Masters of Incense Carving "Dynamic Sculpture, Artistic Landscape" Technique

Walk your own path, create your own style of carving techniques

With a high sense of mission to inherit the traditional art, the themes and craftsmanship of the production not only inherits the art crystals of the predecessors, but also meets the needs of modern times.a statueThe concept of the artist is to try to innovate, boldly absorbing the nutrients of modern painting art, using the traditional elements of point, line and surface combination and the elements of flat, three-dimensional and spatial composition in modern industrial design.

The Aesthetics of Shen Xiang's Sculpture

Shen Xiang carving is a traditional art form that utilizes Shen Xiang, a precious spice wood, to carve a variety of exquisite figures, animals, flowers and other patterns. Shenxiang carving not only has elegant aesthetic value, but also emits a light fragrance, which is beneficial to physical and mental health. The history of Shenxiang carving can be traced back to the Tang and Song dynasties, and is one of the treasures of Chinese culture.

Chiayi-born Li Wenwu, in his early years, followed a Japanese master to learn wood carving of flowers and birds on the fence, laying the foundation of wood carving, with a background in Chinese painting, Li Wenwu's wood carvings are different from the rest, no matter in the degree of realism or sense of space, and even the proportion of all full of beauty; it enriches the path of Li's creations. In the early days, he mainly focused on rare animal subjects, which were so lifelike that it was difficult to distinguish the real ones from the fake ones. Later, after coming into contact with religion, he gained a deeper understanding of it, and with the high demand of the idol market, Li Wenwu moved towards the development of idol carving.

Twenty years ago, when environmental protection awareness was on the rise around the world, and seeing that rare animals were on the verge of extinction, the idea of utilizing woodcutting techniques to emphasize the importance of rare wild animals arose, in order to plead for the lives of wild animals, and to raise the consciousness of the people of the country to emphasize the importance of the conservation of wild animals. Driven by the awareness of conservation, he has created carvings of 50 to 60 types of rare animals, and has collected his works into albums to contribute to conservation.

In recent years, he has taken two routes, one is to combine the techniques of wood carving and painting, and to use the myths, idols and magic objects of Buddhism, Taoism and Tantric Buddhism as the objects of creation, creating carving paintings full of religious mystic colors. Carving and painting is Li Wenwu's unique specialty. With a background in Chinese painting, his original carvings and paintings look like paintings from afar, but are carvings when viewed up close.

1958 Born in Minxiong Township, Chiayi County
1973 Learned the fundamentals of woodcutting with a Japanese sculptor, and painting with Mr. Zhou Yihong and Mr. Zhou Bangyong.

Exhibitions

2023 "Divergent Thoughts and Simultaneous Works", Group Exhibition, National Chin-Yi University of Science and Technology
2022 "Art Thinking Unlimited", Solo Exhibition at Donghe Chen Residence, Gukeng, Yunlin, China
2021 Miaoli Artwalk, Miaoli South Seascape Festival Invitation Exhibition
2021 "The Leap of Media", Taichung District Court Invitation Exhibition
2019 China Yangzhou Yizheng Museum Exhibition
2017 Taichung Software Park Art Auction
2017 "The Beauty of Taiwan's Ecology Woodcut Exhibition," Solo Exhibition, Cultural Plaza, Taichung City Chingquan International Airport, Taichung, Taiwan
2016 Solo Exhibition at the New Municipal Government Building, Taichung, Taiwan
2015 "Li Wenwu Incense Carving", Invited Exhibition, National Miaoli Sanyi Museum of Woodcarving
2014 "International Wood Sculpture Art Stream Exhibition", Miaoli International Culture and Tourism Bureau Invitation Exhibition
2013 China Beijing Municipal Commercial Union Jinyuan New Lufthansa MALL Event Sculpture and Exhibition
2011 "Taiwan's First Incense Carving", Kaohsiung City Shin Kong Mitsukoshi Department Store Solo Exhibition
2010 "Woodcut Landscape" Invitational Exhibition, Tuen Mun District Arts Center, Taichung County, Taiwan
2009 National Museum of History Kenting National Park Invitational Bird Exhibition
2009 "Taiwan Ecological Art Special Exhibition", National Taiwan Museum, Taiwan, China
2007 "Ghostly Artistry" Wood Carving Exhibition, Taipei Exhibition Center, National Taiwan Research Institute of Arts and Crafts
2006 Changhua City Bagua Mountain Eagle Appreciation Platform Exhibition
2006 National Miaoli Sanyi Woodcarving Museum Exhibition and Publication Album
2006 Taichung City Cultural Affairs Bureau Invitation Exhibition
2005 Hsinchu City Cultural Affairs Bureau Invitation Exhibition
2005 Taoyuan Zhongzheng Airport Cultural Art Gallery Art Showcase Exhibition
2005 Taipei City 101 Invitation Exhibition
2003 Invitation Exhibition, Exhibition Room, Taichung City Government
2000 Chiayi City Cultural Center Invitation Exhibition
2000 Shigang Dam Ecology Center, Taichung County, Taiwan
2000 Solo Exhibition at Taichung Municipal Cultural Center
1997 Changhua County Cultural Center Invitation Exhibition
1997 Miaoli County Sanyi Woodcarving Museum Invitation Exhibition
1997 Invitation Exhibition, Taichung Municipal Cultural Center
1996 Solo Exhibition at Taoyuan County Cultural Center
1995 Solo Exhibition at Chiayi City Cultural Center
1995 Kaohsiung Fo Guang Shan Cultural and Educational Foundation Invitation Exhibition
1994 "Rare Animal Woodcut Exhibition", Taichung City Cultural Center, Taichung, Taiwan.
1989 First Solo Exhibition at Taichung City Cultural Center
1983-2013 Participated in the group exhibition of Taichung Sculpture Society every year.
2006-2013 Participated in the group exhibition of Miaoli County San Yi Woodcarving Museum every year.

