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书非书——王冬龄个展
2015.5.08—2015.6.10   
  王冬龄的大书写,正是以其圆满俱足的书的艺术,昭示着生命的“相忘而生”的领域。这个领域没有边界,却具有充实的内蕴,在“忘”而“游”的介面之上,以一己的“生的完成”,来呈现万物的“生的完成”;以现代书艺的“生的完成”,来体现艺术新生命的“生的完成”;由此而生勤地开放着艺术创生的伟大的通境。
——许江
Wang Dongling’s monumental brush writing offers a classic example, and trule expresses Zhuangzi’s concepts of ‘free and easy wangering’ and ‘to live by forgetting oneself’: the meaningful world that Wang creates has no borders. The artist and the universe, the traditional and the modern, all come together to form a powerful creative force.
——XU JIANG

冬龄先生笔如椽,独立洪荒傍天心,掀山倒海龙蛇走,榜书寫就无古今。昔者书家刻石於荒山摩崖以长对天地日月,与山河共始终,今冬龄先生寫字于摩天厦林之中,兴霓管告示競一日短长。此二者有所共心,亦各有怀抱。
——张颂仁
In terms of both scale and monumental ambition, Wang Dongling’s banshu (‘public board’)calligraphy is probably unprecedented, given present knowledge about classical calligraphy. His dynamic brushwork seems to move with the power of torrents over cliffs, and dance with the sinuousness of whirling dragons. When the ancients carved writings onto rock surface in the mountains, they presumed the writing would remain a physical presence presence in nature ,and endure the vicissitudes of time in the company of geological and cosmic change. Today, Wang Dongling writes in the shadow of another type of edifice, the modern skyscraper, and must imagine his calligraphy in the context of a visual world of signage and neon; his work, therefore, both echoes the achievement in monumental writing of ancient of ancient of ancient masters, and sets him apart from them.
——Chang Tsong-Zung
至若王冬龄教授所分享的西方经验,同样是其宏通思路的充分展现。粗浅而言,比如守昔未离今,表独未苟同,不惟行古道,且将辟新径。其以巨篇奇字沟通现代抽象绘画,并以现场挥写比高当代行为艺术,等等,均见其才盛营多,心高志广。
——寒碧
Prof. Wang's western experience is reflected in his works as evidences of his multi-direction practices. In brief, he does not give up tradition for contemporary and vice versa. He keeps trying to find his own path. His monumental calligraphy connects with the spectacle of modern abstract painting, and his performance is not far from performance art. These all reflects his prosperous talent and vision.
——Han Bi

对于一位在书法传统中浸淫半个多世纪的王冬龄来说,乱书,书乱,不但需要兴致才情,还需要见识和勇气。“乱书”是书法史上的乱码,然而它的出现绝非偶然。在我看来,“乱书”之终极目标,是归零,是演历仓颉造字之际的变幻万端。从归一而至于归零,自万端而至于无端,由莫名而臻于无名,“乱书”之道,通往无名之象,有迹而无形。
——高士明
For a writer who grew up in the traditional of calligrapher for the past half century, to Luan Shu(乱书), to Shu Luan(书乱), not only requires interest and talent, nut also needs insight and courage. “Luan Shu” is an unreadable code in the history of writing. Nut it doesn’t appear by accident. In my eyes, the ultimate goal of “Luan Shu”, is to return to zero, is to experience the amorphism Cang Jie(仓颉) faced when he was to create the words. From returning to one to returning to zero, from the amorphism to the nothingness, from the unnamable(莫名) to the nameless(无名)—— the way of “Luan Shu” leads to the form of the nameless, which has traces but no forms.
——Gao Shiming