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李广明
李广明
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李广明,职业艺术家,现兼任北京上上国际美术馆馆长。2008年提出《水墨主义》构建本土当代艺术学术主张,并举办和策划《水墨主义》《水与墨》国际学术专题展。2009年提出《水墨社会》学术理念并举办专题展,在艺术界产生积极广泛的影响。

1965年生于安徽;1983年毕业于安徽省轻工业学校;1992年毕业于浙江美术学院;2000年就读于清华美术学院研究生班;2002年游学欧洲;2003年只身考查长城、黄河;2006年创办北京上上国际美术馆。

策划并参加《天光云影》水墨联展,《印迹》当代艺术展,《抽象中德艺术家三人展》,《彩虹之约》圣诞油画展,《宋庄制造》上上美术馆2006宋庄艺术家推介展,《女性艺术在宋庄》,《爱在宋庄》露天音乐会,《纪念中韩建交15周年》书画交流展,《宋庄制造》上上美术馆2007宋庄艺术家推介展,《中韩艺术交流展》,《中、德、意、法》联展,《与传统打一照面》水与墨专题展,《水墨主义·当代主义》上上国际艺术年展,《姿态》雕塑展,《水墨思维》当代水墨年度邀请展,《俄罗斯名作艺术展》,《中法艺术交流展》,《水墨社会》视觉艺术展,《十五国艺术家联展》等展览。

后水墨
“后水墨”系列是过程的艺术,但不是一个表演的艺术。“水”“气”“风”“影”实施过程的结束并不是作品意义的完结,相反,艺术家此刻所做是要超越艺术的固有形式,打破艺术世界的常规。在作品中,艺术实施过程意义的进行是意在将其行动的意义和一个艺术家长久的思索凝结于平面之上。
综合材料
综合材料《历史人物》系列作品,沿用了《殇城》的创作手法,吸收了古代陕西唐墓壁画画面艺术效果,创作时在颜料内加入大量的尘士等,在牛皮纸上进行创作,斑斑驳落的画面,表现了即使是千秋传人,最终总会尘归尘,土归土的道家精神。
传统水墨


飞动的线,如笔走龙蛇,如笔底生风,画到最后,即笔墨发挥到最佳状态时,疾驰的线如旋风般驶过画面,来不及让观者辨认何处是马之首,何处是马之尾,画面留下的只有一团气、一个气场,一股旋风般势不可挡的风暴,一种疾驰的快感。
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博客七周年

我的博客今天294天了,我领取了徽章.  

  • 2010.10.04,我在新浪博客安家。
  • 2010.10.21,我写下了第一篇博文:《李广明画集序言(文/贾方舟)》。
  • 2011.01.29,我上传了第一张图片到相册。
  • 至今,我的博客共获得3,793次访问。

这些年,新浪博客伴我点点滴滴谱写生活!

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标签:

李广明

艺术

文化

    3月5日,纪念老子诞辰2583周年拜祭大典的前一天,作为李姓后人,老子思想的追从者,怀着虔诚之心,来到鹿邑,祭拜老子。













 

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李广明作品:《光影下的冰墨与玫瑰》深圳展览现场

 

李广明作品:《光影下的冰墨与玫瑰》现场

李广明作品:《光影下的冰墨与玫瑰》现场

李广明作品:《光影下的冰墨与玫瑰》现场

李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

 李广明作品:《光影下的冰墨与玫瑰》现场

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李广明作品:光影下的冰墨与玫瑰

 

李广明作品:《光影下的冰墨与玫瑰》创作现场

李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

 李广明作品:《光影下的冰墨与玫瑰》创作现场

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2012中国(深圳)现当代水墨艺术展暨第一届水墨双年展高峰论坛会场

 

论坛会场

美术史家、中国艺术研究院博士生导师刘骁纯发言

艺术家、策展人、北京上上国际美术馆馆长李广明发言

艺术家、艺术评论家朱雨泽发言

美术史教授、艺术评论家、独立策展人林似竹(美国)发言

艺术家李铁军发言

美术史家、四川美院教授王小箭发言

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2012中国(深圳)现当代水墨艺术展暨第一届水墨双年展 

 

展览海报

展览海报

展览海报

著名美术史家、中国艺术研究院博士生导师刘骁纯讲话

著名美术史家、独立策展人、四川美院教授王林讲话

北京上上国际美术馆馆长、著名艺术家李广明在开幕式上讲话

中国现代书法领军人物之一、著名艺术家邵岩讲话
亚肯美术馆馆长、策划人全中雨

深圳龙岗区区委副书记讲话

 

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    展览名称:2011站立的水墨

  开幕时间:2011年9月1日15:00

  展览时间:2011年9月1日至11日

  展览地点:中国美术馆七号展厅

  策展人:刘悦笛

  参展艺术家:李广明

  2011年9月1日,李广明的“冰墨”艺术展在中国美术馆一楼7号大厅举办。作为宋庄最重要的实力派艺术家,作为宋庄上上国际美术馆的掌门人,李广明的这个展览以他最新的“冰墨”实验作为主打作品,该展览由国际美学协会总执委刘悦笛担任策展人。这次展览只是艺术家本人整体推出自己独创艺术的第一步,接下来还将举办一系列的展览,来将艺术家十年来具有“自然呈现”风格的多个系列的艺术展现出来。

  李广明的“冰墨”艺术展具有相当的学术高度,他的“冰墨”的独特创新的意义,就在于解构西化的“抽象表现模式”,建构中式的“自然呈现主义”。

  这次展览的最大亮点,就在于让水墨“站立起来”,再让冰的融化本身来说话,来创造出新的艺术形态。艺术家首先创造出冰墨的三维装置,进而让冰的融化自身形成一种冰墨行为,进而将三度空间化作二度的冰墨抽象平面,中国水墨由此获得了新的生命。李广明的艺术创造,将水墨改造之路回到了原点,将水墨从固体状态还原到平面呈现,形成了崭新的水墨语言,让自然本身加以去加以创作,从而把握到了中国传统美学与文化的本根精神。

  李广明的“冰墨”艺术,一反中国实验水墨的惯常模式,独创出让冰融化为墨的自然笔法;但又超越了抽象观念上的西方强大观念,从而原创出一条独属于东方艺术的艺术新路。这套由李广明所原创的“绘画视觉语言”,关键就在于与自然的直接对话与融合,让东方水墨的“水之晕”与“墨之染”自己去言说,从而实现了对传统道禅文化的“创造性转化”。

  随着李广明这个重要的“冰墨”展览的推出,在水墨实验领域,一种具有中国特质的“自然呈现主义”的艺术之路,势必越走越宽,将有更多的中国艺术家加入到这种水墨发展的行列之中。

 

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李广明 “冷墨”系列 2010

 

解构“抽象表现模式” 建构“自然呈现主义”
刘悦笛(国际美学协会(IAA)总执委,中华全国美学协会(CAA)秘书长)


当代中国艺术,在新的世纪,需要新的突破。李广明的“后水墨”与“新语境”,恰恰成为了这种突破的最新生长点。

经过了三十多年的“你方唱罢我登场”,当代艺术的创新何其难也?广明的艺术探索,一直在找寻这个“创新点”。这本《后水墨·新语境》通过“水·气·风·影”四个板块的设计,展现了广明近十年来整个的艺术历程及其创办“上上美术馆”的经历。真正发展到“冰墨”阶段,广明的艺术臻于成熟的高境,这位严谨的艺术家才第一次将他的艺术整体推出来。通过这次极其有力量的登场,广明终于找到了创新的那个“点”,我想直接将他的最新艺术称之为——“自然呈现主义”!