Experience

General Post Office, Beijing, China published "Chinese Sculptor Li Wenwu's Art of Incense Carving" Stamp Card Booklet
Jury member of the First National Aboriginal Woodcarving Competition.
Preparatory Committee for the New Municipal Building in Greater Taichung
Organizer of the 1st BenQ Foundation International Sculpture Camp.
Organizer of the Gallery Art of the Feast of the New City, Arts and Humanities
The 12th Chairman of Taichung City Sculpture Society
Jury member of the 2nd National Aboriginal Wood Carving Competition
Organizer of the 2nd BenQ Foundation International Sculpture Camp.
Curator, Taiwan Pavilion, 14th West Lake International Exposition, Hangzhou, China
Jury Member of Stereoscopic Division, National Institution Art Talent Competition, Nikko Art Exhibition.
Organizer of the 2nd BenQ Foundation International Sculpture Camp.
The 13th Chairman of Taichung City Sculpture Society.
Founder of 74 Arts
Convenor of the "First Taiwan Incense Carving Competition" organized by the Global Incense Identification Association (GIIA) and member of the identification committee.
Lecturer in the art of incense collecting
The 37th Qualified Fragrance Master of Daxingtang of China
Taichung City Cultural Asset Registration for the Preservation of Traditional Crafts "Incense Carving" Certification
Taichung Sculpture Award Jury

Awarded

2019 Eighth Taiwan International Golden Teapot Award, Winner of "Masterpiece
2018 Seventh Taiwan International Golden Teapot Award, Winner of "Bronze Award
2018 Miaoli Pottery Competition, Winner of "Merit Award"
2015 China Dongyang Wood Carving and Bamboo Weaving Arts and Crafts Exposition, won the "Special Gold Award".
2013 The Fifth Chinese Folk Artists [China Folk Art Industry Competition], won the "Demonstration Award".
2010 Miaoli County Government [The First National Woodcarver] Certification Medal
2007 Hualien Forestry and Aboriginal Culture Wood Sculpture Competition, "Special Award" and "Merit Award".
1977~1983 Awarded many prizes for his woodcuts and Chinese paintings in the past six years.

literary work

1994 Published a volume of "Li Wenwu's Rare Animal Album".
2006 The National Miaoli Woodcarving Museum published the volume "Li Wenwu Rare Animal Series Exhibition".

Lee Wen Wu

Domain

Sculpture, Crafts

ART 365 Gallery Space

Tel: 04-22512787
Address：No.299, Lung Mun 1st Street, Xitun District, Taichung City, Taiwan.

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Stream of Time - Wang Shengping Oil Painting Invitational Exhibition Conveys the Vision of Beauty

From now until May 29th, the Lugang Township Office will hold the "Stream of Time - Wang Shengping Oil Painting Invitational Exhibition" at the Lugang Guild Hall. This exhibition is a synthesis of Wang Shengping's understanding of painting in three different periods over the past 10 years. His creations are rooted in the belief that "beauty comes from harmony," and through the 47 pieces of creations, he conveys to the viewers a more intimate feeling of "beauty," welcoming those who are interested in art creation to come and visit the exhibition.

