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Wang Xingyu
Wang Xingyu
Personal Profile
Wang Xingyu, pen name Zhulin, male, Han ethnicity, born on March 2, 1961, native of Zhejiang Ningbo, civil engineer, nationally certified first-class calligrapher and painter, member of the Chinese Couplet Society, member of the Calligraphy and Art Research Committee of the Chinese Couplet Society, standing committee member of the National Celebrities Calligraphy and Painting Art Association, member of the Chinese Calligraphers and Painters Association, standing director of the China International Artists Association, member of the China Popular Culture Society. He has loved art and literature since childhood, especially calligraphy and painting. He favors freehand-style flower-and-bird paintings and particularly adores landscape paintings and seal script calligraphy.
His works have been auctioned multiple times at local calligraphy and painting academies and various art websites, worthy of collection by enthusiasts at home and abroad, institutions, and local individual collectors. Nearly one hundred pieces have already been collected by domestic and international collectors. Currently, his works are displayed and reported on dozens of websites including Baidu Encyclopedia for Calligraphers and Painters, Encyclopedia Authority Network, Art Encyclopedia Network, China Calligraphy and Painting Title and Price Evaluation Center, Tencent Video Calligraphy and Painting Live Reports, Sohu.com, Calligraphy and Art Research Association of the Chinese Couplet Society, New Art Group Committee of the Chinese Calligraphers and Painters Association, International Calligraphy and Painting Art Network, Urban Information Network, People's Calligraphy and Painting Academy, China Contemporary Calligraphers and Painters Network, Zhangwan Art Network, China Social News Network, China Civil Livelihood Hotline, China News Media Network, Culture and Education Network, China Art Dream, and others. His works have frequently been collected by overseas calligraphy and painting enthusiasts.
In 2015, at the competition hosted by China Calligraphy and Painting Talent Network, his work “Hangzhou Garden” was deeply appreciated and won the Most Popular Work Award.
In 2017, his submitted work was selected for the honorary title of “2017 China Good Brand HaoBRAND Influential Calligrapher and Painter,” and was showcased in Tencent Video’s calligraphy and painting report.
In November 2017, he won the “Top Ten Outstanding Calligraphy and Painting Talent Award” in the Second “Top Ten Calligraphy and Painting Talented Entrepreneurs” competition in Ningbo City.
In 2018, jointly published by the China Popular Culture Society and China Post, “Commemorative Stamp Collection Celebrating 40 Years of Reform and Opening-up, Sailing into a New Era” was released, featuring 12 stamps with a print run of 1,000 copies.
In 2019, edited by the China Huayi National Gift Art Exchange Center, “National Gift Art Masters: Commemorative Collection of Masterpieces for the 70th Anniversary of the Founding of the People’s Republic of China” was published, featuring six calligraphy and painting pages including “Double Blessing Hanging Scroll,” “Eight Steeds in Majesty,” “Spring, Summer, Autumn Fruits,” “Intoxicated Summer,” “Long-Flowing Source,” and “Plum, Orchid, Bamboo, Chrysanthemum.” 40,000 sets of calendars were published and distributed.
In 2019, he was invited to participate in “China Culture Entering Tens of Thousands of Households: Fine Daily Calendar Compilation,” and one calligraphy and painting page was published, featuring works “Good Fortune Ahead” and “Abundant Springs.”
In 2019, invited by the Organizing Committee of the International China Public Welfare Ceremony, he attended the event held at the CCTV Star Avenue Film and Television Base in Beijing, and was awarded the “2018 International China Outstanding Achievement Award in Calligraphy and Painting.” He was interviewed by media reporters on CCTV’s “Wisdom China” program and widely promoted across major online platforms.
In 2019, participating in the “Huaxia Brand Masters” competition — he was honored with the title of “China Good Brand Most Influential Calligrapher and Painter.”
In 2019, specially invited by the Beautiful China Media Alliance and jointly published by one hundred authoritative Chinese media outlets and Huayi Shuyun Cultural Research Institute, his personal calligraphy and painting special edition “70 Years, 70 Masters: Contemporary Art World Celebrating the 70th Anniversary of the Founding of the PRC” was released. It received special commentary from renowned art critic Mr. Shi Feng titled “Beautiful Imagery in Painting: Colors Harmonize with Ink, Creating Elegant Confucian Aesthetics,” and was widely reported and promoted across major media platforms. After publication, the special edition received strong positive reactions and high praise from numerous calligraphy and painting enthusiasts.
