Wang Dongling's masterpiece.

Wang Dongling opened the exhibition sketch of "* * * Happy-Wang Dongling Calligraphy Art Exhibition" and pointed out the works on display one by one. The masterpiece "Five Thousand Words of Laozi" will be exhibited in the center of the rotunda of China Art Museum.

This is the greatest masterpiece in the calligraphy history of Crazy Grass, which was specially created by Wang Dongling according to the exhibition space and visual requirements of China Art Museum. Different from his giant grass "Zhuangzi Wandering" created in 2004, the length of "Lao Zi Wu Qian Zi" exceeds any previous creation, with more than 300 words in front, each word is about 2 feet, which is in contrast with the complete "Lao Zi Wu Qian Zi" at the back. Because of its large scale and crazy use of pens, this work has a strong visual impact. Some critics have commented that the creation of such a huge space and such an amazing structure is a wonderful stroke in the history of calligraphy. Lao Zi, as wonderful as Xiaoyao, has become two works of great significance in the history of modern calligraphy development in China.

This summer, Wang Dongling wrote the writing scene of "Five Thousand Words of Laozi", which many people remember deeply.

Quiet, quiet enough to hear the heartbeat of the air. Wang Dongling picked up a bucket pen in his right hand, raised a pile of paper towels in his left hand, took a deep breath, and after a pause, he bent down. The ink swept the paper towels and then reached the rice paper, followed by the sound of the brush dancing on the rice paper ... Great, Wang Dongling was radiant and waved until the ink was almost used up.

Artistic conception of artistic works

See Wang Dongling writing, there will always be such an imagination.

On the vilen, a galloping horse.

A piece of land has jumped over. Experienced season after season. Why can't we stop? Why don't you stop?

Just because I remember the purest and most accurate judgment in my heart.

The love of calligraphy is the purest and most accurate judgment of Wang Dongling. "I love calligraphy because I found myself in it. The mystery and confusion of life in the universe have been confirmed and relieved in the rhythm of lines raised by brushes. Mountains, rivers, lakes and seas are the "great articles" of creation, and calligraphy is the "snow claw" of the spiritual mood of the soul of all things.

From 65438 to 0989, Wang Dongling was invited by the University of Minnesota to teach China's calligraphy, and he had the opportunity to travel to many places and established extraordinary friendships with many western modernist and postmodern artists. Their creative ideas often touched him-for example, the studio of western artists and the study of oriental artists represented by China, the differences in the use of materials between the East and the West, the connection between the creative process and the final work creation, and so on.

He began to look for more suitable points and ways to develop calligraphy harmoniously. In Wang Dongling's view, the development of calligraphy is not a metaphysical empty talk. Especially in modern society, calligraphy is not as simple as playing with a desk. Of course, you can completely meet the spiritual requirements, but at the same time, some programs have changed today because of the change of "field", such as exhibition halls and rooms with a strong sense of modernity. Unless you stubbornly turn a blind eye, you must jump out of the old thinking.

The calligraphy art that Wang Dongling wants is straight. The starting point of Wang Dongling's creation is actually classical China.

From the silence and sobriety of Li Sao and the excitement of wandering around, to the dazzling of the Book of Changes and the calmness of Lao Zi ... These works displayed by Wang Dongling are all about China traditional literary classics. But every creation is an image. Not thinking about how to interpret pen and ink, but thinking about how to liberate pen and ink. As a result, the papery calligraphy lines exude the flavor of China.

Today, the art of calligraphy needs unique creativity and exquisite calligraphy skills, not to mention the connotation of China.

The irresistible attraction of literary classics to Wang Dongling has always existed. So, Wang Dongling said that his favorite books are Zhuangzi and Lao Zi. He compared his creation to writing a novel, hoping to create a book with thickness and content in a down-to-earth way. So, not long ago, at Beijing Airport, I had a connecting flight to Wang Dongling, Italy. When he learned that we were going to Moscow, he poetically suggested that we take a book of Pushkin's poems.

The pace of life is too fast, and the ever-changing social life is like a big room that is frequently moved and cleaned, but Wang Dongling has always been very quiet. For a long time, he was in the studio, and the wall was covered with stacks of books and posts. He stroked them and felt the beating pulse. Those strange and familiar near and far lives are dotted in the night sky like stars, one after another, shining with light beams. Every morning, all he has to do is write these inscriptions. This writing is almost half a century. Repeated thinking and tireless development. This job is only in your own perception and grasp, and no one can replace it.