Mr. Wang Sheng-Ping, a native of Xiushui Township, Changhua County, has a Master's degree in Fine Arts from Da-Yeh University. He is currently the chairman of the French Salon Society of Taiwan Artists, and has also served as a part-time lecturer for the art class at Nanhua University-Changhua Social University and an external lecturer for the oil painting class at the Changhua County Cultural Affairs Bureau. In 2010, his painting "Hope" won the Bronze Medal at the Salon des Artistes in France and received unanimous international acclaim. He has also won numerous awards in China, and was awarded the third place in the 100th National Art Exhibition in 2013.

Wang Shengping's works in this exhibition are based on natural images and attempt to transform them into imagery, exploring the principles of painting in both the figurative and the sensual. In order to achieve the implementation of "materialization", Wang Shengping seeks for the visual imagery that is contained in nature in a more autonomous manner, and materializes the self-perception, giving the works a richer connotation and tension, in order to achieve the goal of creating works at this stage of the exhibition.

Wang Shengping said he has loved art since childhood, because of the family's poor, can only buy the cheapest Taiwan pigments, and only red, yellow, blue, white, black five colors, pigments are often because of the many times and reduce the degree of color, so that the picture is slightly dull, but he also took the opportunity to train a more pure, versatile color performance.

Lugang Mayor Xu Zhihong said, "It is an honor to invite Mr. Wang Shengping to exhibit at the Lugang Guild Hall. Through Mr. Wang Shengping's paintings, we can feel the themes and brushwork of his different periods, from the early days of the countryside, to the middle of the countryside with a variety of techniques to present a different countryside, and finally back to the contents of the surrounding life, and through these paintings, we can feel the beauty of a variety of different things.

With the recent severe epidemic, we are invariably under a lot of pressure. We hope that through this exhibition, we can let all the viewers experience the beauty of life and the countryside through Mr. Wang Shengping's artworks, release the tension and follow his brushwork on the canvas.

(Changhua News) [Reporter Yafang Chen/Changhua News

Source:LINE TODAY,Deer Harbor Township Cultural Center

Master Sculptor and Life Walker Spark Art in the Courthouse

Huang Wen-dong, a clerk, and Li Wen-wu, a contemporary sculptor, held a joint exhibition at the Taichung District Court under the facilitation of Taichung District Court President Jiang Xilin. Li Wen-wu, a sculptor who is an apprentice at the grassroots level, and Huang Wen-dong, an artist in the legal profession, are expected to create cultural sparks at the Taichung District Court.

In the early days, Li Wenwu focused on rare animal subjects, which were so lifelike that it was hard to tell if they were real or fake. Later, after coming into contact with religion and gaining a deeper understanding of it, and in view of the high demand for statues of gods and goddesses in the market, Li Wenwu developed his work towards statue carving. In his early years, he studied wood carving of flowers and birds in a fence with a Japanese master, laying the foundation of wood carving with a background in Chinese painting.

Huang Wen-dong came from a poor background. In junior high school, he set his mind to work in the court system because of the court sessions in the bystanders' hall, and he studied hard to become a clerk from the most basic level. However, because of the disease planted by his sleepless hard study, he began to cultivate his body and mind after being on the verge of death for several times, and more than 20 years ago, when he worked as the clerk of the Taichung District Court, with the support of the court, he created the Art Kitchen Window in the Taichung District Court, and has served as the curator until now.

Huang Wen-dong pointed out that the court was previously considered a government office, the desert of art, Taichung District Court Art Kitchen Window display of all the national exemption from censorship of the works of artists, has been held in photography, elegant stone, collection of exhibitions and many other exhibitions.

In recent years, Li Wenwu has taken two routes, one of which is to combine the techniques of wood carving and painting, and to use the myths, idols, and artifacts of Buddhism, Taoism, and Tantricism as the objects of creation, creating carvings and paintings full of religious mysteries.

In recent years the domestic popularity of Shen Xiang wood from Vietnam, due to the number of rare, soaring prices, become an investment target, Shen Xiang logs are worth a lot of money, more than gold, if then carved, the price is even more expensive! Li Wenwu pointed out that due to the Shen Xiang wood is too precious, carving can not carve off too much wood, and even wood shavings have to be collected, can be made into Shen Xiang powder.

