Worked in China Academy of Fine Arts of the Ministry of Culture.
Associate Research Fellow, China Calligraphy Institute; Professor of graduate school and tutor of master students;
Member of the 10th and 11th All-China Youth Federation; Deputy Secretary-General of all-china youth federation Culture and Art Circle;
Member of the Youth Federation of Central State Organs; Standing Committee of the Youth Federation of the Ministry of Culture;
Director of the China Calligraphy and Seal Cutting Committee of the Youth Federation of the Ministry of Culture and Deputy Director of the Fine Arts Working Committee;
Visiting Professor of Central Academy of Fine Arts;
Member of China Calligraphers Association;
Member of Xiling Printing Society;
Member of Beijing Printing Society;
Deputy Secretary-General of China Love Torch Fund;
Judge of the National Model Star Competition;
Director of China Juvenile Delinquency Research Association and Deputy Secretary-General of Social Education and Social Care Working Committee.
His works have participated in dozens of major exhibitions at home and abroad and won awards. He has published Pictology and Seal Cutting (Fujian Fine Arts Publishing House, 2002), A Brief History of Calligraphy in China (Higher Education Publishing House, 2003, co-authored), Twenty Young and Middle-aged Calligraphers in China-Yang Tao (China Calligraphy and Painting Expo, 2008) and Yang Tao's Calligraphy Collection (Hebei Education Publishing House, 2004).
Evaluation of contemporary professionals;
Qi Gong (Master of Chinese Studies):
The structure is rigorous, the pen is beautiful, the breath is ancient and light, and it goes straight into the hall of Jin people. Really a leader of youth.
Wang Yong (Professor of Central Academy of Fine Arts, Dean of China Calligraphy Institute, Doctoral Supervisor):
More than control, vertical and horizontal unobstructed.
His calligraphy deals with the relationship between spirit and form very harmoniously, and fully expresses his own ideas, which is very smooth. In tradition and personality, we can see the things of the two kings, and they also have their own personalities, some of which are deformed, harmonious and unconsciously accepted. In addition, Yang Tao's requirements for cursive script are relatively complete. We can see that many cursive scripts are actually not written in cursive, including Mr. Lin Sanzhi, whose cursive scripts connect the running scripts without breaking the shape of individual words, forming a sense of integrity, while some of Yang Tao's cursive scripts are in place.
He (Vice Chairman of China Calligraphers Association, a famous painter)
Yang Tao's works are simple, open and close and lyrical. The surging spirit and the contrasting and overall perfect chapter form are consistent in appearance and unity. When dealing with the unity of opposites of many formal factors, it is natural, inevitable and accidental, but also great and meticulous, which shows his outstanding ability to integrate inscriptions and control the overall situation with emotion.
Wo Xinghua (professor of Fudan University, doctoral supervisor, executive director of China Book Association, and famous calligrapher).
Yang Tao studied in Central Academy of Fine Arts and China Academy of Fine Arts. He is studious and thoughtful, and has won the essence of both houses. His calligraphy and calligraphy are rooted in the study of steles, with an open mind and not rigid, emphasizing positive and negative sizes, interleaving, opening and closing, and exaggerating deformation ability. He pays attention to the reproduction and combination of the relationship between density and density in composition, showing strong spatial composition ability.
Shi Kai (researcher of China Calligraphy Research Institute, famous calligrapher and seal engraver)
Yang Tao's calligraphy is headstrong and headstrong, wild in confusion, pursuing the liberation of ancient spirit and reappearing the romance of Han, Wei and Six Dynasties.
His calligraphy can be written easily and naturally in deformation, and the quality of stippling is very high, which can also show a stubborn temperament.
