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Global Times: Sculptures of Nanjing Massacre remind viewers of Chinese people's suffering, hope for peace
Beijing, China, Aug. 15, 2025 (GLOBE NEWSWIRE) — Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings. The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw wisdom and strength from the spirit of the people. On a scorching summer day, stepping into the resting hall at Beijing's Imperial Ancestral Temple, visitors were greeted not only by a refreshing coolness but also by a profound sense of history. This gravity stemmed not just from the imposing centuries-old architecture, but even more from the collection of artworks on display – each capturing pivotal moments from the Chinese People's War of Resistance against Japanese Aggression. In particular, a group of sculptures on the white central exhibition platform commanded special attention. Each figure in this group of sculptures intensifies the visual impact of fear and despair through contorted bodies, hollow gazes, and torn garments. Some look up to the sky, some scream in silence, some struggle for survival, while others have already fallen, their lives lost. This is the work of Wu Weishan, former director of the National Art Museum of China. Titled Tao Nan, or Fleeing from Calamity, it is the theme sculpture for the expansion of the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. On July 28, at the opening ceremony of this art exhibition, which highlights the perseverance and resistance of the Chinese people during the War of Resistance against Japanese Aggression, Wu told the Global Times that the purpose of creating these sculptures is to remember history, not hatred. 'Art can serve to commemorate history and call for peace, fully expressing the Chinese people's values and love for peace,' he said. These sculptures are bearers of history, embodying the longing for peace. Such expressions run through generations of Chinese artistic creation – every line, every chisel mark, every brushstroke aims to ensure that people never forget. Turning sorrow into power The sculptures displayed in the main hall of the Imperial Ancestral Temple are, on average, only a few dozen centimeters in height, while their enlarged versions stand solemnly at the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders in Nanjing, East China's Jiangsu Province. Taken as a whole, this group of sculptures resembles a powerful musical movement: rising, falling, flowing, ascending, soaring. Spatially, the energy these sculptures project envelops viewers in an atmosphere of deep compassion and sorrow. Even before entering the memorial, visitors are already touched, so that once inside, each sight of a bone fragment or a blood-stained garment evokes boundless grief and reflection. In these sculptures created from 2005 to 2007, Wu avoided direct depiction of the Japanese army's atrocities, choosing instead to focus on the victims, capturing the devastation and suffering of Nanjing's residents during the massacre – their families shattered, their lives destroyed. He explained that these works are meant to 'bring the victims back to life,' allowing their last cries before death to express the shared voice of humanity. By giving form to the souls of all those who suffered, the sculptures become important vessels of the human spirit. Only in this way can artworks urge all humankind to reflect, so that the lessons of the past will never be forgotten. Outside the memorial, the sculptures were set within a pool symbolizing the path to escape terror, depicting 10 groups of 21 figures fleeing their homes in the wake of the bloody massacre. Nearly life-sized, these sculptures enhance the sense of realism. Among them are an elderly son supporting his octogenarian mother as they flee, a violated young woman standing by a well, and a monk closing the eyes of the wrongfully slain as he escapes. The sculptures are cast in a silvery-gray tone, distinct from the familiar bronze and copper hues, symbolizing the survivors' escape from overwhelming terror. The piece that moved the sculptor most was one of an infant clinging to his deceased mother, seeking milk from her lifeless body. This work is based on the harrowing experience of Nanjing Massacre survivor Chang Zhiqiang's family. Three of his younger brothers were bayoneted to death, his mother fatally stabbed in the lungs. Amidst tears, he placed his youngest brother beside their mother, and the infant crawled to her chest to