广明的“后水墨”的创新何在?

实际上,真正的创新,总是难以用传统的模式与语言加以言说,广明的艺术给批评家提出的难题,就在于究竟该如何言说他的艺术。一方面,他的冰墨艺术一反“中国实验水墨”的惯常模式,因为这些水墨实验只要一落笔,就是难逃东方笔墨的巢臼,而广明则独创出让“冰”融化为“墨”的自然笔法。另一方面,他又超越了“抽象观念”上的西方强大影响,特别是解构了居于主流的“抽象表现模式”的既定习惯,从而原创出一条独属于东方艺术的艺术新路。

按照艺术家本人的理解,当代全球艺术创新的“气场”目前就在东方。这是由于,西方艺术经历了贡布里希意义上的“再现”阶段之后,进入到更为广义的“表现”阶段,而今则到了“让自然本身去说话”的时代了。“再现”是主体面对客体的模仿,“表现”是主体对主体自我的表露,“呈现”则是让自然“作为自然”去自然性地呈现。即使是“抽象表现主义”仍是一种极端的表现主义,艺术家以抽象化的“滴彩”抑或“笔触”,所表现的无非还是主观的情感、思绪与无意识而已。即使是艺术家的“行动”也只是作为“姿态”而存在的,他的情绪到达什么状态,画面就能达到什么程度,这仍是无视于自然呈现的“自我表现主义“。

实际上,当代中国的抽象水墨继承了这种“抽象表现模式”,只不过,艺术家在运用这种模式时已将本土文化融会在内。中国抽象水墨的独特性究竟何在?这就是囿于西方视角所谓的“极多主义”(高名潞)与“第三种抽象”(朱青生),或者出自东方意味的“念珠与笔触”(栗宪庭),所试图要捕捉的那种东方的意味。但是这种将“抽象表现”模式化的艺术,或者聚焦于抽象语言,或者侧重于文化显现,都仍关注在创作者对艺术材料的控制,然而,假如艺术家让材料本身去言说,那将会如何?广明的艺术创新就在这里自然生长了出来。

质言之,由广明所独创的冰墨艺术,就是这样一种“自然而然的呈现主义”或者“呈现的自然而然主义”,可以简称为“自然呈现主义”。

广明让冰的融化本身来说话,他首先创造出冰墨的“三维装置”,进而让冰的融化自身形成一种“冰墨行为”,进而将三度空间化作二度的“冰墨抽象”平面。这意味着,广明突破水墨抽象艺术的第一步,就是先将水墨固化起来与立体起来,从而再造出一个“第二自然”。在中国传统绘画语言被创新之后,第二步则是让这些立体的冰墨“再度”化作平面,在艺术家本人看来,这种对回归的平面其实更有意义,因为水墨艺术最终还是要“回到平面”来解决问题。

但广明所所回归的抽象水墨无疑成为了“另一种平面”。在整个创作过程中,艺术家的参与也许只占到30%,更多70%的艺术效果则是冰墨融化本身塑造而成的,这个融化的时间可能要持续到四到五天。广明这位有志气的艺术家,最终让他的艺术回归到平面来参与水墨艺术的竞争,而每张水墨及其背后的过程都是不可重复的,这种“偶然性”在他作品当中的充满,迥然不同于笔墨化的艺术的那种通过人手的制作,中国水墨由此获得了“新的生命”。

这套广明所原创的“绘画视觉语言”,关键就在于与自然的直接对话与融合的关系,而远离了那种人手对于颜料水墨及其在画布上的控制,这只有东方水墨的“水之晕”与“墨之染”才能出此效果,因为固态的油彩只要一经落在画布上就已经凝滞了,那种微妙与奇妙的水墨变化只能独属于东方。中国道家的“道法自然”的规律,“道之为道”的法则,都在广明冰墨创作当中得以自然地运用。

这里的“自然”是“自然而然”的自然(naturalness),广明的创作遵循的是一种顺应“自然性”规律的艺术之法,这种“无法之法,乃为至法”。在艺术家看来,水属阴,墨属阳,在“由冰化墨”的过程当中居然形成了一种相互谦让与主动融会之势,这恰恰又是“阴阳相合”的东方智慧。与此同时,面对这种冰墨抽象的感悟,也就是在“自然化的感悟”当中,又包孕了中国的禅宗的“顿悟”的神秘智慧,这是对于自然本身、对于道之本身的尊重。所以说,广明对“水·气·风·影”这四种中国审美意象的灵性把握,都充满了阴阳庄禅的东方美学智慧。

艺术家的基本艺术诉求,就是希望“让自然本身来创造奇迹”。当冰墨从一个点逐渐扩散成为水线,又从一条条水线放射为墨面的时候,这种虚实相生的变化:从客观来看,就是道家的“道生万物”的融化过程;从主观来看,就是禅宗的“明性见性”的经验历程。广明的创造已经打造出一整套的“自然呈现主义”的艺术语言,他已经将东方文化的深度智慧浸渍在当代艺术之内,并用独有的表达方式独特地呈现了出来,这才是一种对本土传统的“创造性的转化”与对艺术当代的“转化性的创造”。

广明的独创艺术,既是对“抽象表现模式”的解构,又是对“自然呈现主义”的建构,期待他在找到“突破口”之后,将自己的艺术激情更迅猛地喷发出来!


Introduction: Farewell to Abstract-Impressionism’s
Modes Towards a Naturalness-Embodimentalism Art

by liu Yuedi
(Delete-at-Large of International Association for Aesthetics,
General-secretary of Chinese Society for Aesthetics)


In the new millennium, Chinese Contemporary Art need its own a new breakthrough, and Chinese famous artist Li Guangming’s Post-Ink-and-Wash and Neo-Contexts is just this kind of breakthrough in China actually.