Ceng Laide (director of painting and calligraphy department of Chinese Painting Research Institute, first-class artist, executive director of China Calligraphy Association, famous calligrapher)
Yang Tao is a contemporary young calligrapher. Yang Tao is one of the most outstanding and talented calligraphers among contemporary young calligraphers. Judging from Tao Yang's calligraphy style, he inherited the elegant and clean style of "Two Kings" and made great efforts in traditional calligraphy. His works are very fluent and powerful. Although Yang Tao's creation involves seal script and official script, I think his cursive script is the most representative, round and vivid, and the texture of the pen is very prominent. From the relationship between knot shape and white composition, we can see Yang Tao's research and exploration of modern art forms. On the premise of inheriting the spirit of "two kings", he pays attention to expressing the personality and aesthetic taste of contemporary people, so that his works have both traditional meaning and distinctive flavor of the times. As far as calligraphy creation is concerned, it can be said that Yang Tao reached the most mature level at this age. There are not many calligraphers like this in a generation, and Yang Tao is a minority.
Zhang Jingyue (director of China Calligraphers Association and chairman of Sichuan Calligraphers Association)
Yang Tao's works are very interesting, showing lyricism, linear performance and great changes in rhythm. Moreover, it is very valuable to be able to write such a large word, with such strong lyricism and such great changes in today's lower case calligraphy. The talent in Yang Tao's cursive script can give a kind of enlightenment to the contemporary book circle. Running script can reflect talent, but it can be said that there are too few people who can write running script to this extent. Especially in the selection of Lanting Award, the highest award in contemporary book industry, there is such regret.
Chen Guobin (President of Guangxi Painting and Calligraphy Institute, a famous seal engraver)
Yang Tao, a talented person who has lived in Beijing for a long time, expresses the injured civilization of calligraphy with wit and implicit elegance in his creation, and needs young people to soothe its wounds that have been hit hard by vulgarization. He has enough dexterity and skill to complete his recollection and sustenance of traditional culture by using the old ink to turn chaos into order. Language is so dynamic, vivid and fascinating, which is not nostalgia, but a new acquisition.
Tian Shuchang (Executive Vice Chairman of Shanxi Calligraphers Association)
Yang Tao's works adopt the method of Wei and Jin Dynasties to deal with the relationship between lines and black and white, including the combination of cursive strokes, the great effect of pictures and the moistening of ink and wash.
Xu Zhenglian (famous seal engraver)
Yang Tao's works are a combination of traditional rhyme and artistic conception of the times.
Liu Mo (postdoctoral fellow and famous art critic in Peking University)
Modern people have too much choice for calligraphy art: classic, folk, popular and fashionable. Besides the inherent calligraphy frame of reference, there are even western and oriental ones. But what really benefited Yang Tao was his reference to Wei and Jin calligraphy. In today's eyes, the rough clothes and messy heads of Wei and Jin calligraphy are obviously "modern". Because when we put aside practicality and only pay attention to the way that calligraphers deconstruct, disassemble and break words attentively, a brand-new visual image will appear in front of us.
Yang Tao has a keen sense of form, and the dotted line can be opened and closed at will in his works, and it is oblique. Through the appearance of words, we can see the strangeness and seclusion in his works. He prefers to go to a mysterious, unpredictable, trance-like, obscure, simple, clumsy and potentially countless life situations, and wants to go to a metaphysical foreign land. Yang Tao also carves and paints, but calligraphy seems to better reflect his brilliant dream of aesthetics. Before his creation, he had carefully thought and planned, but when he was creating, he always yearned for a mysterious, illusory and difficult-to-capture simple artistic conception, and took it as the highest realm without carving.
His interpretation and reproduction of the previous generation of calligraphy has a very personal embodiment. Obviously, no matter what kind of traditional style, Yang Tao will be transformed into an extremely subjective performance. Yang Tao's mastery and mastery of the unique sense of form of Chinese characters obviously comes from four years' training in China Academy of Fine Arts. After years of painstaking research in Beijing, his calligraphy has been frequently input-compared with other calligraphers, Yang Tao has extremely exquisite professional skills training from the college, which undoubtedly occupies an important position in contemporary calligraphy creation. I don't know if he joined the "academic school" with a strong sense of production when he was in Hangzhou, but I believe that the exploration of those people must have inspired Yang Tao: in contemporary calligraphy, how can form be used and how can it not be used? The soul of calligraphy lies in smooth and vital "writing" rather than painstaking "writing". Whether the spiritual core in the depths of calligraphy works can be excavated to the extreme depends on whether the reader can "write" it-trace back his spiritual significance and life details-which I think may be Yang Tao's extraordinary place.