nurse. That final drop of milk marked both an end and a fragile hope. By the next day, mother and child had frozen together in the bitter cold, never to be parted. The process of creating these sculptures was far from tranquil for Wu. Immersed in historical research and interviews with survivors like Chang Zhiqiang and Xia Shuqin, he was deeply affected by the anguish and outcries captured in old photographs and personal stories. Many sleepless nights followed, and even as he walked through the old districts of Nanjing, he would sometimes imagine hearing the echoes of explosions and cries of slaughter. Wu employed a variety of sculpting techniques – chiseling, striking, pounding, and molding by hand. He recalled working outdoors in the sweltering 38 C heat, laboring through the night for hours. His deep sorrow and anguish over this chapter of history were transformed into the speed and power of his artistic creation. Looking further back, this passionate engagement with the history of the war – a fervor that transforms into powerful artistic energy – has also flowed from the hands of the elder generations of artists, many of whom witnessed these events firsthand. Their collective memory and creative expression have ensured that the tragedy and heroism of that era continue to live on, warning and inspiring future generations through the language of art. Never forget Xiao Feng, the 10th president of the China Academy of Art, passed away in Hangzhou on July 8 at the age of 93. He created a work depicting Canadian surgeon Norman Bethune treating Eighth Route Army soldiers during the War against Japanese Aggression, which was included in textbooks across the country. Xiao Ge, his youngest daughter, told the Global Times that her father had been proud all his life of being a literary and art soldier in the New Fourth Army. Depicted in the painting jointly created by Xiao and his wife Song Ren is a makeshift operating table that was set up in a dilapidated temple not far from the front lines. Outside, the sounds of war rage on, while inside, Bethune stands calm and focused, his brow slightly furrowed and lips pressed tightly together as he meticulously performs surgery on a wounded soldier. In the background, a vigilant guard stands watch at the temple door, ever alert to protect the scene within. Critics note that through artistic treatment, the image's sense of narrative, drama, and conflict is enhanced in the painting, effectively highlighting Bethune's contributions to resisting aggression and pursuing peace. Xiao's works are mostly tied to his experiences and memories from the war. In his creations, there have been images of guerrilla fighters maneuvering through the Luoxiao Mountains, New Fourth Army soldiers bidding farewell to Jiangnan, officers and soldiers watering their horses by the Yangtze River, and warriors hidden among reeds. His works go beyond mere narratives of suffering, focusing instead on capturing moments of warmth amidst the chaos of war. 'They (Xiao and Song) pursued truth, goodness and beauty, worked for their beliefs and the people all their lives, and finally donated all their works to the people,' the painter's daughter said. On the eastern side of the exhibition hall displaying Wu's sculptures, the painting Victory and Harmony by post-1990 artist Hong Fangzhou hangs on the red wall of the East Wing Hall of the Imperial Ancestral Temple, quietly awaiting an audience. This artwork is divided into two main sections of white and red, blending fragments of war – like the remnants of shells and the blood and tears of heroes – with the joyful laughter of people celebrating peace after victory. The stark contrast between the two sides further underscores the preciousness of peace. From Xiao, a witness and survivor of war, to young artist Hong, each generation of creators has used their own unique perspectives and artistic forms to capture that history of blood and fire, passing on the longing for peace. As Wu expressed in a poem he inscribed upon completing this group of sculptures: With unspeakable sorrow, I recall those blood-soaked storms; With trembling hands, I caress the souls of the 300,000 departed; With a child's pure heart, I engrave the pain of this suffering nation. I pray, I hope, for the awakening of this ancient people – the rise of the spirit! Source: Global Times:Company: Global TimesContact Person: Anna Li Email: [email protected] Website: Beijing Disclaimer: This press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements.