After more than thirty years after the Cultural Revolutionary, how difficult for Chinese art’s innovate till now? Li Guangming was seeking for his breakthrough in his art development especially in past ten years. This art book Post-Ink-and-Wash and Neo-Contexts: Li Guangming’s Natureless-Emodimentalism Art, divided into basic four parts, and their theme are “Water”, “Air”, “Wind” and “Shadow” respectively. The four Chinese aesthetic images could been described for Li Guangming’s different art periods.

After a long seeking, Li Guangming find his own breakthrough in the end, and I called it a special new name: “Naturalness-Embodimentalism”.

On the one hand, Li Guangming is against the mode from Chinese experimental ink and wash art which isn’t outside its oriental conventions, on the other hand, he as a creative artist already shake off the influence from western abstract’s concept, especially his deconstruction of Abstract-Impressionism’s Modes. So, he wins a new oriental road for his art, ultimately!

According to artist Li Guangming’s understanding for diversity in east and west cultures, perhaps, the new start or battlefield for global art is located in China now. In his own point, for all whole western art history, there are at least two paradigms: one is representationism, another is expression_rism in a broad meaning. But his Naturalness-Embodimentalism, not only refuses the paradigm of representationism which just focus on object, but also opposes the paradigm of expression_rism which only services for subject. Li Guangming’s art, as a new direction, is interested in the communication and unity between subject and object, and he let nature to say its words.

It relates itself to the traditional Daoist thought that the way models (fa) itself to that which is so on its own (ziran), and particularly to Daoist aesthetic thought that heaven and earth have supreme beauty. Chinese philosopher Zhuangzi said: “The universe is very beautiful, yet it says nothing. The four reasons abide by a fixed law, yet they are not heard. All creation is based upon absolute principle, yet nothing speaks.” Accordingly, Li Guangming’s creation is reduced into a very small part in his art, while the majority of artistic creation is completed spontaneously by nature. In terms of traditional Chinese aesthetics, his art adopts “no-rule” (wu fa) in its treatment of heaven and earth, but “no-rule” is just the “ultimate rule”(zhi fa). This is what very famous artist Shi Tao meant in his “the rule of ‘no-rule’ (wu fa zhi fa) is the ‘ultimate rule’” and “‘no-rule’ brings forth the general rule and the general rule governs all specific rules”.

As a result, Li Guangming’s new art, farewell to Abstract-Impressionism’s Modes, at the same time, towards a Naturalness-Embodimentalism in the end. And in American philosopher and art historian Mary B. Wiseman and I together edited a new book, Subversive Strategies in Contemporary Chinese Art  (Brill, 2011), I seek for a “Neo-Chineseness” for Chinese contemporary art, and Li Guangming’s new art is on behalf of “Neo-Chineseness”.

 

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李广明 “冷墨”系列 2010

 

李广明的“冷墨”境象:
“中国性”水墨实验的真正突破
刘悦笛(国际美学协会总执委,《美学》杂志执行主编,中华美学学会秘书长)



李广明的艺术探索,始终处于一种不断找寻的新鲜状态——寻找本土的文化根基,寻找独特的艺术语言。从《殇城》的架上材料综合到《招魄》系列的捕风捉影,从《疗》的艺术行为到《雾里看花》系列的气体装置,他一次又一次地坚持将成熟的作品呈现在观者面前。直至走到自创门派的“冷墨系列”这个更高的阶段,艺术家似乎真正终于找到了厚积薄发的突破口,从而将他的独创力迅猛地喷发出来。

走到如此这般的境界,那是因为,李广明的目前的艺术创作状态已然达到两点:一方面,他终于找到了中国水墨语言的当代艺术表达方式,从而在当代水墨实验当中可谓独树一帜;另一方面,他又将国际视野与本土追求融会贯通起来,进而在当代艺术探索中开拓出一条“中西视界融合”的新路。

一、厚重与飘逸:从“玩土”、“玩气”到“玩冰”

第一次观李广明的画,还是带现任国际美学学会(IAA)主席柯提斯·卡特(Curtis L. Carter)来到他所创办的上上美术旧馆,当时就曾感叹那巨幅的《殇城》所呈现的历史沧桑感。卡特本人也赞叹这位艺术家的扎实的造型语言能力,并为他表现出来的“东方气息”所深深叹服。尽管他们的艺术观念并不相同,并在后来还形成了当面的争论,但是这位老外却非常喜欢他所构成的画面。而这些都使我看到,李广明的确是一位具有自我原则、坚持自我原则的艺术家,但与此同时,他的创作又具有某种面向当代的开放性。

《殇城》系列的当代性,首先就在于一种材料的使用,那就是用“长城土”去画长城。这实际上是一种文化上的寻根,用长城的土本身来呈现“长城之殇”,既呈现出了一种唐代墓室湿壁画(Fresco)效果一般的粗犷质感,也体现出一种对“黄色文明”命运的象征与隐喻。但在技术上,还有个难题:如此厚重的土调上丙稀再胶着在画面上,什么样的纸能承载得了呢?李广明进而发现,只有用中国土产的“牛皮纸”才能将这张张的土壁画”悬置起来,所以,《殇城》系列可以说是李广明早期的综合材料的代表之作。应该说,当时的艺术家的思维还主要是传统油画式的,对他而言,创造中的更为关键的东西,就是要找到呈现长城形象的“肌理效果”。通过纸张的褶皱感、土质的颗粒感、水墨的流动感,这种沧桑效果无疑是达到了。有趣的是,此时李广明“大巧若拙”的创作,居然具有了一种“土里土气”的本土文化的归属感,艺术家始终在找寻这种文化的内在力量。

如果说,《殇城》系列的综合材料作品,无论是从材料本身还是图绘风格来说,都是偏向于“厚重”取向的话,那么,从《捉魂》到《雾里看花》系列的创作,则逐渐走向了相对的“轻盈”的另一面。应该说,从《殇城》系列的内涵思考,直到《近历史》的形式改变,李广明当时的艺术更是趋向于理性思考的。《近历史》系列则更进一步将长城画面上打上了轮廓线式的红线,这种具有理性化倾向的红线就有点类似于“理性绘画”的那种红格子。然而,自从《捕风捉影·长城》之后,李广明的创意就转变为:在太阳光照下将长城的影子“捕捉”在宣纸之上,然后将影子的“黑”与无影的“白”,通过清水“分割”来开后在重新加以组合。从这个作品开始,艺术家就开始了最早的将“立体变做平面”的探索,这一时期的转化媒介当然就是“捕风捉影”。

然而,在李广明早期的创作里,更能把握到本土文化精髓的,反倒是艺术家对于“气”的特殊运用和独特把握。但是,难题却在于——如何将“气”,在两维的画面上得以呈现呢?李广明最早以《捕风·长城》作为“捉影”系列的补充,他用宣纸、墨在长城上任由狂风吹袭,从而在瞬间去捕捉风对于纸与墨的塑造力,并将这三者融合的“自然形态关系”固定在平面上,最后再采用图片和装置形式来加以呈现。从艺术家的艺术发展历程来看,这是他从面对长城“玩土”到“玩气”的最初转化。如果说,“玩土”只是从“实”到“实”的创造,那么,“玩气”则力求将气的“虚”化到“实处”。

