Introduction
Wang Dongling opened the exhibition layout sketch of this time's "*** Xiaoyao - Wang Dongling's Calligraphy Art Exhibition" and pointed out the display of the works one by one. The giant "Laozi·Five Thousand Words" will be displayed in the center of the rotunda of the National Art Museum of China.
This is the largest cursive work in the history of calligraphy. It was specially created by Wang Dongling in accordance with the exhibition space and visual requirements of the National Art Museum of China. Different from the huge wild cursive "Zhuangzi·Xiaoyaoyou" he created in 2004, "Laozi·Five Thousand Words" is longer than any previous creation. The first 300 words, each word is about 2 feet, and The complete "Laozi·Five Thousand Words" at the back is in contrast. Due to the tall size and wild brushwork, the work has a strong visual impact. Some critics commented that creating such an amazing masterpiece in such a huge space is a wonderful event in the history of calligraphy. "Laozi" and "Xiaoyaoyou" are equally wonderful and have become two works of great significance in the history of the development of modern Chinese calligraphy.
Many people have deep memories of the writing scene of Wang Dongling's "Laozi·Five Thousand Words" this summer.
Quiet, so quiet that you can hear the heartbeat in the air. Wang Dongling picked up the brush with her right hand and a stack of paper towels with her left hand. She took a deep breath, calmed down, and bent down. The ink passed over the paper towel and then to the rice paper. What followed was the sound of the brush dancing on the rice paper... The highlight is that Wang Dongling is in high spirits. , waving until the ink is almost exhausted.
Imagination
Watching Wang Dongling write, such imagination will always appear.
In the wilderness, a galloping horse.
One piece of land after another leaped and crossed. It passed through one season and then through another. Why can't it stop? Why don't you want to stop?
Just because I remember the purest and most accurate judgment in my heart.
The love for the art of calligraphy is the purest and most accurate judgment in Wang Dongling’s heart. "I love calligraphy because I discovered myself in calligraphy. The mystery and confusion of the universe and life are confirmed and liberated in the rhythm of the lines of the brush. Mountains, rivers, lakes and seas are the "big pieces" of creation, and calligraphy It is the "snow mud claws" of the spiritual conception of the spirit of all things. In 1989, Wang Dongling was invited by the University of Minnesota to teach Chinese calligraphy. He had the opportunity to travel to many places and interact with many Western modernists and postmodernists. He formed extraordinary friendships with the artists of the school, and their creative ideas often moved his heart - for example, the studios of Western artists and the study rooms of Eastern artists represented by China, and the use of materials between the East and the West. differences, the connection between the creative process and the creation of the final work, etc.
He began to look for a more consistent point to find a harmonious way for the development of calligraphy. In Wang Dongling's view, the development of calligraphy is not a metaphysical empty talk. Especially in modern society, calligraphy is no longer as simple as playing on the desk. Of course, you can fully meet the spiritual requirements for the purpose, but at the same time, today's "field" of appreciation has changed. Change some programs, such as exhibition halls and rooms with a strong sense of modernity. Unless you stubbornly turn a blind eye, you must jump out of old-fashioned thinking.
The art of calligraphy that Wang Dongling wants is to keep moving forward. The starting point of Wang Dongling's creation is actually classical China.
From the speechless choking of "Li Sao", the passionate passion of "Xiaoyaoyou", to the dazzling ecstasy of "The Book of Changes", the calmness and calmness of "Laozi"... These works presented to you by Wang Dongling , all involved are classics of traditional Chinese literature. But every creation is a reflection. Instead of thinking about how to interpret pen and ink, we think about how to liberate pen and ink. Therefore, the calligraphy lines all over the paper exude a Chinese flavor.
For the art of calligraphy to reach today, it requires unique creativity and exquisite calligraphy skills, and the Chinese connotation must not be discarded.
The irresistible attraction that literary classics have given Wang Dongling has always been there. Therefore, Wang Dongling said that his favorite books are "Zhuangzi" and "Laozi". He compared his creation to writing a novel, hoping to create a book with depth and content in a down-to-earth manner. So, not long ago, at the Beijing airport, I met Wang Dongling, who was on a connecting flight to Italy. When he learned that the place we were going to was Moscow, he poetically suggested that we take a copy of Pushkin's poetry with us.
Life moves too fast, and the rapidly changing social life is like a big room that is frequently moved and cleaned, but Wang Dongling has always been quiet.
For a long time, he was in the studio. The walls were covered with stacked books and inscriptions. He stroked them and felt the fluttering pulse. Those strange and familiar lives far and near were like stars in the night sky. , one by one, flashing beams of light. Every morning, what he must do is write these inscriptions. This writing took almost half a century. Think repeatedly and develop tirelessly. This work is only within your own perception and control, and no one can replace it.
