Wang Guanyi left, and Wang Song (Photo provided to iChongqing and Bridging News)

Chongqing has been officially named the “Creative City of Design” recently, highlighting its commitment to harnessing culture and creativity as part of development strategies and innovative practices in human-centered urban planning.

Wang Guanyi, aged 88, and his son Wang Song, aged 56, are two urban beautifiers in Chongqing, among the many specialists dedicated to integrating design into every aspect of city development.

“In the past, crafting urban sculptures was a primary method for enhancing city aesthetics. Positioned prominently within the cityscape, these sculptures functioned as landmarks, requiring both an imposing presence and a profound symbolic meaning,” said Wang Guanyi, who is a professor at Sichuan Fine Arts Institute in Chongqing and also a renowned sculptor.

“Only in this way can we achieve the dual purpose of beautifying people’s living environment and spaces while also enriching their spiritual lives,” he added.

Like his father, Wang Song is also a fine artist and teaching at Sichuan Fine Arts Institute. “Compared to my father, the artists of our era are more lucky, as we have a broader and more open stage to work on.”

Urban beautification is a holistic concept, including creativity, design, public art, and architecture. By integrating art into various aspects of city life, we make it an integral part of our daily experience, fostering a cultural environment and enriching urban functionality, said Wang Song.

Sculpting time: Wang Guanyi’s artistic vision and cultural evolution

The “Spring, Summer, Autumn, and Winter” sculptures in the form of “Flying Apsaras” at the south and north ends of the Yangtze River Bridge (Photo provided to iChongqing and Bridging News)

Wang Guanyi’s living room is filled with his handmade miniature sculptures. Meanwhile, proportionally enlarged counterparts are scattered throughout Chongqing, adorning bridges, streets, parks, and venues.

Among Wang’s works, the “Spring, Summer, Autumn, and Winter” sculptures in the form of “Flying Apsaras” at the south and north ends of the Yangtze River Bridge evoked his memories of the past.

Upon hearing the news that the Chongqing government intended to grace the under-construction Yangtze River Bridge with four sculptures showcasing the new image of Chongqing in early 1979, sculptors from Sichuan Fine Arts Institute were so excited that they aspired to craft pieces that would deviate from conventions, embodying both intellectual depth and artistic innovation.

Wang Guanyi, along with his design team members, collectively developed dozens of proposals and created over a hundred prototypes. While many lacked novelty, sculptor Ye Yushan’s “Spring, Summer, Autumn, and Winter” design stood out. This collection incorporated the traditional Chinese “Flying Apsaras” composition, personifying the four seasons to depict the stages of life.

“Spring” depicts a blossoming maiden, symbolizing the warmth of spring and the resurgence of all things; “Summer” portrays a young person challenging the waves, representing vitality and daring progress; “Autumn” features a woman carrying sheaves of wheat, symbolizing diligent labor and a bountiful harvest; “Winter” showcases a robust middle-aged man, symbolizing determination to overcome challenges and fearless resilience in the face of adversity, Wang explained, while flipping through photos of the sculptures.

While creating “Winter,” Wang Guanyi implemented some ingenious ideas, including the removal of the falcon on the shoulder and the fox carried in hand. Collaborating with the design author, he transformed the theme from hunting to embody the spirit of “undaunted by the cold, aspiring to a thousand miles.” Additionally, pine decorations were designed beneath the figure’s feet to echo this theme.

“After confirming the initial drafts,” Wang Guanyi said, “we encounter some concerns.” The design team published the drafts for the “Spring” and “Autumn” sculptures in the newspaper, highlighting their positive symbolism and the modesty conveyed by ribbons. Despite these efforts, the design stirred societal controversy upon its public release.

Opponents argued that the sculptures are not wearing clothes, only draped with ribbons, which is too avant-garde, while there were also voices in support, stating that the sculpture design could showcase the vitality and innovative spirit of the mountain city.

In this context, the design team had to seek advice from experts, Wang Guanyi recalled. “The experts suggested compromises, adding some clothing.” Without affecting the thematic concept and the dynamics of the figures, the design team incorporated subtle clothing details at cuffs, collars, and other areas to secure approval.

The four aluminum alloy-cast sculptures depicting “Spring, Summer, Autumn, and Winter” were officially completed in 1984. 

Reminiscing about the intricate process of “Spring, Summer, Autumn, and Winter,” Wang Guanyi sees it as an essential phase in the shift of people’s thinking during the early days of reform and opening-up.

He noted that the debate over the sculptures signifies a shift from the initial shock and criticism to a phase of understanding and acceptance of human body art. Wang believed that with the progress of reform and opening up, the Chinese mindset is evolving to be more open and inclusive.

From father to son: transforming cities through artistic renewal

City sculpture for the Tea Garden area in Chongqing’s Nan’an district (Photo provided to iChongqing and Bridging News)

Wang Song always recalls his father’s words from years ago: “Our work must withstand the test of time.”

When he initially engaged in city beautification, collaborating with his father on several projects greatly impressed him.

In 2007, Wang Song was invited to design a city sculpture for the Tea Garden area in Chongqing’s Nan’an district, initiating a collaborative effort with his father. Guided by Wang Guanyi, the father-and-son duo crafted 11 small drafts, ultimately selecting four for printing and seeking feedback from the local community.

During the scorching summer installation, Wang Guanyi and Wang Song insisted on visiting the site every day and worked with workers to finalize the installation methods. The resulting city sculpture, standing over 20 meters tall and crafted from stainless steel titanium in the shape of a tea leaf, was finished and has since become a landmark.

In recent years, Wang Song has often led faculty and students from Sichuan Fine Arts Institute to carry out city renewal projects.

In the redevelopment of the Changjiang village in Nan’an district, Wang Song and his team creatively repurposed discarded equipment from a local enterprise. (Photo provided to iChongqing and Bridging News)

In the redevelopment of the Changjiang village in Nan’an district, Wang Song and his team creatively repurposed discarded equipment from a local enterprise. They used the obsolete items to make swings, benches, and flowerpots, transforming the area into a high-quality, culturally distinctive community at a low cost.

And “Super 80s Street” is another example. Initiated in June 2021, it showcases the architectural style of the 1980s while preserving its cultural, tourism, and commercial features.

Other projects include Yabadong Riverside Park, Longmenhao Old Street, and Longmen Road. They have become popular among residents and tourists, serving as iconic attractions and new urban landmarks.

“I believe the essence of urban renewal today is blending art with functionality,” said Wang Song.

One of Wang Song’s city renewal projects, “Super 80s Street” (Photo provided to iChongqing and Bridging News).

The foundation of artistic creation permeates every aspect of people’s lives, converting ordinary spaces into vibrant urban public areas filled with vitality, memories, history, and enjoyment. He added that this approach plays a pivotal role in enhancing the urban environment, stimulating economic development, and attracting more visitors.

(Liu Meihui and Liu Yujing, as interns, also contributed to this report.)