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★National Master of Chinese Arts and Crafts

★National Researcher-Level Senior Master of Arts and Crafts


Wang Xiaoli Born in 1971 in Quyang, Hebei Province, the "Hometown of Chinese Sculpture". For more than 30 years, Wang Xiaoli has inherited the tradition, is determined to innovate, breaks the shackles of traditional concepts, combines purple sand with stone carvings, integrates the traditional styles of the north and the south into modern cultural concepts, and digs deeply and integrates them to form a unique personality. art style. Her works not only contain the elegant traditions of the south of the Yangtze River, but also have the grandeur of the stone carving art of the Northern School, creating her own "Purple Sand Language". Her works have won many awards at home and abroad, and have been collected by many art institutions and individuals such as the National Art Museum of China, the Military Museum of the Chinese People's Revolution, the China National Arts and Crafts Museum, the Nanjing Museum, and Creighton University in the United States. Many of her papers have been published in national and provincial journals and won awards. In 2009, she held a solo exhibition of "Beautiful Zisha" in Jiaying Art Museum, Suzhou, and in 2010, he held a solo exhibition of "Affectionate Zisha" in Dajue Temple.

Wang Xiaoli's works are mainly about people who like to hear and see, Buddha statues and purple clay pots. These rich and varied handicraft works are the author's understanding and interpretation of the real world, as well as the reconstructed reality. Through these works, we can see her independent thinking and innovation, which is quite Yan Zhao style.

Her purple sand works are good at expressing Buddha statues. In the creation, I strive to integrate the characters' spiritual thoughts in the shaping of the body, express the ultimate concern, give people spiritual relaxation and comfort, and express the emptiness and reality, reincarnation and great love in Buddhist philosophy. She does not stick to fixed forms, not only well versed in the rigorous craftsmanship of traditional Buddha statues, but also occasionally boldly experimenting with exaggerated deformations of modern art styles. In the exploration of the formal language of sculpture, she has the courage and enthusiasm that does not lose to men. This is reflected in her "Invisible", "Pharmacist Glazed Light Tathagata", "Bodhidharma", "Let's Eat Tea", "Nanmo Dazhunti Avalokitesvara Bodhisattva" "The Four Heavenly Kings", "Dialogue - Shenhui" and other excellent works can be displayed one by one.

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