在“玩气”方面,更为成功的创作非《雾里看花》系列莫属,这是因为,这个系列把握到了一种“气韵生动”的真正“动感”,所谓“气韵生动为第一义,然必以气为主,气盛则纵横挥洒,机无滞碍。其间韵自生动矣。”《捕风》最初的意图是由“动”到“静”的,我们最终看到的,只是“化动为静”的风动的瞬间。但是,《雾里看花》则采取了现代科技手段,用烟雾做成了一个内在封闭的屏幕,然后将八大山人的荷花图、鸟禽图、鸟石图、墨鱼图投映在“气幕”上,再透射到背景墙上,从而形成了一种中国古典绘画当中那种“重屏”的效果。更有趣的是,这些被投映的中国水墨形象,还有米罗《晚钟》的油画、罗丹《思想者》的雕塑图像,在被投到“气幕”上时却变得具有立体感了,因为随着气体是不断地充溢与蒸腾,图影在运动的气上不断地被变换着形态。而且,整个画面都随着气的“生”气“灭”而趋于变幻无穷,从而变得越来越“灵动”了。所以说“气韵生动,须将生动二字省悟,能会生动,则气韵自在”,《雾里看花》系列就是通过投影与气幕的独特设计,经由“生动”而把握“自在气韵”的。

随着李广明艺术创造的自我转变,他最终从“玩土”、“玩气”走向了“玩冰”的更高阶段。从审美的流变来看,他的美学倾向也从《殇城》系列的那种儒家气质的“厚重”,逐渐走向了《冷墨》系列的庄禅风格的“飘逸”。

二、立体与平面:从“水墨装置”、“水墨行为”到“水墨抽象”

李广明的“冷墨”创造,的确让人有耳目一新之感,的确为水墨实验开拓出了崭新的的艺术空间。这个系列的作品既有广阔的国际视野,又运用了当代艺术的技巧,但是更重要的是,它还将本土文化的底蕴袒露了出来。在这个所谓的“后水墨”的时代,如何采取“非笔墨”的形式来把握水墨的神韵,的确是传统文化留给当代艺术需要“创造性转化”与“转化性创造”的难题。尽管我们并不认同“笔墨等于零”的激进立场,但是,在当代艺术的谱系当中,笔墨必定需要其他的形式来加以转化,“笔墨当随时代”本应转化为“水墨当随时代”才是。

李广明的“冷墨”新创,就是“水墨当随时代”的当代产物。然而,这个系列的作品初看起来,往往首先给人的困惑就是——这个艺术到底是什么?如何将之归类?如说周知,之所以难以归类与确定,恰恰展现出这种“冰墨”艺术的原创性。

“冷墨”,其实是艺术家本人所创造的新术语,但这个新词也仅仅能从材料上确定了其创新的特质。如果一定要给“冰墨”找到对应的艺术形态的话,那么,只能说蔡国强的“火墨”是与之类似的,因为“火墨”就是利用火药的爆破效果在纸上形成绚丽的“火墨画”。这种“火墨画”属于蔡国强的纸上爆破作品系列,这种火药记录其实是瞬间完成而不可复制的,蔡国强利用他的“火墨”试图创造出超越中国水墨画的某种意境,并力求把中国的含蓄、神秘和古老的智慧展现给世界。

然而,与蔡国强的“爆破”不同,李广明在纸面上创造出来的效果,是通过化冰为水的“消解”过程来实现的。这个被称为“冷墨”的艺术,其基本材料就是水、墨、冰还有宣纸。首先,艺术家用泥雕塑成大教堂、亚当夏娃像、核导弹、方、圆等之类的立体泥塑,然后用泥雕翻成模具,将混合不同比例的水、墨等在冰库冻成冰雕,最后将这个“冰雕”置于吸水性极强的生宣纸之上,等待整个冰雕逐渐融化最终在纸面上形成了具有生动质感的“冰墨作品”。

但实际上,李广明的“墨气”较之蔡国强的“火墨”却更具有中国文化的意蕴和韵味。刘骁纯就曾用最简单的比喻来比较过东西文化的差异:“西方的文化偏火,中国的艺术偏水,最直接的感觉是火比水厉害,但是水又可以灭火,就是这样一种关系。”实际上,火更多是一种西方的“阳性”文化的象征,而水则更多是一种东方的“阴性”文化的隐喻,由此观之,蔡国强的“火墨”其实是更西化的,而李广明的“冰墨”则是更贴近东方的。这是由于,“火墨”的确是“火气”过重,而“冷墨”则是相对“阴柔”的;“火墨”形成了瞬间爆破而成的“顿悟”,而“冰墨”则趋向于慢慢融化的“渐悟”;“火墨”被艺术家本人认为是火与纸之间“破坏与建设的辩证”,而“冰墨”则注重在冰与水之间的一种“内在的转化与生成”。

实际上,如果要将李广明的《冷墨系列》作品加以归类,可以将之定位为“水墨装置——水墨行为——水墨抽象”的三位一体的作品。这意味着,我们不能仅仅从按传统的艺术创造的程序观,仅仅关注“身体——行动——作品”的创造过程,并将艺术创造的重点归结于最终的作品生成。我们要在更广阔的语境当中来观照他的“冰墨”创造。

首先,用冰制造出雕塑式的对象,所创造出来的就是一种冰雕式的“水墨装置”,而且,这个装置随着时间、温度的变化而不断发生变化,直至化为乌有。其次,“冰化为水”这个过程,可以被视为一种“水墨行为”过程,这个过程往往不强调人为的参与,主要是材料本身与自然产生碰撞与对话。当然,为了造成更好的效果,艺术家往往需在底部作一些铺垫,如选用纸张的性质、层叠的厚度等。艺术家在创作时,冷冻的不同,加墨多少的不同,宣纸的不同,以及在融化时间的快慢不同等因素下都会产生不同的画面生命,这就需要艺术家把握好每一个环节。最终呈现的“水墨抽象”画面,这无疑就是一个从“立体”的三维装置最终化为“平面”的二维水墨的动态过程:水墨装置首先是“静”的,水墨行为始终是“动”的,而水墨抽象随着化为“静”的,这三者在李广明的《冷墨系列》是“道通为一”的。

三、虚境与实像:从“化实为虚”、“既抽又象”到“冰墨境界”

