参展艺术家：胡抗美、沃兴华、曾 翔、刘彦湖、白 砥、姜华、鲁大东、吴从容、施立刚、杨涛、张目达、陈 量
Yan Zhenqing was a great master in the history of Chinese calligraphy who played a role in carrying forward the traditions of the Wei and Jin Dynasties and setting standards for the Song and Yuan Dynasties. He created a new style different from the traditional system of Wang Xizhi and Wang Xianzhi, which has also become a significant model for generations to facsimile and follow.
He was also one of the masters who epitomized the traditional calligraphy. His creations in all directions are still important resources for creation of calligraphy itself at present. Especially, the spiritual core of integrity and pathos in his valuable daily calligraphic works are yet to be further explored and applied.
The current art (I rarely use the phrase “contemporary art”) is not only referring to Western art. Chinese traditional art can also be subject to creative transformation at the present stage, so as to appropriately dig out the ancient artistic spirit, aesthetic value, and temperament cultivation in high quality.
For this purpose, we has planned Tributes to Yan Zhenqing—National Invitational Exhibition of The Art of Writing in the Shanghai Powerlong Art Center. It is our hope to hold a large exploratory exhibition about facsimile, imitation, creation and and other aspects on the basis of “writing”.
The art of writing has long been bearing the writing spirit of the prehistoric civilization. It is not only a kind of transformation of the remote antiquity writing resources nearly 4,000 years before the oracle bone inscription which are easily overlooked by traditional calligraphy, but also a return to the writing spirit itself. More importantly, it is a new kind of great vision art which emerged after traditional calligraphy and modern calligraphy. It is also a new exploration after the popular calligraphic style, as well as the present advancement and différance upon the.
The art of writing is also a new form of art generated from the multiple interactions of oriental cultures in the context of their spirits and rooted characters. It is closely related to writing, retention, rituals, theatricality, folk art, mysticism, body movement, primal power, space energy, innermost aesthetic psychology, and even visual order, etc.
Its futurity is in an open state, uncharted and uncertain; or maybe a kind of misleading information, which is changing while moving. It may move towards the primitive nature, the life-like origin, or maybe the artist’s cross-individuated spiritual independence and the freedom of mind.
As a curator, I would like to take this opportunity to explore new changes for the presentation and exhibition installation of traditional calligraphy. But more importantly, I look forward to more valuable questions, so as to awaken the new sensory system and language of writing, to construct an event, and to stimulate multiple transformation of thoughts and ideas.
出品人 | 施晗
主编 | 李妙染 责编 | 赵国林 王景