Organizer
National Academy of Painting of China
Organizer
Department of Creative Research and Planning, National Academy of Painting, China
China Art Daily
Exhibition date
November 15—November 25, 2022
Exhibition location
National Style Hall on the first floor of Mingde Building of the National Academy of Painting of China
Participating artists
(in order of age)
Yuan Xuejun, Lei Miao, Shen Huiqi
Tao Hong, Xie Xiaoquan, Wang Fei
Huang Shengxian, Geng Yanmin, Huang Wenzhi
Du Hao, Yao Ruijiang, Peng Wei
Zhao Fangfang, Dong Lei, Bian Kai
Chang Xin, Li Sixue, Yang Fan
Tan Fei, Zhou Yunzhi, Lu Yu
Wang Haoran Wu Zongyang
Outside the Elephant Only Truth - Wu Zongyang's Calligraphy Art Tube
As a young calligrapher, Zong Yang has a promising future.
Among the various bodies, you are good at cursive writing and ancient seals, which seem to be different from the clouds and mud, and the wind energy of books is absorbed and developed by them at the same time, which is closely related to his natural temperament and origin. He was born in a scholarly family in Anyang, the birthplace of oracle bones, and was influenced by oracle bones, gold and stone rubbings since childhood, and also involved in ancient characters, which formed the foundation and background of Zongyang's calligraphy creation. And Zong Yang's own personality is very astute and sensual, and naturally prefers cursive writing in many writing styles, which is a sharp contrast and contrast with his calligraphy art background. Such a static movement, a moment and a book, doomed him to the contradiction in writing, and this contradiction stimulated his creativity even more. Just as if there is no contradiction and no waves in the movie, it will inevitably be boring, and Zong Yang's calligraphy is also worth savoring like a movie with plot waves and visual ups and downs. His creative concept and writing technique with seal into grass is a kind of collision between self-background color and self-awareness, a breakthrough of self-consciousness to self-undertone, and a fusion of self-undertone to self-awareness. This "regional background" and "talent choice" make his cursive works more "tasteful" and "attractive" in today's "fast food era", each piece is elusive and full of surprises.
Looking at Zong Yang's path of calligraphy, his early calligraphy skills can be summarized in the word "solid". At the beginning of his self-study, he loved "Sanshi Pan", "Ode to the Stone Gate", "Jiao Baozi", etc., in order to seek the sense of simplicity and frankness of his penmanship. This makes his writing background "childlike and interesting", and at the same time lays a solid foundation for his lines, and it is these "humble plays" that set the tone for his later cursive writing, and make his subsequent creations not conventional. Then he began to study and study the "Seventeen Posts", "Book Score", and Zhu Zhishan's cursive writing, which was his self-awareness awakening and writing style choice. Especially for the breakthrough of brushwork, "the magic of the three ends, do not use the pen first", it is not difficult to appreciate Zong Yang's calligraphy, he is born with a sensitivity to the use of the pen, the tip of his works swims on the surface of the paper, like an arm and finger, relaxed, full of rhythm and rhythm.
Zong Yang's cursive works present his artistic pursuit of "seeking classics and becoming oneself". From the perspective of traditional calligraphy, he has a good integration of classical theology and epigraphy, and from the perspective of modern visual space, he has unique insights into spatial construction.
From the works, we can see that the "personal background" and "talent talent" presented by a young man who has great prospects in the world of calligraphy collide with each other and achieve each other, and this relationship that is both different and integrated with each other will inevitably produce more personal, more wonderful and deeper artistic achievements after accumulation and bursting. "Those who enter the ancient are deep, and those who come out of the ancient are far", Zongyang naturally wanders between the "in" and "out" of the ancient and the "take" and "give" of the present. After the precipitation of time, I look forward to this young man continuing to present amazing works in the future. (Wei Guangjun)
Appreciation of some of Wu Zongyang's works
Wu Zongyang Oracle Calligraphy 36cm×22cm×6 2022
Wu Zongyang Excerpt of Zhengqi Song Calligraphy 126cm×33cm, 2019
Wu Zongyang Calligraphy Zhengchuan Sentence Calligraphy 126cm×66cm, 2021
Wu Zongyang Eight Songs of Qiuxing (Part 1) Calligraphy 200cm×80cm, 2021
Wu Zongyang Fengle Pavilion You Chun Calligraphy 126cm×66cm, 2021
Wu Zongyang Qingping Tone Calligraphy 66cm×66cm 2022
Wu Zongyang Wangdongting Calligraphy 66cm×66cm 2021
Wu Zongyang Spring Night Joy Rain Calligraphy 66cm×66cm 2022
Wu Zongyang Idle early summer nap calligraphy 66cm×66cm 2019 (Source: China National Academy of Painting)
About the calligrapher
Wu Zongyang, Ph.D. candidate. In 2019, he graduated from the Department of Fine Arts of the China Academy of Arts with a master's degree. He used to work in the Graduate School of the China Academy of Arts, responsible for the Department of Calligraphy. He is a member of the Oracle Bone Calligraphy Art Research Association of the Chinese Character Museum and a visiting teacher of Hebei Academy of Fine Arts. The winners include: Sino-Korean Calligraphy Annual Exhibition (2022), Seal Book Jiupin New Exploration (2022), 70th Anniversary Exhibition of China Academy of Arts (2021), Excellent Graduation Creation of China Academy of Arts and Collection in School (2019), Cursive Invitation Exhibition of the 6th Zhangzhi Art Festival in Guazhou, China (2018), Korean Character Civilization Exhibition (2018).