Friday, April 22, 2011

Zhang Xuguang 张旭光

Zhang Xuguang, born in 1955, is a native of Anxing County, HeBei Province of China. He learned Chinese calligraphy since he was young under the guidance of his father. He wrote New Year couplets for the fellow villages when he was 10 years old and at 16, his calligraphic works were already in demand. Since 1988, at age 33, he has held a number of solo exhibitions, conducted talks organized by the Chinese Central Television, visited Japan for exchange programs. His participates in a number of important exhibitions, such as the National Calligraphy Exhibition, the Middle-Aged and Young Artists Exhibition, Exhibition of the Selected Works by Calligraphy Masters, etc. His works are carved in stones and displayed at a number of places such as Qu Fu, Yueyang Lou, and are collected by and displayed at places such as Zhongnanhai – the central headquarters for the Chinese government, the Great Hall of the People, the National Art Museum of China, the China Military Museum, and countries such as Japan, Korea, European countries and the USA.
He held and is still holding a number of senior positions in the governmental units and art organisations. In 2008, he became the Deputy Secretary-General of the Chinese Artists Association.
His calligraphic style follows closely that of two-wangs (the great calligraphy master Wang Xizhi and his son Xianzhi) in Jin dynasty, advocating the artistic rhymes and resonance with charm. He has spent much time copying and enjoying the works of two-wangs and calligraphers of Qing and Ming dynasties. The works of two-wangs are characterized by their casual and elegant bearing, and that of Qing and Ming calligraphers reflect the brush strokes that move about freely and quickly, sweep through the length and breadth of the whole piece of calligraphic work. Later, he made adjustments to his style by learning the styles of calligraphers of Song and Ming dynasties, practising on the calligraphic works of Mifu, Yang Ningshi, Wang Duo, Dong Qichang, Sun Guoting, etc. In the process, he developed his own creative ideas with ease and unconsciously, trying to achieve a natural state of peace and simplicity in his works. In writing running scripts, his brush strokes are steady, word structures strict but not harsh. With a touch of beauty, classic elegance and tranquillity of the Southern rubbing style, he is trying to inject the graceful spirit of the old charm into modern orientation. His calligraphic works therefore reflect the richness and meticulousness of brushstrokes, composure and smoothness of brush movements, as well as the vigorous and magnificent classical artistic style.
Zhang advocates ‘re-visiting classics’, and proposes ‘using modern aesthetic sense to discover the trend of the traditional Chinese calligraphy, so that the creative works is originated from the traditional sources and yet riding on the contemporary wave. With fantastic fusion of old and modern, we can march to the future.’ He also proposes a number of ideas, such as ‘be in place and with flavor’, ‘developing new theory on calligraphic rubbings’, and ‘re-vitalizing regular script of Tang dynasty’. His calligraphic works has already had a deep influence in China, forming a main stream calligraphic trend. He is said to be a leading figure in Chinese calligraphic community.
他在不少政府与艺术团体中担任要职。2008年 8月调任到中国美术家协会任副秘书长。

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