Social changes, popular art is highly prosperous, the economy is starting, noisy and turbulent, from exhaustion to stability... But Wang Dongling does not reject changes in life. He once included some popular songs in his works. He knows that every leap forward in life is the result of the underlying core of poetry and truth being discovered. The extremely important thing we should do is to interpret, illustrate and disseminate this poetry and truth, popularize and practice it, tenaciously find ways to express it, and turn the profound and convoluted into something popular, sensible, and Can be touched.
I really like Wang Dongling’s attempt on the art of Chinese calligraphy. It is an orderly choice for inheritance. Wang Dongling has been searching for the compatibility between traditional Chinese culture and the artistic expression of calligraphy. Wang Dongling has successfully transformed these Chinese symbols into an artistic language that can be understood by people around the world. "I hope that the things I make and the charm I promote will be said to be part of Chinese culture in the future. I think I can do something to make it meaningful in the new era and communicate and speak to people today, but I failed. It’s not too important.” A gentle tone and a warm smile. Wang Dongling gives me the impression that he is very wise, very tolerant and very calm.
When you talk to such an elder, your first impression is that he is extremely elegant. Maybe his wrinkles remind you of his experience, but when he talks, he exudes a temperament as innocent and romantic as a child. .
Calligraphy is Wang Dongling’s way of existence and the secret to maintaining his youthful and warm mentality.
At a recent calligraphy gathering, teacher Wang Dongling said with emotion amidst the praise: "In fact, the greatest art is the art of life."
One of his The student said with emotion that on the road of making art into life and art in life, I feel that Teacher Wang Dongling has found a better fitting point. After many years of exploration and searching, he has realized the profound meaning of ordinary life, which makes him His calligraphy has moved towards a broad, vibrant and endless atmosphere. In turn, the art of calligraphy has also made his life more interesting and charming.
Warmth is just the appearance, enthusiasm is the core. Compared with the last two solo exhibitions at the National Art Museum of China, Wang Dongling can now indulge in deeper and go back further. He can investigate everything about life more calmly and broadly than before, and he can play with and watch everything that grows in his heart. When writing about the works of various scholars, Wang Dongling is savoring the lives of various scholars. He asked himself, in the long history of mankind, hundreds of schools of thought have bloomed like a flower, integrating their own lives, tastes, interests, grand ambitions, and vast mountains and rivers. Can today's artists As chic and sophisticated as them, as true and brave as them?
"The art of life, the life of art is what I pursue." Strictly speaking, there is no art without life, because art is the expression of interest, and the source of interest is life. To find something interesting is to appreciate it. Whether you know life depends on how many things you appreciate.
"China won the most gold medals during the Olympic Games. I was also very excited. I once made a painting called "Happiness" using newspapers with sports photos. I wanted my calligraphy to be closer to real life. In addition, newspapers and other Due to the size of the color printing on the printed matter, the writing has different effects, which adds to the interest."
"Some time ago, the China Academy of Art was renovated and demolished, and when I moved out the things in the studio. Afterwards, I looked at the empty walls and suddenly felt the desire to write. So, after finishing the book, I took some photos as a kind of commemoration! This is probably a typical example of an artist’s lifestyle.”
In Wang Dongling's view, living a lifetime is like writing a good calligraphy. A perfect life has the beauty that high-quality art should have.
"Free friends can do things, and gratitude lies in close friends." In this exhibition, Wang Dongling said that these ten words best express his feelings. Because Xiaoyaoyou is a fascinating attitude towards life.
He is sincere, popular, popular and approachable.
His students recalled that students who arrived early during class would definitely make him a cup of tea and put it on the podium. .
He once wrote on the title page of a soon-to-be-published book: A petal of fragrance, dedicated to my parents and teachers. "Fifty years ago, an old man told me that lotus flowers stuck in a book can prevent them from being eaten by insects. I clamped seven or eight of them, and this leaf accompanied me all over the world, smiling proudly." The first page of the book is this lotus leaf. The photos are yellow and contain traces of time, which make people think a lot.
He likes to write wild cursive in large spaces with many people, because "so many people are watching, and everyone makes me angry." After creating "Xiaoyaoyou", Wang Dongling realized that "spirit and vitality" are the foundation of large-scale works. When creating, he corresponded with the audience's mood, that is, interacted with the "aesthetic audience". He said that the ancients called " "If God helps me", maybe that's it! What artists present will always be absorbed, regurgitated, and reproduced from society and life.
As a professor and doctoral supervisor at the China Academy of Art, and as a member of the Zhejiang Province Vice Chairman of the Calligraphy Association and Chairman of the Hangzhou Calligraphy Association. As a famous calligrapher who is equally renowned in the field of traditional calligraphy and modern calligraphy, what Wang Dongling has been most obsessed with over the years is to create a new world for Chinese calligraphy. In December, he left China. Ten years after the museum, Wang Dongling returned here again with his works. The traditional Chinese water waves are still shining in the exquisite and exquisite modern civilization. Wang Dongling was intoxicated in the warm autumn sun and thought about it. I am also looking forward to this day.