在李广明那里最终“成像”的是,仍是一幅幅抽象水墨的作品。但关键的创新环节仍在于:艺术家将“立体”化作“平面”,这也就是经过“冰状水墨”化为“水墨画面”来实现的。从中国古典美学的角度来看,这就是一个“化实为虚”的过程。无论传统文人还是画家,都是直接用水墨来创造的,而水墨本身最终转化为二度的平面上。当然,据我所知,也从来没有当代艺术家采取这种先“冻冰”后“解冻”的方式,先三维立体化再作二维平面化的处理。也许,道家所谓“上善若水”就是取水自然流淌的过程来比喻最高的善吧!在《冷墨系列》当中,有趣的是,水就是“自上而下”慢慢流动的,这是通过“冰解”的过程来实施与完成的。

冰是属于“有形”的,水则是倾向于“无形”的,在由冰化水的过程,恰恰也是“无”与“有”相生的。这好像是一位“自然的艺术家”通过千万只小的笔触来慢慢地在宣纸上一遍又一遍的渲染一样,一层一层的着墨一样,慢慢就形成了最终的抽象的形状、纹理与层次。如果再从中国古典文化观之,水属于“阴”性,而墨则更趋向于“阳性”,在自然融解的过程里面,“阴”与“阳”又是相互补充的。与西方的油彩所具有的那种凝固性不同,墨水本身自主的流动,恰恰能形成一种极新的水墨节奏与样式。如果说,李广明的《雾里看花》系列还只是流动的“气墨”的话,那么,他的《冷墨系列》就可以被看作是真正富有流动性的“冰墨加水墨”,冰化为水是“由有形到无形”,水墨融入画面则是“由无形到有形”。

在这个意义上,李广明的“冰墨”应该被看作是一种“虚化”水墨,或者说,“虚像”水墨。这种水墨效果的真正的创造者,也许并不是艺术家本人,也是由冰墨本身的融化造就的。或者说,在这个融化的过程里面,艺术家所参与的只是艺术创造的一小部分,而更大的创作,则是由冰墨按照“自然而然”的规律来完成的。这其实采取的其实是一种“无法”之法,或者说采用的是一种最彻底的无法,而恰恰这种“无法”才可能成为“至法”。石涛的《苦瓜和尚画语录》所谓“无法之法,乃为至法”,“以无法生有法,以有法贯众法”,正是此意。应该说,《冷墨系列》的抽象过程与抽象效果,的确达到了这种本土文化所追求的至高境界。

从冰墨所形成的水墨效果来看,“虚境”与“实象”之间也形成了某种张力。许多最终“成形”的作品里面,似乎隐隐绰绰可以看待某种“具象”的存在,这种混沌状态就是老子所说的“道之为物,惟恍惟惚。惚兮恍兮,其中有象;恍兮惚兮,其中有物”。境是“心”生的,“象”是自然的,这种由“实”融“虚”的抽象状态,的确把握到了中国传统文化的深层底蕴。在艺术家的眼里,中国的线是有生命体的,中国的水墨强调的是过程性,中国的色彩注重的是“墨分五彩”,而这些中国艺术原色与底色,在“冰墨”的水迹线路、流动轨迹、灰黑层次当中都可以不断被发现。所以,我们可以说,处于“冰墨”创作阶段的李广明,已经摆脱了早期创造那种理性化的取向,从而走向了一种更为感性化的、强调悟性的艺术之途。从有形的冰到无形的水,最终融化为一种“既抽又象”的中国图像,这恰恰就是李广明的创造的独到之处。

从李广明的艺术创造的整个经历都可以看到,他始终力求将中国传统的深度文化置入艺术当中,从《殇城》系列的儒家般的厚重,到《雾里看花》道家般的空灵,一直到《冰墨》那种庄禅的体验,李广明的创作是在步步上升的。他所独创出来的这种“水墨装置——水墨行为——水墨抽象”,恰恰遵循混的是“自然而然”的法则,而且也将道家的“道法自然”与禅宗的“明心见性”巧妙地结合起来,从而达到了一种独特的“冰墨境界”。这种“冰墨境界”恰恰是艺术家在深潜中国本土文化之后创生出来的。我们都知道,具有抽象取向的艺术在中国具有强大的生命力,高名潞试图以(与极少主义相对立的)“极多主义”来命名之,栗宪庭则以更具中国话语权的“念珠与笔触”来命名之,朱青生则试图以区分于传统抽象主义、抽象表现主义/极少主义的“第三种抽象”来命名之,他们的确都捕捉到了当代中国抽象主义不同于西方艺术的那种本土特性所在,特别是具有“中国性”的抽象往往并不是纯形式的点、线、面、色的单纯组合,其背后总是深深蕴藏着中国文化所独具的意义内蕴与价值取向。

然而,究竟该如何走出一条具有“中国性”的水墨实验的新路呢?李广明的艺术创造在这方面的确是具有突破性的,而且也给后来者创造了某种范式。这是因为,他创造出来的“冰墨”境象:第一在艺术语言上是独特原创的,第二是深深地植根于本土文化的,第三这种原创性的艺术还具有国际视野,而拥有了上述特质的艺术,不恰恰就是力求达到所谓“新的中国性”(Neo-Chineseness)艺术的范例吗?



Image of Icy Ink
by liu Yuedi



The artistic exploration of Mr.Li Guangming is always in a state of searching, looking for native cultural roots and unique artistic language. From the Dying Wall, Welcome Back the Spirit of Confucius, The Healing to See Through Fog, he insisted on presented the mature works in front of the viewer again and again. Until the series of Icy Ink, he reaches a higher stage; he seems to have finally found a real breakthrough after accumulating profound practice. Icy Ink is the fruit of great originality.

Reach such a state, it is because, Li Guangming has finally found the way of Chinese ink expression_r to present in contemporary art world, his own way is very special and unique among various of contemporary ink experiment. On the other hand, he digested international perspective with local pursue. A new contemporary art road of "fusion of Chinese and western "has been opened up.

Part I Massive and Elegant:Creating Material from Soil,Gas to Ice

It was the first time I saw Mr. Li Guangming’s paintings when I show current president of International Art Association (Abbreviated as IAA) ------ Curtis L. Carter to the Sunshine International Art Museum. The strong historical vicissitudes of life from his work Dying Wall shock me a lot and Mr. Carter also highly praised Mr. Li’s solid modeling ability as well as the oriental essence in his works. Although they have verifying sort of artistic conception, Mr. Carter still likes his works very much. Thus I made a conclusion that Mr. Li is an artist with self principles and he hold on his principles while he has also a kind of open mind to contemporarism.

