Bridging the Gap between the Ancient and Modern

Zeng Chenggang,
Vice President of Chinese National Artists' Association
President of Chinese Sculpture Institute
Professor of Academy of Arts and Design, Tsinghua University

It is amazing that the sculptor Pan Song, though young in age, is fertile in creation.
His adventure of mind is much akin to that of his Chinese peers. Years of academic education and current culture shock between west and east have spurred him to be devoted to his creation. Gradually, "Ni Shang" or "Rainbow Fashion" series emerged with their unique outlook, which is interwoven with his career. Teaching in the Beijing Institute of Fashion Technology enables him to get access to the front of fashion culture; thus, frequent switch from runway shows to daily life naturally nourishes his soul and inspires his creation. However, "Ni Shang" or "Rainbow Fashion" series are not merely to reproduce reality in an aesthetic way, but to interweave in a romantic way a rainbow-like dream with the sculptor's personal perception of reality and fantasy, taking full advantage of such sculpture languages like proportion, materials, textures and colors to interpret the sculptor's peculiar aesthetic pursuit… In this way, his shelf art works represented by "Ni Shang" have become understood and accepted.
Faced by a kaleidoscope of dazzling cultures and various temptations, Pan Song sticks to his value orientation unswervingly, giving birth to his public art creation with "Pu" series as the representative. Reflecting on the contemporary cultures, Pan Song lays emphasis on adopting a thinking mode both laterally and vertically. His passion for and perception of traditional Chinese culture enables his to bridge the gap between the ancient and modern. Years of practicing Chinese calligraphy have inspired Pan Song to perceive the coded information and abstract sense of Chinese character. Gradually, Pan Song has invented a brand-new visual language by integrating the constructivism of contemporary Western art with information conveyed in Oriental characters and by building up relations between constructions and calligraphy. What involved in his works is a sense of long-lost style dominant in Han and Tang Dynasties, embodying the spirits and philosophies of traditional Chinese culture.
A young sculptor groping his artistic way step by step, Pan Song spares no effort to make breakthrough in his creation. I sincerely wish him a great success.

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