From December 3 to 9, 2007, the Propaganda Department of the Zhejiang Provincial Committee of the Communist Party of China, the National Art Museum of China, the Chinese Calligraphers Association, and the Zhejiang Provincial Literary and Art Circles. The Federation and the China Academy of Art grandly launched the ***Xiaoyao·Wang Dongling calligraphy art exhibition at the National Art Museum of China. This is Wang Dongling's third solo exhibition at the National Art Museum of China in Beijing, following 1987 and 1994. Preface. The large-scale collection "Wang Dongling's Calligraphy Art" edited by Xu Jiang and published by Rongbaozhai Publishing House was premiered during the exhibition.
Subsequently, surrounded by dozens of viewers, Professor Wang Dongling made a speech at the Chinese Art Museum. On a 600 cm long and 200 cm wide rectangular platform set up in the center of the pavilion’s rotunda, there was an impromptu calligraphy. In less than five minutes, the three simple and vigorous cursive characters of *** Xiaoyao appeared on the paper and transformed the exhibition. The atmosphere reached a climax.
Sun Fuling, Vice Chairman of the Ninth CPPCC National Committee, Chang Keren, Vice Minister of the Ministry of Culture, Feng Yuan, Party Leadership Group Member and Vice Chairman of the China Federation of Literary and Art Circles, Su Liqing, Vice Chairman of the All-China Federation of Trade Unions, and the Commission of Science, Technology and Industry for National Defense. Lieutenant General Ge Huanbiao, the former deputy political commissar, Xu Xian, the former vice president of Xinhua News Agency, Wen Huaisha, the famous 97-year-old scholar of Chu Ci, Inamura Yundong, the top consultant of the Japanese Daily Calligraphy Society, Ouyang Zhongshi and Liu Yi, consultants of the Chinese Calligraphy Association , Fan Di'an, Director of the National Art Museum of China, Zhao Changqing, Secretary of the Party Committee and Vice Chairman of the Chinese Calligraphers Association, Lin Xiu, Vice Chairman of the Chinese Calligraphers Association and Chairman of the Beijing Calligraphers Association, Wu Tianxing, Vice Minister of the Propaganda Department of the Zhejiang Provincial Committee and Secretary of the Party Committee of the Provincial Writers Association, China Xu Jiang, Vice Chairman of the Artists Association, Chairman of the Zhejiang Provincial Federation of Literary and Art Circles, President of the China Academy of Art, Mao Xuefei, Secretary of the Party Committee of the China Academy of Art, and more than 300 people from the literary and art circles attended the opening ceremony. Sun Fuling, Wen Huaisha, Ouyang Zhongshi, and Daocun delivered speeches respectively. Yundong cut the ribbon for the exhibition. The famous host Yang Lan presided over the opening ceremony.
The reporter saw two super calligraphy works that were particularly eye-catching. One was more than 20,000 words and more than 50 meters long. The long scroll of "The Book of Changes" and the 5,000-word "Laozi" are written on a huge rice paper 4.95 meters high and 37.5 meters long, covering the entire wall of the rotunda of the National Art Museum of China. Such large-character and multi-character cursive works are. Unprecedented. The second is written in ink and cursive script on a device called Qiankun wood. The device is composed of two symmetrical half-logs 715 cm long, 80 cm wide and 50 cm in radius. Written on the dry wood is "Yi". The Qian hexagram of the Book of Changes: Heaven moves vigorously, and a gentleman strives to constantly strive for self-improvement; what is written on the Kun wood is the Kun hexagram of the Book of Changes: The terrain is Kun, and a gentleman carries great virtues. Resembling a huge three-dimensional couplet, it has become a cultural landscape in the exhibition hall, giving the audience a strong visual impact and shock.
After the live performance, a seminar on Wang Dongling’s calligraphy art was held in the Academic Lecture Hall of the National Art Museum of China. The seminar was chaired by Lin Xiu and Chen Hongwu, and included Bai Xu, Yang Bingyan, Qiu Zhenzhong, Daocun Yundong, Li Gangtian, Liu Heng, Ren Ping, Zhu Peier, Ye Peigui, Wu Zhenqi, Liu Hongbiao, Li Mijiao, Zhao Yanjun, Huang Yimin (Taipei), Liu Mo, Han Tianyong, Shen Hao, Zhang Rongqing, and Hu Ping (in order of speaking) participated in the seminar. In the afternoon, a themed seminar on calligraphy as a contemporary art was held. Fan Di'an, Xu Jiang, Zhang Songren, Zhu Qingsheng, Qiu Zhenzhong, Chen Dali, Jia Fangzhou, Gao Shiming, Si Shunwei, Zhao Lizhong, Yu Ding, Wang Zhichun, Li Yonglin, Wang Xinyuan, Wang Tiande, Guan Huaibin (in order of speaking) participated in the seminar. Chen Lusheng presided over the meeting.