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19-05-2025
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Global Times: Exclusive interview with renowned Chinese sculptor and NAMOC Director Wu Weishan
BEIJING, May 18, 2025 /PRNewswire/ -- In recent years, Chinese culture has been blooming in all its diversity, continuously achieving remarkable success overseas. In this Cultural Outreach Talk series, the Global Times invites insiders from different cultural fields to share their experiences and insights into the "going global" of Chinese bronze sculpture Lao Tzu Departing from Hangu Pass created by the renowned sculptor Wu Weishan, the director of the National Art Museum of China, was recently unveiled at the Russian State University of Design and Applied Arts. It is the first large-scale sculpture in Moscow inspired by traditional Chinese cultural has long used sculpture as a medium to promote in-depth dialogue between Chinese and Western civilizations, tell Chinese stories through art and convey the Chinese spirit. The Global Times (GT) reporters Xu Liuliu, Zhang Ni and Liu Yating spoke with Wu Weishan (Wu), about how to better promote Chinese culture to go global from an international perspective and with a deep understanding of Chinese culture. GT: As a Chinese artist, what's your take on "telling Chinese stories well to the world?"Wu: Human civilization has multiple forms. It is precisely because of its diversity that various civilizations have their own characteristics and coexist in harmony, constantly integrating through exchanges and mutual learning. Economic and cultural exchanges help deepen mutual understanding. Art, as a mirror of the human soul, can not only reflect the era and the country, but also highlight the common pursuit of truth, goodness, and beauty of humanity. As a Chinese artist, I have always been thinking about how to tell the story of China to the world through art, demonstrating the Chinese spirit, the Chinese people, and Chinese stories. Only by understanding China's history can we truly understand today's Many of your works have gone abroad and "settled" in the squares or museums of many overseas cities. How do you view the cultural connotation carried by sculpted works? What unique role can sculpture play in "the going-global of Chinese culture"?Wu: China has a long history, which is not easy for foreigners to understand in a short time. Without personal experience, it is necessary to rely on cultural carriers for communication and transmission, such as literature, painting, calligraphy, or sculpture. Literature needs translation, calligraphy is difficult to understand directly, and although painting is intuitive, it is limited by the two-dimensional space. Sculpture, however, can overcome the obstacles of time and space, has strong expressiveness, and is a highly communicative and infectious form of art. As a sculptor who is also involved in multiple fields such as painting, calligraphy, poetry and art criticism, I have always hoped to tell the story of China and convey the Chinese spirit in my own way. More importantly, I have a powerful motherland behind me, with a profound cultural tradition and a great historical background, which is the foundation of my cultural confidence. Therefore, I choose sculpture to convey Chinese stories. GT: How do you evaluate the significance of the "Dialogue" series of works such as Divine Encounter - The Dialogue between Confucius and Socrates in the international context?Wu: The great creations of the Chinese nation have not only shaped its own history, but should also contribute wisdom to all mankind. In the field of thought, sages such as Confucius and Lao Tzu are known and respected worldwide, while in the field of science, greats such as Zu Chongzhi and Zhang Heng also deserve international recognition. When creating historical figures, I not only deeply study their ideological theories and the background of their times, but also pay attention to their living environment and spiritual state. These works that embody the Chinese spirit and moral qualities should not be limited to being displayed in China, but should go global in the process of making these figures "go global," a kind of dialogue should be emphasized. Therefore, I have established a creative theme - the "dialogue" between Chinese and Western cultures. I choose representative figures in world history to have artistic dialogues with outstanding figures in Chinese history and place these statues in the corresponding countries to arouse cultural example, my sculpture Dialogue Beyond Time and Space - Leonardo da Vinci and Qi Baishi shows two art masters from different countries, different historical periods, and using different languages. Many Italian audiences, after seeing this group of sculptures, were curious about who Qi Baishi was and why he was juxtaposed with Leonardo da Vinci. I also create Divine Encounter - The Dialogue between Confucius and Socrates. Although there is a difference of 100 years between them, it is not a long time in the history of civilization. The two being in the same place symbolizes the exchange and resonance of Chinese and Western philosophical What are your expectations for the future "going global" of Chinese culture?Wu: As a major country with a profound influence worldwide, China ought to actively implement the concept of a community with a shared future. When this concept is implemented in cultural and artistic exchanges, it should promote mutual understanding between countries with sincerity, and promote communication and emotional integration between people. This is the responsibility of our generation of cultural workers. As long as we persevere, do it with our hearts, and do it for a long time, it will surely have a profound impact. View original content: SOURCE Global Times Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