In March 2020, specially invited by the New Art Group Committee of the Chinese Calligraphers and Painters Association, a special report titled “Seize the Day, Do Not Waste Youth — Exhibition of Most Creative Calligraphy and Painting Works by Wang Xingyu” was published, receiving strong resonance and widespread acclaim from the general public and art enthusiasts.
In May 2020, specially invited by the Calligraphy and Art Research Committee of the Chinese Couplet Society, a focused art feature titled “Opening a New Era Chapter, Painting the Dignity of a Great Nation — Outstanding Contemporary Artist Wang Xingyu Presents Works to the National Two Sessions” was published and promoted across major online platforms, receiving high praise from readers.
In May 2020, organized by the People’s Art Organizing Committee, he was awarded the honorary title of “Artist Promoting Art with Virtue and Excellence.”
In July 2020, specially invited by the Calligraphy and Art Research Committee of the Chinese Couplet Society, he participated in the online exhibition “Act Together in Art 2020 — Wang Xingyu’s Calligraphy and Painting Works Entering Tens of Thousands of Households.”
Several years ago, journalists also interviewed him regarding his works, reporting on his artistic and daily life moments: “Clear Mountains and Pure Waters, Eternal Spring — Interview with the Renowned Landscape Painter Mr. Wang Xingyu.” Currently, numerous media outlets and art websites have reported on and displayed his works.
He cultivates friendships through virtue and exchanges calligraphy and painting skills with sincerity, gathering artistic friends from across the nation. He diligently sketches and travels extensively throughout China, meticulously portraying the pristine beauty of nature.
Commentary article by renowned art critic Mr. Shi Feng on calligrapher and painter Wang Xingyu Beautiful Imagery in Painting: Colors Harmonize with Ink, Creating Elegant Confucian Aesthetics — On the Renowned Calligrapher and Painter Wang Xingyu
Landscape painting, throughout its thousand-year history in Chinese art, has developed certain conventionalized patterns. Traditional Chinese landscape paintings mainly fall into two categories: freehand (xieyi) and meticulous (gongbi). They include styles such as blue-green, gold-ink, boneless, light-crimson, and ink-wash dominant. Their techniques generally consist of five categories: outlining, texturing, rubbing, dotting, and rendering. Contemporary renowned calligrapher and painter Mr. Wang Xingyu not only preserves the accumulated brush-and-ink traditions of these landscape conventions but also innovates beyond them. His exploration of integrating meticulous realism with expressive qi-yun (spiritual resonance) and freehand techniques using new methods demonstrates exceptional mastery. His landscapes successfully reconcile tradition with innovation, infused with misty, ethereal imagery, expressing the philosophical sentiment that “the benevolent love mountains, the wise love water.” Each painting possesses both the bone structure of mountains and the spiritual essence of water. In his landscapes, he enhances the presence of water, allowing brush and ink to embody more qi-yun spirituality. Viewing his paintings feels like a refreshing breeze—cool, pure, untainted, exuding the sublime beauty of heaven and earth—where freehand and meticulous styles merge into a perfect harmonious realm!
Meticulous landscape painting tends toward refinement and holds greater decorative and collectible value, appealing to the general public. Freehand landscape painting embodies Zen and Daoist qualities, representing “poetry within painting,” favored by literati. Meticulous landscapes are sometimes criticized by literati as rigid and mechanical, while freehand landscapes are occasionally misunderstood by the public as deceptive or pretentious. This has created a difficult-to-bridge divide between meticulous and freehand styles. Skillfully merging the tangible, visually present techniques of meticulous painting with the dynamic, qi-yun-rich imagery of freehand painting is a significant manifestation of a contemporary artist’s natural grace.
His work “Bright Spring” exemplifies this modern fusion of meticulous and freehand styles in landscape painting. The foreground is delicately outlined with fine meticulous lines, depicting objects naturally without stiffness or artificiality. Slopes, water surfaces, houses, and forests are meticulously rendered; the river’s azure waves reflect the sky, creating a unified, misty ambiance. Unlike conventional freehand waterscapes that use blank space to suggest emptiness and haze, his river is rendered through “white writing” techniques, with willow reflections clearly visible in the water, exuding clarity and moisture. Bridges, streams, fishing boats, and waterfowl are depicted with vivid clarity, as if standing right before the viewer; rural cottages come alive on paper, fully embodying the charm and flavor of the Jiangnan region.
