Poetic Shaping (Wu Weishan's Art Criticism Collection)

Author: Fan Fang
Publisher:
Publish Date: 2006-06-01
Features: Whether in scientific research, humanistic exploration, or artistic creation, each generation has its own wisdom and creativity, and each generation also has its own limitations. To better unleash one's wisdom and more perfectly realize one's creativity, one needs to have a clear understanding of oneself and the times. At this point, others' sincere comments and criticisms are particularly important. In this regard, Wu Weishan is undoubtedly fortunate. Over the years, on his path of growth, he has continuously received enthusiastic and insightful comments and criticisms from people from all walks of life at home and abroad. To this, he has always been able to listen with humility, contemplate deeply, and dare to try, ultimately achieving maturity and success relatively early. Today, to coincide with the "Wu Weishan Sculpture and Painting Exhibition," jointly organized by the Central Committee of the China Democratic League, the China Artists Association, Nanjing University, the China Art Museum, and other units, Qunyan Publishing House has compiled and published the comments and criticisms given to Wu Weishan over the years under the title "Poetic Shaping—A Collection of Artistic Critiques on Wu Weishan." The critics in this collection can basically be divided into three categories: one category includes famous Chinese and foreign artists and art critics such as Anthony Stunnes, Minoru Koshino, Xiong Bingming, Jin Shangyi, Shao Dazheng, Zhang Daoyi, and Fan Di'an; another category includes cultural celebrities such as Queen Beatrix of the Netherlands, Ma Wanjiqi, Ji Xianlin, Jin Yaoji, and Zong Pu; and the third category consists of scientific masters who excel in both literature and science, such as Qian Weichang and Yang Zhenning. From their respective perspectives, they have made insightful and penetrating comments on the artistic essence, cultural nature, social significance, and historical value of Wu Weishan's artistic creations. Although these critics differ greatly in their social backgrounds, cultural origins, and aesthetic inclinations, they have reached consensus on several points: Wu Weishan "combines the traditional freehand style with modernism" (Fan Di'an), the essence of his artistic creation is innovation, "Wu Weishan's sculptures are creative" (Yang Zhenning); Wu Weishan "discovered and elevated childhood, reflecting a genuine human emotion for childhood" (Beatrix), "sculpted the truth, goodness, and beauty of humanity" (Ma Wanjiqi); Wu Weishan "sculpted images of the times and images of culture" (Ji Zhilin), "is the person who can entrust the future of art" (Minoru Koshino). A considerable number of texts in this collection have been read by me before, but reading them today still brings me new insights. I hope Wu Weishan will take this as a starting point and achieve greater success on the fertile ground of Nanjing University.