Dancing Ink I + II

Dancing Ink I + II

$50.00

Dancing Ink Pictorial Calligraphy and Calligraphy Painting

Book by Wang Fangyu 

Catalogue published on a series international traveling exhibition Dancing Ink, sponsored by Seton Hall University, from 1985 to 1988.

After Chinese calligraphy spread to the West, Western artists tended to extract formal elements from calligraphy and use them in their works. This risks separating the form of calligraphy from its rich connotations and losing the soul of the genre. This problem has led to people’s misunderstandings of Chinese calligraphy and needs to be addressed urgently.

“Dancing Ink” has its roots in traditional calligraphy, while showing Wang Fangyu’s artistic innovations. It puts together his achievements in breaking the traditional boundary between calligraphy and painting. Based on the traditional structure and format of writing, Wang invented new ways of writing the radical or parts of a character. His method of invention, based on the meaning of a character or the written text, is pictographic. Using different brushwork (ranging from the sharp and static to the cursive and restless), the artist has found a means of abstract expression beyond the meaning of words.

As an educator and artist, Wang Fangyu introduced Chinese Calligraphy abroad without losing its rootedness in tradition. His work, combining inheritance and innovation, is of profound significance to cultural developments of the turbulent late 20th century.

Dancing Ink Pictorial Calligraphy and Calligraphy Painting

Book by Wang Fangyu 

Catalogue printed in Hong Kong, by Techpearl Printing Ltd, 1993.

After Chinese calligraphy spread to the West, Western artists tended to extract formal elements from calligraphy and use them in their works. This risks separating the form of calligraphy from its rich connotations and losing the soul of the genre. This problem has led to people’s misunderstandings of Chinese calligraphy and needs to be addressed urgently.

“Dancing Ink” has its roots in traditional calligraphy, while showing Wang Fangyu’s artistic innovations. It puts together his achievements in breaking the traditional boundary between calligraphy and painting. Based on the traditional structure and format of writing, Wang invented new ways of writing the radical or parts of a character. His method of invention, based on the meaning of a character or the written text, is pictographic. Using different brushwork (ranging from the sharp and static to the cursive and restless), the artist has found a means of abstract expression beyond the meaning of words.

As an educator and artist, Wang Fangyu introduced Chinese Calligraphy abroad without losing its rootedness in tradition. His work, combining inheritance and innovation, is of profound significance to cultural developments of the turbulent late 20th century.

中国书法传播到西方后,很多西方艺术家在利用的过程中只提取了书法形式上的抽象元素,却把书法外形和其丰富的内涵隔离开来,从而失去了书法灵魂之所在。这种误用影响了人们对中国书法的认知,亟待正本清源。

“舞墨”这系列作品根植于传统书法的形式,又体现出了创新的勇气,是王方宇坚持打通书画之间传统界限的成果之集合。他基于不同传统书体的框架结构,根据不同的内容和文字所代表的意义对偏旁或部分文字进行象形引申,在文字本义之外通过笔墨(指笔画的轻重、粗细、 弯直的角度以及流动和停滞的节奏、用笔的干湿、笔墨的浓淡等)进行抽象化表达。

作为教育家和艺术家的王方宇将中国艺术介绍到了海外,以新的方式延续了中国传统。他的工作既有传承又有创新,这在激荡的二十世纪后半页具有深刻意义。

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