"Wu Weishan's sculptures contain not only a country, but also the soul of all mankind." UN Secretary-General Ban Ki-moon's praise is not at all excessively applied to Wu Weishan. God gave Wu Weishan a body of elegance, wisdom, temperament, and ghost work, making him extraordinary, as well as the souls of the literati rioters and the nine Yi and eight barbarians, all of which were passed on by his clever hands, and his relics were passed on to the gods, which could be seen for thousands of years, showing that his genius came from the heavens and not from the power of the world.
On the tenth day of the first month of the ugly winter, the cranes remembered again
Wu Weishan is a "freehand sculpture" who combines philosophy and calligraphy art in sculpture. His works, full of the historical vicissitudes of the wisps of knife marks, like mountains, like the water of the Yellow River of the Yangtze River, between mountains and water, with calligraphy, poetry, freehand techniques, express our national wisdom, is benevolence, virtue, Tao, is the oriental sculpture characteristics and the world culture integration model.
Such as the bronze "Empty Valley Has a Sound - Lao Tzu Out of the Pass", the shape of Lao Tzu and the cow has a mysterious meaning of the heart, blooming the agitation in the body of life, reflecting the harmony between man and nature; the combination of the upper body of the technique, with a knife such as a pen, cutting nails and cutting iron, like Huaisu wild grass, pen walking dragon snake, gentle twisting or turning or up or down, suddenly left and right, slow and fast, stagnant and sick, there is a vast force between the teng, forming a spiritual symbol that transcends the material world; the use of materials, the casting, forging and coloring of bronze are all in one go, Make Lao Tzu's figure ethereal, subtle as a streamer, vast as the universe; silence like a deep pool, sonorous as thunder and lightning.
In the work "Li Bai", Wu Wei uses the fluidity of mountains and water to nourish the shape of some works. The character's robe seems to flow slowly from top to bottom, suggesting a dialogue, a teaching. However, this way of expression is secret and delicate, and through careful observation, we can glimpse its metaphor and extract the creative effect from prudence.
I have long looked up to Mr. Shan to step into the breath of the clouds, fresh and unworldly texts, super wonderful sculptures, praying to see the honorable face, listening to the teachings, in order to wash away the stupidity of my accumulated years. Brother Jin Zhijian in the Jingguan Wu Weishan Sculpture Exhibition occasionally got a wonderful text, WeChat to me, I have the honor to be viewed as Mr. Shan's masterpiece, such as seeing the mountain Wenxin, good and fast! Those who have no words, not one by one.
The first six days of June, the owner of the Sanjiang Baoyun Building, Mo Hequn
Born in 1962 in a family of calligraphy, his grandfather Gao Ershi was one of the most outstanding calligraphers of the 20th century, and he himself was a calligrapher and Chinese painter with a traditional style. Doctor of Philosophy, doctoral supervisor. Director of the National Art Museum of China, sculpture artist with international influence, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, vice chairman of the China Artists Association, chairman of the China Urban Sculptors Association, corresponding academician of the French Academy of Arts, member of the Royal Sculptors Association (FRBS).
In my opinion, the freehand of sculpture has three characteristics: one is the exaggerated image of the form; the other is the texture image of the concave and convex shape; and the third is the image of the instantaneous appearance of the characters. Freehand is the artistic concept of the Chinese nation, not for the sake of freehand, let alone the pursuit of superficial trembling, poetry, and shape, but to melt, penetrate and carry forward the spirit. With the spirit, the work has an inner "qi" and soul.
"When a good sculptor shapes the human body, he represents not only muscles, but also the life that makes muscles move."
- Rodin
Famous individual theories
Rooted in traditional Chinese culture and inspired by the great revolution in Western art over the past two centuries, Wu Weishan has shouldered the heavy responsibility of shaping the essence of Chinese civilization to the letter. From the grandeur and serenity of Lao Tzu to the coldness and pungency of Lu Xun, Wu Weishan has explored the true meaning of Chinese characteristics again and again from the long and complex history of China's three thousand years. His sculptures create a delicate balance between the divine and the physical, and this balance is the basis of Chinese art. I once summarized the characteristics of Wu Weishan's works in three words: true, pure, and simple. Each of his works, large and small, is imbued with these characteristics. I believe that Wu Weishan will become a great sculptor in the 21st century.