Master carver Li Wenwu has been creating art for 46 years, creating his own artistic style and following his own path. Huang Wen-dong, who has worked in the judiciary for 35 years and is the curator of this exhibition, has specialized in art creation for 27 years. He has specialized in art creation for 27 years. This time, under the facilitation of Taichung District Court President Jiang Xilin, the two of them held a joint exhibition at the Taichung District Court Art Kitchen Window, which sparked off art in the courthouse.

Reporter/Song Chia-king Reported in Taichung

Source:NEWS

Artist Jiang Xinjing's 5-meter eye-catching creation "Yunxi, Arithmetic" is on display at the Founding Father's Memorial Hall.

A writer who has never held a paintbrush before has crossed over to the art world for ten years, living in the mountains and forests and creating works behind closed doors, but why has she made a big splash in recent years, winning awards both at home and abroad? Artist Chiang Hsin-ching's "Cloud Stream, Calculation - Chiang Hsin-ching's Creative Works Exhibition" presents the insights gained from living in the mountains and forests into an inspirational presentation. Two important works are the highlights of the exhibition: the first is the large-scale creation, "Cloud Stream, Calculation", and the second is the grand finale, "Flying Flames of the Ten Thousand Heavy Mountains", a six-curve Japanese screen, with their respective styles and the stories of their creations, and they are going to be exhibited at the De Ming Art Gallery, the Memorial Hall of the Father of the Nation, from November 22nd to 29th. The exhibition will be held from November 22 to 29 at the National Father's Memorial Hall's Deming Art Gallery.

Literary background and global experience of practice Jiang Xinjing 2020, more study tours, the Institute of Contemporary Ink Art, Shanghai Academy of Visual Arts, China Academy of Fine Arts Institute of Transmedia Art senior seminar, in-depth contemporary art and philosophy of technology, the development of the exhibition "Thinking Series", by many artists, including the National Father's Memorial Museum Director Wang Lansheng, also commented on the exhibition, "deconstructing the traditional landscapes and presenting the post-epidemic era of contemplation. The exhibition has been recognized by many artists, including Wang Lansheng, Director of the National Father's Memorial Museum, who commented that the exhibition "deconstructs traditional landscapes to present contemplation in the post epidemic era. Liu Guosong, the father of modern ink painting, said, "The process of learning to paint with a quiet mind is the practice of seeking differences before seeking excellence. I used to say in my teaching that we need to find a piece of white paper, but it seems that quietness is not just any paper, but a piece of paper that has 'traveled around the world and has the energy to do so', and that is what makes it possible to have such amazing performances in such a short period of time".

In addition, Prof. Ching Dai Lok, former head of the Department of Fine Arts of Normal University and an artist, acknowledged her work in the "Class‧Shanshui Creation Exhibition" in September, saying that she approaches art from the perspective of a literati, and that her works "are free from the constraints and influences of traditions, and she boldly tries to make mistakes, pursuing the purity and texture of her works, which is a breath of fresh air in the art world". They all recognized her ability to create and her "human" oriented spirit.

A rare exhibition of her large-scale masterpieces, "The Cloud and Stream Calculations" The year 2020 was a turning point for Jiang Xinjing's art. She said that her studies and exhibitions were halted due to the impact of the epidemic, but her inner drive to create was burning, and she moved to the mountains in order to find more space for her creations. This year's exhibition will feature a large-scale work, "Yunxi Calculations - Si-Net Series," which is five meters wide and has been selected for the second time this year as one of Taiwan's newest art awards. The upper image uses topography, dyeing, spraying, painting, and flowing to interpret the changes of clouds and mist in the valley, while the lower image uses one-time writing to present the changes of the water in Dajia Creek, with the white space in the middle symbolizing the openness of the universe."

Jiang Xinjing explains that he lives in the mountains during the creative process, and when it rains, the clouds rise from the mountains along the Dajia River, gathering the spirit of the mountains. I thought the "white space" of ink and wash was an aesthetic of emptiness, but in fact, the clouds, which wipe away the scenery in a flash, are themselves solid and full of power. In the six months of sleepless creation, the evolution of clouds and streams creates a space for contemplation and meditation beyond the algorithm.