Moving from near to far, the painting transitions gradually from meticulous to freehand. This transition represents the most challenging technical exploration and the most remarkable innovation. Brushwork shifts from realism to expressiveness; distant mountains appear faint and softly layered. Color application transitions from ink to pigment: vivid hues nearby, ethereal tones afar. Close-up scenes are richly colored and tangible; distant scenes employ ink washes to suggest etherealness. Whether in brushwork or color, the transition from meticulous to freehand is executed with precise control and seamless progression, blending reality and illusion harmoniously without any sense of disconnection, as if accomplished effortlessly.
His landscape paintings layer meticulous and freehand elements, creating a unique spatial sensation: towering peaks compete in grandeur, distant mountain ridges fade into mist, dry and wet brushstrokes merge naturally. Amidst fluid, unrestrained strokes, he captures the spiritual essence of landscapes, exuding the gentle beauty of Jiangnan and the poetic charm of waterside villages—this is the intelligent synthesis of meticulous and freehand styles!
Since the Qing Dynasty, meticulous landscape painting has declined and awaits restoration of its decorative splendor. The dominance of freehand landscape painting alone is not entirely perfect. His ingenious fusion of meticulous and freehand techniques effectively resolves the excessive “fire” (harshness) often found in meticulous landscapes and compensates for the lack of decorative beauty in freehand landscapes. By integrating the inner qi-yun beauty and outer decorative beauty of landscape painting, he harmonizes the literati’s emotional expression with popular aesthetic tastes. He paints the essence and spirit of natural landscapes using brushwork comprehensible to the public: vigorous yet not dry brushstrokes, vibrant yet not vulgar colors, realistic without stiffness, expressive without losing authenticity—full, rich, and appealing to both refined and popular tastes!
Beautiful Imagery in Painting: Meticulous and Freehand Styles Marvelously Intertwined. Flower-and-bird painting is another subject to which he devotes his pursuit of aesthetic beauty, combining meticulous and freehand techniques, achieving beauty in the realm “between likeness and unlikeness,” equally pure, elegant, and visually pleasing. His paintings exhibit strong calligraphic qualities: wielding the brush as if writing calligraphy with heart and hand in perfect harmony, lines flowing like springs when guided, stable as mountains when paused. This undoubtedly stems from his profound calligraphic foundation—tracing the origins of calligraphy and painting as one, cultivated together. His seal script explores the ancient Qin style, engraved with iron-like brushstrokes, exuding archaic elegance, mastering both round and angular techniques, achieving extraordinary calligraphic artistry. Just as Wu Changshuo mastered this method, Mr. Wang Xingyu, following the footsteps of ancient masters, naturally attains the stature of a great artist! Renowned Art Critic Shi Feng, June 21, 2019
Commentary article by renowned art critic Mr. Shi Feng on calligrapher and painter Wang Xingyu Beautiful Imagery in Painting: Colors Harmonize with Ink, Creating Elegant Confucian Aesthetics — On the Renowned Calligrapher and Painter Wang Xingyu
Landscape painting, throughout its thousand-year history in Chinese art, has developed certain conventionalized patterns. Traditional Chinese landscape paintings mainly fall into two categories: freehand (xieyi) and meticulous (gongbi). They include styles such as blue-green, gold-ink, boneless, light-crimson, and ink-wash dominant. Their techniques generally consist of five categories: outlining, texturing, rubbing, dotting, and rendering. Contemporary renowned calligrapher and painter Mr. Wang Xingyu not only preserves the accumulated brush-and-ink traditions of these landscape conventions but also innovates beyond them. His exploration of integrating meticulous realism with expressive qi-yun (spiritual resonance) and freehand techniques using new methods demonstrates exceptional mastery. His landscapes successfully reconcile tradition with innovation, infused with misty, ethereal imagery, expressing the philosophical sentiment that “the benevolent love mountains, the wise love water.” Each painting possesses both the bone structure of mountains and the spiritual essence of water. In his landscapes, he enhances the presence of water, allowing brush and ink to embody more qi-yun spirituality. Viewing his paintings feels like a refreshing breeze—cool, pure, untainted, exuding the sublime beauty of heaven and earth—where freehand and meticulous styles merge into a perfect harmonious realm!