Social changes, high prosperity of popular art, economic start-up, noise and turmoil, from fatigue to stability ... But Wang Dongling did not reject the change of life, he once wrote some popular songs into his works. He knows that every leap in life is a poem and a true result of tapping the core of potential. What we should do most is to explain, explain and spread this poem and truth, that is, to popularize and practice it, to stubbornly find a way of expression, and to turn the abstruse mystery into popular, sensible and tangible.

My attempt at China's calligraphy art in Dongling, Rainbow is an orderly choice. For a long time, Wang Dongling has been looking for the intersection between the traditional culture of China and the artistic expression of calligraphy, while Wang Dongling has successfully transformed these China symbols into an artistic language that people all over the world can understand. "I hope that what I do and what I preach in the future will become a part of China culture. I think I can do something to make it meaningful in the new era. If I can't communicate with people today, it doesn't matter. " Gentle tone, warm smile. Wang Dongling gave me the feeling of wisdom, tolerance and calmness.

When talking to such an elder, his first impression is extremely elegant. Maybe his wrinkles remind you of his experience, but in conversation, his temperament is as naive and romantic as a child.

Calligraphy is the way of Wang Dongling's existence and the secret of his youthful warmth.

At a recent calligraphy evening party, Mr. Wang Dongling said with emotion in praise: "In fact, the greatest art is the art of life."

One of his students said with emotion that on the road of artistic life and artistic life, I feel that Mr. Wang Dongling has found a better point of convergence. After years of exploration and search, he realized the profound connotation of ordinary life, which made his calligraphy move towards a broad, dynamic and endless atmosphere. On the contrary, the art of calligraphy also makes his life more interesting and charming.

Warmth is only the appearance, and warmth is the core. Compared with the previous two solo exhibitions in China Art Museum, today's Wang Dongling can indulge in a deeper level and can be traced back to a longer time. He can investigate everything in life more calmly and broadly than before, and he can ponder and stare at everything growing in his heart. Writing works of a hundred schools of thought contend, Wang Dongling savors the life of a hundred schools of thought contend. He asked himself, in the long history of mankind, a hundred schools of thought have been as brilliant and open as flowers, blending his own life, interests, grand plans and open mountains and rivers. Can today's artists be as smart and sophisticated as they are, and as real and brave as they are?

"The art of life, artistic life is what I pursue", strictly speaking, there is no art without life, because art is the expression of interests, and the root of interests is life. To find fun is to appreciate. Whether you know life or not depends on how much you can appreciate.

"During the Olympic Games, China won the most gold medals, and I was very excited. I made a picture of "Joy in Heaven" with a newspaper with sports photos. I want to make my calligraphy closer to real life. In addition, newspapers and other printed materials have different influences on writing because of the different sizes of color printing on the layout, which increases the interest. "

"Some time ago, China Academy of Fine Arts was rebuilt and demolished. When moving things in the studio, I saw the empty wall and suddenly had a desire to write. So, after studying this book, I took some photos as a souvenir! Artists have an artist's lifestyle, which is probably a typical example. "

In Wang Dongling's view, living a lifetime is like writing a good hand, and a perfect life has the beauty that a top-grade art should have.

In this exhibition, Wang Dongling said that these ten words can best express his feelings. Because carefree travel is a charming attitude towards life.

He is sincere, popular, popular and friendly. His students recalled that the students who arrived early in class would definitely make him a cup of tea and put it on the podium. He talked while drinking tea, which made this class full of thoughts and warmth, a bit like a heart-to-heart talk.

He once wrote on the title page of a forthcoming book: A fragrant heart for my parents and teachers. "Fifty years ago, an old man told me that the lotus in the book could prevent insects from eating. I caught seven or eight flowers. This leaf accompanied me to the end of the world, the legendary swordsman. " The first page of this book is a photo of this page of lotus leaf, which is yellow and contains traces of years, which makes people think.

He likes to write Weeds in a crowded space, because "so many people are watching, and everyone is angry with me." After writing Happy Travel, Wang Dongling realized that "vigor and vitality" is the foundation of a large-scale work, and when he was creating, he corresponded with the audience, that is, interacted with "criticism" or "aesthetic audience". He said that the ancients called "God helps", maybe that's it! What artists present will always be absorbed, ruminated and copied from society and life.