——Yang Zhenning, Academician of the Chinese Academy of Sciences and Nobel Laureate in Physics
Generally speaking, as a monumental building, its expressiveness relies on the solemnity, strength, majesty, grandeur, simplicity and shaping of the environmental space of the body, etc., and expresses the content of the theme and the inner beauty with its relatively abstract image - which is extremely rare and valuable. But it cannot be like what literary works can be for and against, and when narrative expression is needed, it often relies on a collection of various artistic means such as sculpture, inscriptions, calligraphy, and garden environments. Successful works lie not only in the level of architectural quality, but also in the comprehensive composition of the above means. If there is a unique achievement in one direction of these artistic means, it will be more able to finish the picture, add color to the entire monumental building, and enhance the appeal of art; on the contrary, it is easy to fall into mediocrity and waste the opportunity of creation. The group sculptures of the Nanjing Massacre Victims of the Japanese Invasion of China are unique, the personal style is unique, and the main building is skillfully integrated, all of which can explain its success.
—— Wu Liangyong Academician of the Chinese Academy of Sciences, Academician of the Chinese Academy of Engineering, Master Architect
One of the sculptures of the Nanjing Massacre group
Mr. Wu Weishan has created more than 200 statues of Chinese and foreign celebrities and cultural people, both realistic and freehand. He is especially good at freehand, and has the magic of one breath, but he is not sloppy and does not seek similarity. He can also capture the inner world of the characters in a rapid manner. This kind of freehand is both traditional and modern. In his works, I admire Qi Baishi, Lin Sanzhi, Xiao Xian... What impressed me the most was the portrait of Mr. Feng Youlan. Mr. Feng was my teacher, and this statue was very successfully shaped. The whole is like a depressed, awe-inspiring rock, the words and deeds left in the human world in the ninety-five spring and autumn periods, and the bitterness, sorrow, joy, and obedience that have been encountered in life are all blended in. His eyes stared ahead, his eyes still thinking and judging.
——Xiong Bingming Famous sculptor, philosopher, professor at the University of Paris, France
In the exhibitions at the National Museum of China, reality is transformed in a poetic way, which is reflected in monumental large-scale works that compose rhythms for the exhibition space; it is also reflected in small humorous works, such as Freud's small portraits; embodied in large works such as real people; and in some artist statues, who are presented to the audience at twice the size of the real height of the characters, and the simple humanity and great talent of these characters are also revealed. I discovered Wu Weishan's works for the first time at the National Academy of Painting in China and discovered his artistic talent. At that time, I saw his "Huang Binhong" in the garden of the National Academy of Painting of China, and immediately painted this work in a sketchbook.
- Claude Abeille, President of the Abeille French Academy of Arts, life academician, famous sculptor
I would like to send two words to Mr. Wu Weishan that two Italian masters have said. The first sentence is what Karachi, a prominent painter of the 17th century, said, "We artists think with our hands." The second sentence was said by the sculptural genius Michelangelo, who, in his old age, once told people, "Art research is endless" and "I will continue to learn". I send these two sentences to Mr. Wu Weishan.
—Antonio di Thomas Antonio di Tommaso, president of the Sculpture Institute of the Academy of Arts in Florence, Italy, and famous sculptor
The unique artistic appeal of Wu Weishan's works reflects the perfect fusion of European academic traditions and the inevitable fusion of great Chinese culture. Chinese culture has cultivated and inspired the author's bold artistic creation, and the spirit of the Classical Chinese Tradition possessed by Wu Weishan's works seems to arouse a unique inner strength. This power is embodied in the group sculptures of the Nanjing Massacre he created, the psychological portrayal of the desperate situation of the characters, which profoundly reflects human nature, and the complex and magnificent structure of the work has a high degree of artistry. Of course, there is also a true humanistic spirit that I admire. All of this gives the audience a deep emotional experience and amazing authenticity. This profound experience, with strong emotions, is very moving. The innovation in Wu Weishan's art gives people new inspiration.
—Zulabo Konstantinovich Celedeli President of the Russian Academy of Arts
Wu Weishan is a sculptor who can shoulder the development of modern sculpture art in the future. Like Van Gogh, who once discovered modern elements from ukiyo-e, I think That Wu Weishan is a person who can find the true meaning of future art, and who can entrust the future of art.
——Saburo Kosugi, A Japanese dry lacquer sculptor and an honorary member of the Picasso Museum of Fine Arts (France).
(Mo Hequn)