The contemporarism of his Series Dying Wall lie in that firstly this Great Wall in his works was paint with the soil from Great Wall. This is kind of seeking cultural root: this kind of material (soil from the Great Wall) represent a kind of ruggedly texture of Tang Dynasty’s Fresco and also a kind of symbol and metaphor for Yellow Civilization. However, there is also a technical problem: what kind of paper can endure so much of soil and propylene? Mr. Li found that only the Kraft paper made in China can resist this sort of strength and therefore hang up to the wall. As we can say, Series Dying Wall is his earlier representative mixed media works. As far as we can say, at that time, most of the artists held the traditional oil painting concept when he already tended to represent the textural effect of Great Wall. By drape touch of paper, granular sensation of earth, flowing sense of water, he successes in taking on a vicissitudes of life. His works reflect a sense of belonging of native culture, which is a forever internal power of culture.

If Series Dying Wall belongs to the messiness, his Series Catching Gost and See Through Fog will naturally belong to an elegance. From a thought of internal meaning in Series Dying Wall to a compared lightly changing form in Catching Soul and See Through Fog. From a deep internal thought to changing forms, Mr. Li tends to a more sensible thinking style. His Series Recent History, he wrote an outline on Great Wall in red thus this kind of sensible tending was similarly to a red check in rational paintings. However, after the work of Great Wall •Chasing Wind & Clutching at Shadows, his creations turn into chasing shadows on Xuan Paper and reorganized black (shadow) and white(sunlight) by using clean water to cut them (Xuan Paper) off. From this work on, the artist start his original exploration on a creation in 3D to 2D.

However, in his earlier creation, a most essential part of his work is his application of Qi (which means the sprit of something in Chinese). How to represent Qi on 2D paintings? In the very beginning, Mr. Li made use of the wild wind to blow Xuan Paper and Ink and thus he caught a instant Shaping power from the wind and combined these three essences on paper and finally represent them on form of images and installation. From his development history, this is a transformation from using earth to Qi. If creation of earth is a creation from real to real, creation of Qi will surely turn Xu (which means nothing) to real.

His representative works in part of Qi is Looking Flowers in Fog. He has long been the moving sense of matter. An earlier intention of Chasing Wind is creation from movement to a solid on paper, and we finally only see an instance of this process. However, he took modern technique methods to form a closed screen in smoke, and then he put the works’  image of Pa-ta Shan-jen (a famous artist of the Ming Dynasty) on the Gas Screen and the background wall, thus he built up an effect of Double Sector Screen in Chinese traditional paintings. Moreover, there were images of Mirror’s Evening Bells and Rodin’s (1880—1900) Thinker. These images were more vivid when they were put on the screen: With a changing state of gas, images also moving with it. Countless changes came out with countless changes of emerging of gas.

With a self changing of Mr. Li’s art creation, he moving to a high grade of using ice to create. From sense of aesthetic, he turns from massiveness in Dying Wall to elegant in Icy Ink.

Part II 3D and 2D: from Ink Installation, Ink Behavior to Abstract Ink

His Series of Cold Ink did assume us a new look and this is a new start for Ink Experiment. With international wide range of vision and contemporary art techniques, this series of works also has a native culture root. In this Post Ink times, it is a hard matter in creative changing and changing creation of traditional culture that how to grasp an essential part of Ink without using form of ink. Although we don’t agree with the radical standpoint of “Brushstroke Equals Zero”, I agree that Ink has to represent in other form and Water Ink should changing with times instead of Brushstroke changing.

Mr. Li‘s Lately series of Icy Ink is a contemporary result of the concept of Water Ink Should Changing with Times. However, at the first sight of this series, many people would be puzzled about what this is? How to identify it? As we all know that, it is the original natures that make his work hard to identify and determined.

Cold Ink is a new technical terms creation by Mr. Li and this work can merely identify an innovation nature of material. If we have to find a equal form of art, “Fire Ink “concept of Cai Guoqiang will fix more or less. Cause Fire Ink using gunpowder’s exploring effect to create Fire Ink picture. This series of explosion on paper was made in instant and is impossible to reproduce. Mr. Cai tends to using his Fire Ink to create kinds of Chinese Ink Painting state and try harder to present Chinese reserved, mysterious and ancient wisdom to the world.

Verifying from Cai’s recreation of exploration, Mr. Li realize his effect on paper by melting ice into water. This Cold Ink has a basic material of water, Ink, ice and Xuan Paper. Firstly, the artist makes soil sculptures of church, Adam and Eve, nuclear bomb, etc. Then he made a model out of these sculptures and using different proportions of water, Ink and something else to make an icy sculpture in freezer then put this ice sculpture on Xuan Paper. After the melting of ice sculpture, a vivid work turns out.

In fact, Li Guangming’s Ink is more profound and meaningful. As a saying of Liu Xiaochun: western culture is partial to fire nature while Chinese art is partial to water. Fire may be more powerful then water, but water can put fire off. Fire is more of a symbol of positive culture of west and water intend to infer a negative culture of oriental. From this concept, Cai Guoqiang’s Fire Ink is more westernized and Li Guangming’s Ice Ink is more oriental. Fire Ink is an instant exploration of understanding and Ice Ink tends to a gradually understanding; from the artist, Fire Ink is an exploration that destroy and build and Ice Ink is more of an internal transform and turn into.

If we have to identify Li Guangming’ s Series Cold Ink, we can identify it as a combination work of Ink Installation, Ink Behavior and Ink Abstract. This means, we can not merely focus on the process of creation and regard the final work as a most important part. We should understand his Ice Ink work on a more extensive platform.

First of all, icy sculpture that artist creates is a kind of Ice Ink Installation and this installation keep changing with time, temperature till they vanish. Then it comes that the process of turn ice into water can be understood as a process of Ink Behavior. In this process, people are not an essential part of it, but material contrast and communicate with nature. Of course, artist used to prepare forward for a better effect. When he’s creating, varying of freezing, Ink Xuan Paper or melting time will cause varying images. Thus the artist should keep close eyes on every part of this process. A final Ink Abstract image is motive process which turns a 3D installation into a 2D painting: a still Ink Installation with a changing Ink Behavior and turns into a still Ink Abstract. These three essentials perfectly combine in Li’s work.

Part III Real and Unreal: from Turn Real into Unreal, Abstract and Alike to Ice State

In Li’s final works they show images of abstract. And an essential part of innovation lies in that the artist turn a 3D into 2D, thus, he turns Ice Ink into Ink paintings. From a Chinese traditional aesthetic angle, this is a process of turn real into unreal indeed. No matter traditional civilizational people or the artists, they created with Ink and Ink would reflect on a 2D flat form. As far as I am concerned, no one apply these processes of freezing and melting, turning 3D sculptures into 2D paintings. Maybe an old saying in Daoism of ‘Water Is Better’ is an analogy that best kindness is like a nature running of water! In Series Cold Ink, water run slowly from up to down and melting process motivated it.