Meticulous landscape painting tends toward refinement and holds greater decorative and collectible value, appealing to the general public. Freehand landscape painting embodies Zen and Daoist qualities, representing “poetry within painting,” favored by literati. Meticulous landscapes are sometimes criticized by literati as rigid and mechanical, while freehand landscapes are occasionally misunderstood by the public as deceptive or pretentious. This has created a difficult-to-bridge divide between meticulous and freehand styles. Skillfully merging the tangible, visually present techniques of meticulous painting with the dynamic, qi-yun-rich imagery of freehand painting is a significant manifestation of a contemporary artist’s natural grace.
His work “Bright Spring” exemplifies this modern fusion of meticulous and freehand styles in landscape painting. The foreground is delicately outlined with fine meticulous lines, depicting objects naturally without stiffness or artificiality. Slopes, water surfaces, houses, and forests are meticulously rendered; the river’s azure waves reflect the sky, creating a unified, misty ambiance. Unlike conventional freehand waterscapes that use blank space to suggest emptiness and haze, his river is rendered through “white writing” techniques, with willow reflections clearly visible in the water, exuding clarity and moisture. Bridges, streams, fishing boats, and waterfowl are depicted with vivid clarity, as if standing right before the viewer; rural cottages come alive on paper, fully embodying the charm and flavor of the Jiangnan region.
Moving from near to far, the painting transitions gradually from meticulous to freehand. This transition represents the most challenging technical exploration and the most remarkable innovation. Brushwork shifts from realism to expressiveness; distant mountains appear faint and softly layered. Color application transitions from ink to pigment: vivid hues nearby, ethereal tones afar. Close-up scenes are richly colored and tangible; distant scenes employ ink washes to suggest etherealness. Whether in brushwork or color, the transition from meticulous to freehand is executed with precise control and seamless progression, blending reality and illusion harmoniously without any sense of disconnection, as if accomplished effortlessly.
His landscape paintings layer meticulous and freehand elements, creating a unique spatial sensation: towering peaks compete in grandeur, distant mountain ridges fade into mist, dry and wet brushstrokes merge naturally. Amidst fluid, unrestrained strokes, he captures the spiritual essence of landscapes, exuding the gentle beauty of Jiangnan and the poetic charm of waterside villages—this is the intelligent synthesis of meticulous and freehand styles!
Since the Qing Dynasty, meticulous landscape painting has declined and awaits restoration of its decorative splendor. The dominance of freehand landscape painting alone is not entirely perfect. His ingenious fusion of meticulous and freehand techniques effectively resolves the excessive “fire” (harshness) often found in meticulous landscapes and compensates for the lack of decorative beauty in freehand landscapes. By integrating the inner qi-yun beauty and outer decorative beauty of landscape painting, he harmonizes the literati’s emotional expression with popular aesthetic tastes. He paints the essence and spirit of natural landscapes using brushwork comprehensible to the public: vigorous yet not dry brushstrokes, vibrant yet not vulgar colors, realistic without stiffness, expressive without losing authenticity—full, rich, and appealing to both refined and popular tastes!
Beautiful Imagery in Painting: Meticulous and Freehand Styles Marvelously Intertwined. Flower-and-bird painting is another subject to which he devotes his pursuit of aesthetic beauty, combining meticulous and freehand techniques, achieving beauty in the realm “between likeness and unlikeness,” equally pure, elegant, and visually pleasing. His paintings exhibit strong calligraphic qualities: wielding the brush as if writing calligraphy with heart and hand in perfect harmony, lines flowing like springs when guided, stable as mountains when paused. This undoubtedly stems from his profound calligraphic foundation—tracing the origins of calligraphy and painting as one, cultivated together. His seal script explores the ancient Qin style, engraved with iron-like brushstrokes, exuding archaic elegance, mastering both round and angular techniques, achieving extraordinary calligraphic artistry. Just as Wu Changshuo mastered this method, Mr. Wang Xingyu, following the footsteps of ancient masters, naturally attains the stature of a great artist! Renowned Art Critic Shi Feng, June 21, 2019
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Wang Xingyu