展讯 | 彩韵?·?李利画展暨《李利画集》新书发布会

荣宝斋
2022年4月25日11时

展览信息

展览名称

彩韵·李利画展暨《李利画集》新书发布会

主办单位

荣宝斋展览部

荣宝斋出版社

协办单位

北京亚融文化发展有限公司

展览时间

2022/5/8——5/12

开幕时间

2022/5/8 下午3：00

展览地点

荣宝斋美术馆第二展厅

（北京市西城区琉璃厂西街19号）

Exhibition Name

LiLi -Vivid Rythem

New Book Launch Of《A Collection Of LiLi's Paintins》

Organizer

Exhibition department of Rong Bao Zhai

Rong Bao Zhai Publishing House

Co-organized by

Yarong(Beijing) Cultures &Art Development Co.,Ltd.

Duration

May 8-12, 2022

Opening Time

3:00 pm, May 8, 2022

Venue

Rong Bao Zhai Art GalleryThe Second Exhibition Hall

（#19，Liulichang W St., Xicheng District, Beijing）

作者简介

李利（宗翰）

字岱樵，号一纯。

北京生，属“京二代” 。

将自己的画叫“图”，把画画当做“玩儿”，称之为“涂抹”，自谓“涂抹者”。

为人低调，不事张扬，远离尘嚣，无意功名，凝神静气，潜心涂抹……

Li Li, with art name Zonghan and style name Daiqiao, gave himself an agnomen as Yichun. Born and raised by his family in Beijing, Li humbly calls his paintings "drawings" and his art practice "frolicking" or "scribbling". Hence his self-given moniker, "a scribbler".

As a low-profile artist who finds fanfare distasteful, Li leads the life of a recluse away from mundane glitz and glamor, passionately devoted to his pursuit of artistry……

《李利画集》

壮观的山水艺术交响

丁曦林

在中国，1980年代是一段思想激荡的时期。

彼时，外来思想文化冲击着刚从运动禁锢中解放的人们，华夏处处一派冰雪消融。

正是在那时，我与李利相识于京城。二十出头的李利机灵清秀，衣着时髦，说话“老嘎”，能潇洒地出入于一众刚挣脱运动藩篱的耄耋艺术家的画室。老先生们喜欢甚至纵容他在他们挥毫泼墨时相伴左右，也任其无拘无束地追三问四。在耳濡目染里，李利的艺术种子萌发并成长。他在崇文门一带有间独住的大屋，桌上床上到处摊开着他的书画习作。

《研一池铅朱挥涂万丈霞》Grinding Red Ink to Splash, A Sky of Sunset

133×97cm

日后，我自北京调回上海，也在其他不同城市兜兜转转。其间，李利来信谈最多的是潜心创作上的甜酸苦辣；有了手机和微信后，他发来的书画图片所体现的笃行精进，也屡屡令我刮目相看。及至有一天，他在京城举办个展，我专程前往道贺，展场一幅幅原作具有超乎寻常的感染力，像漩涡般将我有力地卷入。他在纸、墨、色等运用上毫不拖泥带水，而是果敢自信；他独具匠心，将色块、云水、山林等处理成一片富有内蕴的合奏，给人视觉冲击和心灵愉悦。

《醉春》Drunk in Green Spring

53×77.8cm

再之后，我从李利的微信晒图上得知，他在北京木樨地高楼里潜心钻研古今书画的同时，还不时地远赴欧洲大小美术馆饱览世界级瑰宝。他是那么快乐，那么投入。很明显，自那以后李利发来的新作图片，又表露了他在汲取东西方不同文化方面的诸多新鲜感悟。

《境由心生》Vision In Your Mind

82×50cm

整体而言，李利的大泼彩山水画，色彩明丽奇崛，节奏抑扬顿挫，具象、抽象、意象三者在同一幅纸面自由地重组与变幻，由此形成了蔚为壮观的、鲜明载有李利独创个性语言的“山水艺术交响”。它们的图式语境云遮雾绕、无端神秘，它们的色彩旋律力透纸背、异常响亮；既透出东方哲学，也融入西方科学——两种文化相互摩擦、碰撞、敲击，迸发出花火般的惊艳。

李利的泼彩山水既继承传统又颠覆传统，特别是在书画材料和表现手法上有多重突破。令我感触尤深的是他对于岩彩的运用。他不仅在大面积使用纯色方面自由果敢，营造出“色域绘画”的奇幻气氛，而且在白色的运用上屡屡收获“神来之笔”。白色，在他的不少作品里起着灵魂作用，它们不是轻薄的，常常是浓醇的，这在传统书画里几乎没有。由于浓醇白色的巧妙铺设和大胆勾连，使得李利山水之作顿时显现非凡的高远、深远、平远之意境，也凸显了他在追求艺术道路上无畏、澄澈、超脱的进取精神。从李利近十年的艺术面貌变化看，他在寻求“理想国”的崎岖道路上似乎并没有设置哪一个目标去做赶超，或者说，他心中唯一之“对手”只是他自己。他善于自我反思，跟自己较劲儿，从而不断地赢得突破和超越。这样的艺术实践过程完全是“一个人的战斗”。他之所以能在寂寞疆场保持斗志，兴味不减，可能与他的创作初心相关。因为他涉足书画纯粹出于对艺术的酷爱和对自我的陶冶，他从未在技艺磨砺和目标追逐中迷失，始终怀着真挚之心去“玩”。这种“玩”不是玩物丧志般的玩，恰恰相反，是在玩中养志，在漫漫过程里感悟艺术探索乃是荒芜岁月里的一轮明月，因而渐入佳境。