Ice is shapeable while water is on the opposite. In the process of turning ice into water, Wu (which means nothing in Chinese) and You (which means something) are companying. A nature artist painting naturally one on one and finally an abstract shape, vein and levels turns out. From a traditional culture concept, Water is negative while Ink is more positive. In naturally melting process, water and ink both server each others. Different from a solid state of western oil painting, running nature of Ink form a completely different style of art. If Li’s Series Looking Flowers in Fog are some Ink in Qi (as mentioned above, it’s kind of spirit, and sometimes means material in gas in Chinese), his Series of Cold Ink will belong to a real floating combination of Ice Ink and Water Ink. It is from You to Wu when ice turns into water while it’s from Wu to You when Water Ink solutes in Xuan Paper.

From this concept, Li’s Ice Ink is creating with kind of Xu Ink. In this art technique, artist and Ice Ink create paintings together. Or maybe we can say artist only plays a little in this process and Ice Ink naturally complete all of the rest in its melting process. This is kind of creating without any techniques or a completely natural way to create. Superb effect comes out from this natural way of painting. Shi Tao (1641~1707 a great Chinese artist of Qing Dynasty),said that only natural way of painting can get the most outstanding effect of paintings. An equal way of express in Chinese is that techniques come from natural way of creating and these techniques exist in all style of paintings. As far as I can see, process and effect of abstract in Li Guangming ’s Series Icy Ink deed in a superb state in Chinese culture.

From aspect of effect of Ice Ink in his works, effort exists between his Xu and Shi. We can find some visualized images in his works which would better explain by Chinese great master Chuang-Tzu (B.C.369—B.C.286)’s words: “Doctrine in material is in a state of fuzzy and in fuzzy there are materials”. We create our own state of life when figures come from nature. This abstract state of process from Xu to Shi consists with the essential part of Chinese traditional culture. Chinese artists argue  that Line in works is living and it’s more important of process than anything else in Chinese Ink painting; in aspect of color, Chinese Ink painting focus on division shade of Ink. All these essential parts can be found in Li Guangming’s works: trace of water, floating and varying shade of Ink. Thus, Li has already got rid of his earlier time of rational creating form and forwards a more emotional and focuses on comprehending the world. Painting with melting process of ice to water, he creates a unique way of Chinese painting.

From his whole creating process, we can find that he manage to imbedding Chinese essential part into Art. His upward process in art can be found from massive in Sadness City to elegant in Looking Flowers in Fog and finally comes Ice Ink--- an experience of Zhuang Zi and Zen (both are great ideologists in Chinese ancient times). His unique Ink Installation--- Ink Behavior--- Ink Abstract way of creating process consists with nature and Daoism. This state of Ice Ink is a natural result of artist’s deep understanding of Chinese native culture. As we all know that abstract orientated art are well received in China. Gao Minglu (contemporary famous Art critics try to name it as Maximalism (opposites to Minimalism) while Li Xianting (another important Art critics in China) name it as Beads and brushstroke with more Chinese feature. They both find unique features in contemporary Chinese abstract art, especially that Chinese art go with profound culture instead of simply combination of spots, lines and spaces.

How to manage a way of Chinese Ink practice painting? With unique Art techniques, profound native culture and international vision, Li‘s work do a meaningful breakout at this point and bring us with some inspirations. And this is exactly what we pursuit as new Chineseness Art.

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李广明 “冷墨”系列 2010

 

水、墨知道答案
文/赵志刚



早几年读了日本学者江本胜的著作《水知道答案》。这本书的主题思想是:水能听,水能看,水知道生命的答案。江本胜先生将水装在透明容器中,然后用语言、声音、图片给水听、看,再将水进行冷冻产生结晶。令人惊奇的是,那些“看”了“感谢”,“我爱你”,“你好”和大自然美丽景色或是听赞美诗,祷,鼓励及美好、抒情的音乐的水结晶呈现出美丽对称晶莹剔透的钻石般的六边形图案。反之,给水看了负面的词汇、不美的图片、听了刺激的音乐,水的结晶呈现出破碎、晦暗、恐怖的图案。江本胜的这一伟大发现,使人们思维方式发生了改变。

无独有偶,在宋庄上上国际美术馆李广明的工作室见证了水的另外一种品质。李广明的水墨近作堪称奇幻。他以另一种方式进行创作,在其技巧的操作下,将水与墨冻结成各类造型:或方,或圆,或写实的造型,然后将其置放在特制的宣纸层面上使其自然融化。待这些冰塑造型的水、墨完全消解后,画面呈现出令人叹为观止的形象。你无法用语言完全地表达出你观后的感受,画面呈现出的神奇效果让你的智慧难抑心中震撼、激动、兴奋。不由得为他的艺术想象和创造表示钦佩。更让你思想为之开悟的是:水是有智慧的,水知道作者的意图。水能够感受到作者创作时思想的波动。水能够将创作者的未知的心里状态展现出来。我看过李广明为这批水墨作品其中的两幅画所拍的影像资料。一幅用水墨冻结成导弹(或火箭)置放在宣纸中央然后任其融化。开始融化时墨迹如同导弹发射时尾部喷出的烟雾滚滚涌动,随后水墨向四周蔓延,景象如乌云遮盖大地,恐怖的气氛笼罩整个画面。导弹(火箭)人类科技高端的制造物这个双刃剑它能把人类美好理想送入太空,也会将人类未来送入地狱。水墨以它的波动感受到作者思想情绪并与其产生共鸣。从这幅画的波动过程中我们不难体会到水、墨的情感表述。它在向外放射出一种信息,警示着人们。另一幅的影像资料是李广明将冻结成四方块的水墨实体放置宣纸中央,用锤轻敲下使其自然分裂,然后任其融化。影像记录下来的水墨变化过程非常有趣,令人匪夷所思。水墨沿着冰块破碎后的形状向外扩展,它们向四周移动着、变化着,按每块冰的大小各自规划者自己的空间面积。他们似乎在相互谦让,你进一点我退一点,你退一点我进一点,最后形成各自原体形状大小的,你中有我我中有你的墨界。随着时间延后,水墨冰块的完全消解,其精、气、神得以彰显。其画面效果全然出乎你的想象。但看画面只是最终的视觉形象。若观水墨自身的“创作”(波动)过程,你不得不为水的智慧与品质所折服。这幅画的形成过程水墨共同的状态都是在“让”,水墨之间“让”出一种格局,让出一派和气,让出一片天地。这是我联想到人的层面。自有人类以来,人类之间似乎一直在争,与自然争,民族之间争,文化之间争,宗教之间争,等等,越争格局越小,越争越伤和气,越争天地不容。我们一直在寻求水、墨精神,但我们何曾对水、墨精神有过真正的了解?地球的百分之七十为水,自然中的动植物也是由百分之七十的水,人体的百分之七十是水,水墨画完全是由水构成。我们是不是可以换一个角度去重新观想水、墨,是不是可以换一种思维去认识水、墨?

