend “the altercation amid east and west.”
His works are represented in the collections of the National Art Museum of China, the Palace Museum (Taipei), Peking University, the British Museum, the Victoria and Albert Museum, the Metropolitan Museum of Art, the Library and Archives Canada, The Art Institute of Chicago, the Vancouver Art Gallery, as able-bodied as in universities such as Harvard, Yale, Stanford, and Berkeley.
President of the China Academy of Art, Gao Shiming said, “How do we abate the different bookish ancestry of Chinese calligraphy in the spirit of catholic sharing? How can we accomplish calligraphy an consistently acceptable and accessible cause? With his active efforts and connected abstracts during the aftermost six decades, Wang Dongling provides us with a allusive example. For sixty years, he has been endlessly exploring aural the abundant attitude of Chinese calligraphy and consistently analytic for inspirations beyond the admirable border of apple art. Through the acumen of “Writing•Non-writing” he allotment to the basic antecedent of calligraphy and opens up its aesthetic space. For calligraphy, he has a admirable vision: to abate the abundant attitude of calligraphy for abreast audiences, to advance the Tao of calligraphy in Chinese acculturation to the accomplished world. For himself, he has a close position: to abide aloof to praises and condemnations, favors and shames, to alive as he wishes, to do amends to this life.”
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SOURCE China Academy of Art
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