Prof. Xie Qichang, the curator of the exhibition, said that the exhibition is mainly composed of new works, combining text, ink and installation, and the interplay of different media, especially this work, which "presents a contemporary vision of humanism," is the highlight. In addition, artist Zhuang Liantong, a professor at the Department of Fine Arts of the National Taiwan Normal University, also liked her work and pointed out that it was rare for her to present "majestic momentum" and "unrestrained charm" in her abstract ink and colors.

The finale of Jiang Xinjing's exhibition is "Flying Flames of Ten Thousand Mountains," inspired by a cycling trip to Sweden in the fall of 2001, where the cold weather and the maples all over the mountains ignited a youthful passion that she had no regrets about. Xin Jing used ink wash, stone green coloring, pine needle brush strokes, and gold leaf stacking to complete the six panels of "Flying Flames of Ten Thousand Heavy Mountains," recreating the memory of the burning autumn scenery of northern China.

And in accordance with the ancient method of making 〈Flying Flame Wan Chong Shan〉 six curved gold leaf screen, the cause is the heart of the quiet and deep love of the "Dream of the Red Chamber" and "The Tale of Genji" in the book of the screen, the timing, location and people, to find the three national treasures of conservationists to collaborate with the wooden lattice with the Kataten, without a nail, glued on five or six layers of paper to become a hollow paper frame, the outer frame of the yellow pear, the back of the frame of the Japanese brocade, the heart of the painting using the digging framing, no splicing marks, can be 360 degrees rotation, the perfect combination of contemporary art and craftsmanship. This is a perfect combination of contemporary art and craftsmanship.

The "Cloudy River, Arithmetic - Creative Works by Jiang Xinjing" will be on display from November 22nd. On November 25th, dancer Zhou Zhangxian will be invited to perform "Cloudy River, Arithmetic" in front of a piece of artwork, accompanied by "Flowing Water" composed by guqin virtuoso Joon Kwan Chen, which will start a multi-disciplinary dialogue between dance, music, and literary arts. People interested in painting are welcome to visit the De Ming Gallery of the National Father's Memorial Hall during the exhibition period to enjoy this not-to-be-missed visual feast.

Source: 2023/11/20 Luang Yuet Reads

2022 White Paper on the Human Body--Double Exhibition of Zheng Hongzhang+Guo Zhengshen

Nakedness is an innate nature, when people come into the world they are naked. We are free to take in the world, but slowly we feel the pressure, the coldness, the different eyes, everything is waiting to be wrapped up, to be educated, including our bodies and behaviors. We often lose the autonomy and voice of the body, and at the same time we forget to recognize our body and see ourselves. The body develops vocabulary and behavior, it can become an actor, a dancer, a movement artist. The body's lines of expression, through painting and art, revisit the superficiality of the skin.

　Zheng Hongzhang's series of female nudes is a multi-faceted confession of the artist's inner feelings after many years of creation. The female body in the paintings is like a metaphor for the abstract landscape. The female body and the frame co-structure a kind of unyielding silence, which is harnessed by a low-color grey that takes you on a journey through the female mind, stress or growth. The female body is no longer objectified into a single image, but they are indulgently beautiful. The relationship between the background and the female body is an understated and harmonious gray color scheme, outlining the colorful clothes on the nude woman, either removed or draped. The personalities of the characters are clearly defined, but in an understated jazzy tone, languid or relaxed, arrogant or confident.

　Guo Zhengshen's male nudes are a stylistic breakthrough after abstraction, modern landscape and vase flower. The male bodies in the paintings are covered by high and low color pigments, the simple color palette seems to cover up the impact of each character, and the ever-changing gestures and nudity inadvertently give off a lot of male pheromones. The male privacy is revealed one by one, but it is perfectly sealed in another way. These nude works present the concept of nudity, but not nudity. Guo's nude men are self-identified, conservative, taboo, open, subversive, exploring their bodies over and over again, from the tone of the color blocking, the linear connection and tension, the pink masculinity, to the exhaustive and infinite space for thought.

　The joint exhibition of Zheng Hongzhang's female body and Guo Zhengshen's male body not only realizes the difference in the artists' gender roles, the micro-creations created by heterosexuals looking at heterosexuals and homosexuals looking at homosexuals, and the juxtaposition of nude men's and women's creations, but also realizes the different perspectives and development of nude art of the two artists. When we look at the confrontation, harmonization, impact, and influence of these two genders' paintings, the nudity no longer becomes the paintings themselves, but a more naked view of our inner self. The nudity is no longer the paintings themselves, but a more naked look into our hearts.

Source:Artist Magazine