Meng Dangdong

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Meng Dangdongmian's Personal Profile and Artistic Works
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Introduction to Painter Meng Dangdongmian and Calligrapher Meng Dangdongmian

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Meng Dangdong

Personal Profile

Meng Dadong, born in 1952, is from Linxiang City, Hunan Province. He is currently a council member and researcher of the Chinese Calligraphers and Painters Association; a researcher of the Chinese Association of Elderly Calligraphers and Painters; a member of the Guangdong Calligraphy Art Research Association; and vice president and secretary-general of the Guangdong Association of Elderly Cadres Calligraphy, Poetry, and Photography Artists. His calligraphy works have been exhibited multiple times in national, provincial, and municipal calligraphy and painting competitions and exhibitions, receiving widespread acclaim. In October 2010, he won the Gold Award at the 10th National "Lushan Cup" Calligraphy Competition, with some of his works included in the collection of outstanding works. In May 2011, he was invited to participate in the 4th China-Japan Friendly Cultural and Artistic Exchange Activity, where his calligraphy received high praise from calligraphers in both countries. In 2011, Guangdong Southern Television’s column "Masterpiece Art Appreciation" featured a special report titled "Broad Learning and Expressing Emotion." Since childhood, he has been passionate about calligraphy and has studied dozens of ancient masterpieces by renowned calligraphers such as Wang Xizhi, Wang Xianzhi, Sun Guoting, Zhang Xu, Huai Su, Zhao Mengfu, Mi Fu, and Wang Duo. He has devoted himself to meticulous study for decades, never ceasing his brushwork. He has conducted in-depth research on the historical development of Chinese calligraphy, characteristics of different scripts, artistic styles, and creative techniques. In his creative process, he emphasizes the integration of broad learning with selective absorption, the unification of calligraphic principles and technical skills, the balance between adhering to classical models and transcending them, and the cultivation of both inner character and external knowledge. He traces the origins vertically while observing the evolution and schools horizontally. He particularly emphasizes interpreting calligraphy art through a philosophical perspective, exploring its laws in the dialectical unity of lifting and pressing and four-directional movement, perceiving its spiritual essence in the flow of strokes and lines, and seeking new characteristics in the turning points of calligraphy history. He places great importance on the selection of content and the appropriate use of script styles, grasping the essential qualities of calligraphic elements, pursuing grandeur while avoiding coarseness, seeking daring innovation while avoiding imbalance, pursuing freedom and spontaneity while avoiding eccentricity, and pursuing individuality without departing from the "rules." His cursive script features robust and rigorous structure, vigorous and dynamic brushstrokes, balanced use of ink intensity, well-proportioned composition, and flexible, rhythmic transitions. His study of calligraphy adheres to the following 16-character principle: Uphold Tradition, Observe Schools and Styles, Absorb Widely, Promote National Essence.

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