As a professor and doctoral supervisor of China Academy of Fine Arts, as the vice chairman of Zhejiang Calligraphy Association and the chairman of Hangzhou Calligraphy Association, and as a well-known calligrapher who enjoys the same reputation in the fields of traditional calligraphy and modern calligraphy, Wang Dongling has been persistent in creating a new world for China's calligraphy industry for many years. In February 65438, after leaving China Art Museum for ten years, Wang Dongling returned here with his works. The traditional twists and turns of water waves in China are still shining in the exquisite modern civilization. Wang Dongling reveled in the warm autumn sunshine, imagining this day and looking forward to it.

From February 3 to 9, 2007, the "Free and unfettered Wang Dongling Calligraphy Art Exhibition" jointly sponsored by committee of cpc zhejiang provincial committee Propaganda Department, China Art Museum, China Calligraphers Association, Zhejiang Federation of Literary and Art Circles and China Academy of Fine Arts was held in China Art Museum. This is the third solo exhibition held by Wang Dongling in China Art Museum after 1987 and 1994. Fan Dian prefaces the exhibition. Wang Dongling Calligraphy Art, a large-scale collection edited by Xu Jiang and published by Rong Baozhai Publishing House, was launched during the exhibition.

Then, surrounded by dozens of spectators, Professor Wang Dongling improvised on a rectangular platform with a length of 600 cm and a width of 200 cm set in the center of the rotunda of China Art Museum. In less than five minutes, three vigorous and carefree cursive characters jumped from the paper, pushing the exhibition atmosphere to a climax.

Sun Fuling, Vice Chairman of the Ninth Chinese People's Political Consultative Conference, Chang Keren, Vice Minister of Culture, Feng Yuan, member of the Party Committee and Vice Chairman of the China Federation of Literary and Art Circles, Su, Vice Chairman of the All-China Federation of Trade Unions, Ge Huanbiao, former deputy political commissar of the Commission of Science, Technology and Industry for National Defense, Wen, former vice president of Xinhua News Agency, Yundong Inamura, a 97-year-old famous scholar of Chu Ci and the highest consultant of the Japanese Daily Calligraphy Society, Ouyang Zhongshi and Liu Yi, consultants of the China Calligraphy Association, and Zhao Changqing, party secretary and permanent vice chairman of Lin Xiu, Vice Chairman of China Calligraphy Association and Chairman of Beijing Calligraphy Association, Wu Tianxing, Vice Minister of Propaganda Department of Zhejiang Provincial Committee and Party Secretary of Provincial Writers Association, Xu Jiang, Vice Chairman of China Artists Association, Chairman of Zhejiang Federation of Literary and Art Circles, President of China Academy of Fine Arts and Party Secretary of China Academy of Fine Arts attended the opening ceremony. Xu Jiang and Wang Dongling delivered speeches respectively. Sun Fuling, Wen, Ouyang and Inamura Yundong cut the ribbon for the exhibition. The famous host Yang Lan presided over the opening ceremony.

The reporter saw at the scene that two super calligraphy masterpieces were particularly eye-catching. One is the Book of Changes with more than 20,000 words and more than 50 meters long, and the other is Laozi with 5,000 words, written on a huge rice paper with a height of 4.95 meters and a length of 37.5 meters, and covered the whole wall of the circular hall of China Art Museum. So many words of cursive script are unprecedented. The second is to write Chinese ink painting cursive script on a device called Gankunmu, which consists of two symmetrical semicircles, with a length of 765,438+05cm, a width of 80cm and a radius of 50cm. The book of changes is written on the dry wood: heaven is strong, and gentlemen are constantly striving for self-improvement; What is written on the Kun wood is the "Book of Changes" Kun Gua: the terrain is Kun, and the gentleman carries things with morality. Like a huge three-dimensional couplet, it has become the cultural landscape of the exhibition hall, giving the audience a strong visual impact and shock.

After the performance, a calligraphy art seminar was held in the academic lecture hall of China Art Museum, which was presided over by,,, Yang, Inamura Yundong, Liu Heng, Ren Ping, Zhu Peier, Ye Peigui, Wu Zhenqi, Liu Hongbiao, Li Mujiao, Zhao Yanjun, Huang Yimin (Taipei), Liu Mo and Han Tianyong. In the afternoon, a symposium on calligraphy as a contemporary art was held. Fan Dian, Xu Jiang, Zhang Songren,,, Jia, Gao Shiming, Si Shunwei, Zhao Lizhong, Wang Zhichun, Li Yonglin, Wang Xinyuan, Wang Tiande and Guan Huaibin attended the forum (in the order of their speeches). Chen Lvsheng presided over the meeting.