《空门山林轻静清净》Quiet Woods / Serenity/ Tranquility

77×53cm

距今千余年的唐朝绘画理论家张彦远，曾写过一部堪称中国美学思想史上的里程碑之作，叫《历代名画记》。张彦远在书里写道，“夫运思挥毫，自以为画，则愈失于画矣。运思挥毫，意不在于画，故得于画矣。”先贤的此番议论，今天再读，似也格外贴合于观察分析李利的艺术。李利自垂髫涂鸦，到日后精研绘事，道路漫漫而痴心不改，得益于内心的澄明。涂涂抹抹的每一笔，发乎真情实意，及至佳作迭出，一切盖源于他葆有一颗不老的纯心。

《染火山野》Mountain “On Fire”

94×54.2cm

艺术的本质是真善美。愿李利踵接前贤，臻于化境，自由驰骋于艺术人生。

2022年1月16日于沪

（作者系艺评家，作家，独立策展人，原《新民周刊》社长、主编）

Symphony of Magnificent Landscape Painting Art

Ding Xilin

In China, the 1980s were a period of ideological upheaval.

At that time, the foreign ideas and cultures impacted people who had just been liberated from the confinement of the Movement. At that time, new ideas were liberated everywhere in China.

It was then I met Li Li in the capital city. In his early twenties, Li Li was smart and handsome, stylishly dressed, straightforward and always visiting the studios of a group of aged artists who were just freed from the barriers of the Movement. The old gentlemen enjoyed, and even indulged his company as they were drawing. They let him keep asking questions. Li Li's get interested in art as he was exposed to this atmosphere. He had a large house in the Chongwen Gate where he lived alone, and his paintings and calligraphy were spread out all over the table and bed.

《无题》NoTitle

90×60cm

Later, I was transferred to Shanghai from Beijing, and travel around in different cities. At that time, Li Li wrote most about the sweetness and bitterness of diving into creation. With his cell phone and WeChat, I have been impressed by the dedication and refinement of his calligraphy and paintings. One day, he held a solo exhibition in Beijing, and I went there to congratulate him. The original paintings in the exhibition hall were so infectious that it swept me up like a vortex. His use of paper, ink, and color is determined and confident. His ingenious processing of color blocks, clouds and water, mountains and forests into a harmonious unty, coming along with visual impact and spiritual pleasure.

After that, I learned from Li Li's WeChat pictures that while he was studying ancient and modern painting and calligraphy in a high-rise in Muxidi, Beijing, he also traveled to Europe from time to time to learn from the world-class paintings in large and small galleries. He was so happy and devoted. It is clear that the new pictures that Li Li has sent since then reveled his fresh insights into the different cultures of the East and West that he has been drawing from.

On the whole, Li Li's large scales of colorful landscape paintings, with their bright and exotic colors and rhythms, freely reorganize and change the figurative, abstract, and imagery on the same paper. Thus, He forms a spectacular "symphony of landscape art" which contains Li Li's original individual language. Their graphic contexts are misty and mysterious, and their color are powerful and unusually loud; they are integrating Eastern philosophy with Western science - two cultures colliding against each other, which astonishes us like a shining sparkle. Li Li's colorful landscape paintings inherit and subvert the tradition.

《梵境》Buddha's Realm

97.5 × 69cm

He especially made several breakthroughs in painting and calligraphy materials and expressions. He is not only free and bold in the use of large areas of pure color, creating a fantasy atmosphere of "color field painting", but also repeatedly harvests "miraculous strokes" in the use of white. The white, which plays a soulful role in many of his works, is not light or thin, but often dense and mellow, which is hardly found in traditional painting and calligraphy. Due to the skillful laying and bold collocation of white color, Li Li's landscape works immediately reveal an extraordinarily high and far-reaching vision, which also highlights his fearless, clear and transcendent spirit in the pursuit of art. From the changes in Li Li's artistic outlook in the past 10 years, it seems that he has not set any goal to catch up on the rugged road of seeking the "ideal country". The only "opponent" in his mind is himself. He is good at self-reflection and competing with himself, thus constantly winning breakthroughs. Such a process of artistic practice is entirely a "one-man battle". His ability to maintain his fighting morale and his interest in the lonely frontier may be related to his original intention of creation. Because he is involved in painting and calligraphy purely out of his love for art and the cultivation of himself, he has never lost in the sharpening of skills and the pursuit of goals. He always embraces a sincere interest in "playing". This kind of "playing" is nurturing his aspiration in playing rather than frivolous fun. In the long process, he perceives that artistic exploration is a bright moon in the barren field, and thus, gradually enlightens more.

《绿无涯》Boundless Green

69×97cm

More than a thousand years ago, Zhang Yanyuan, a painting theorist of the Tang Dynasty, wrote a landmark work in Chinese aesthetic thought history, called Records of Famous Paintings of All Ages. He mentioned that "The more you think about painting, the more you lose in painting; the more you think out of painting, the more you gain in painting." The sage's remarks seem to be particularly applicable to observe and analyze Li Li's work. Li Li has been studying painting since he was a child, but he has never changed his mind thanks to his inner clearness. Each stroke of the painting is based on true feelings, and his masterpieces have been produced repeatedly, all because he has an pure heart.

The essence of art is truth, goodness and beauty. May Li Li follow the step of his predecessors, reach the realm of perfection, and be free to explore his artistic life.

16/1/2022 in Shanghai

The author is an Art Critic, Writer, Independent Art Curator, Publisher and Chief Editor of Xinmin Weekly