老子说:“上善若水”。大多数书中将此句解释为“最好的善、第一流的善”。最善的人,等。我认为老子的“上善”指的是智慧,大智慧,有智慧的人,最大的智慧如水一样。仅是有善德的人是不能够完全做到“无为而无不为”的思想境界。

水墨画是中国文化特有的艺术种类。承载水、墨的宣纸也是独一无二的。画水墨画的人不尽其数,风格也林林总总。在水墨绘画中寻求变法的智者层出不穷。水墨画谈不乏杰作经典。各种笔墨手法争奇斗艳,真所谓有为之而无不过。李广明无疑也是这林中好汉之一。只是这一回他从无为的姿态出现,将自己交给水、墨,最大程度的解放自己的头脑,只是把自己的主题思想及艺术感悟凝聚成能量墨块交给宣纸让水、墨演绎纵横。其视觉效果千变万化,各有其独特风采,绝无雷同之处。李广明想到的画面效果水、墨做到了。李广明没有想到的水、墨做得更加精彩。水、墨遵循创作者意图,从固有的本体出发自动地从容布局从实至虚,知白守黑,运气如神,水到渠成。此时的水、墨已将创作者的深层意识阐述的淋漓尽致。最终的画面呈现天籁之美,气韵自然,神秘莫测,人杰画灵的气象。创作者绘画状态体现出老子“无为则无不为”的哲学理念并付之于行动。

几千年前的老子对水的品质赞叹不已,现今的江本胜博士用科学的方法将水的品质阐述的深入浅出。二者相距遥远的空间却都告诉人们一个道理:水是有智慧的,水有感知能力,水承载着宇宙的信息,水波动着自然的能量。在李广明这一批无为而作的水墨画里面我们感受到了水的智慧与波动。创作者的“无为”与水、墨的“有为”浑然一体,紧密关联。水的波动因创作者的思想波动而发出特有频率引导着墨“领会”其精神产生共鸣绘制出相似于创作者所想的图像。我不知李广明是否意识到在看似不经意的绘画过程中已自然、巧妙、有机地将科学与艺术做了嫁接。一个新的艺术课题在期待着他。

我曾经与李广明及几位朋友多次谈0到水的智慧,用来客观的评价人类美术史上的经典画作,可能会有出乎意料的结果。会是怎样的局面?“水知道答案”……

李广明以无为的态度进行水墨画的创作将会是怎样的格局呢?水、墨知道答案……

2010年10月



Water and Ink Knows the Answer
by Zhao Zhigang


A few years ago, I read a book Water Knows the Answer written by Japanese scholars Emoto Masaru (1943Jul 22ed--) the book's theme is that water listens, water watches and water knows the answer of life. Mr. Emoto put water in a transparent container, later showed the water language, sounds and pictures, and then frozen it. Surprisingly, after the water who "saw" the "thanks", "I love you", "hello" and the beauty of nature, or “listened” to the music of hymns, prayer, encouragement and lyrical, it showed a beautiful, symmetric, crystal clear and diamond-like hexagonal pattern. Conversely, after “feel” negative vocabulary, ugly pictures and initiative music, the water showed broken, dull and horrible crystallization instead. Mr. Emoto’s great discovery of water changed our way of thinking.

Coincidentally, when I visit Mr. Li Guangming’s studio, (director of Sunshine International Art Museum) I witnessed to another quality of water. His recent works are fantastic! He created in another way, he frozen water and ink into various shape of square, round or the realistic style, and then let the sculpture melted on Xuan paper naturally, after that it showed a stunning image. You can not fully express in words your feelings after view these, it is so heart shock, amazing and exited. We can not but express our admiration on his imagination and creation. Water is wise, water knows the intention of artist, and water can feel his thinking when he created on her, water can show his unknown state of mind, this enlightened us. I have seen two video data of his creation process. One is an inky ice sculpture of missile stand on the center of Xuan paper and then let it melt. As the ink begins to melt, the ink trail just likes billowing smoke after the missile launched, along with the ink spread around, it is like clouds cover the earth and terror cover throughout the painting. Missile, the manufacture of high-end technology of human, this double-edged sword that can send better ideal of human beings into space, could also drop the future of mankind into hell. Ink resonated to his creator’s emotion and thought. In the course of this painting, is not difficult to appreciate the water and ink’s emotional expression_r. It emits a message out to warn people. Another piece of video data is that Mr. Li Guangming placed a solid four-square inky ice block on the Xuan paper, tapped it till dividing itself and melted naturally. In recorded ink is very interesting during the process of change, it is incredible. Water and ink expand with the broken block. They are their own space planners. They seem to mutual accommodation, and finally formed their own body shape and size of original and contained each other. With the time delay, ice completely removed, however, the spirit of water and ink started to display. The effect would go beyond your imagination completely. You have to admire the wisdom and quality of water after seeing the "creation" process of ink its own.  We can see all about modestly decline between water and ink through the formation of this painting. This makes me start to think of human. Human are always struggle with nations, cultures, religions and so on, the more strife the more hostility. We have been looking for the spirit of water and ink for centuries, but we never real understand what the spirit is! Seventy percent of the earth is water, the water of natural flora and fauna and the human body is also seventy percent, ink painting is completely made of water. Shall we change a point of view to re-think water and ink, and change a way of thinking to understand it?

Lao-Tse said: "The highest good is like water." Most of the book explains the sentence as "the best good, the best person." I think it's refers to wisdom, wise man with the greatest wisdom is like water. Only Virtue is not able to fully achieve the ideological realm of "No willful action and nothing without willful action".

Ink painting is a unique art type in Chinese culture. Many artists focus on Ink painting and with varying styles. Among these, great reform artists are not few, and there is not lack of classic masterpiece. Li Guangming is one of the great artists without doubt. This time he liberated his mind, gave the job to water and ink under his order of his theme and art apperception. The ever-changing visual effects and no resemblance with other styles and all what he wants. The water and ink done it, even more excited than his original idea. Water and ink follow the creators intended, than described his deep sense most vividly. The final painting shows the beauty of nature, the spirit of the nature, it is so mysterious.

Mr. Li Guangming reflected the great philosophy master’s word that "No willful action and nothing without willful action" and carried on the action.

Thousands of years ago, Lao-Tse highly praised the quality of water, today Dr. Emoto Masaru used the scientific method to describe it easily to understand as well. They are nothing but tell people a reason: Water is wise, is awareness, the water carries information about the universe, and carries energy of nature. In the same way, we can feel these through Mr. Li Guangming’s work.  A fluctuation of water is along with the fluctuations of artist’s frequency mind, it guided ink to “understand” and to set up resonance and to finish the similar image. I do not know whether Li Guangming realized that the painting process appears to have been inadvertently grafted science and art. A new art project is waiting for him.

I have talked a lot with several friends including Li Guangming that to do objective evaluation on classical paintings of human art history by wisdom of water, there may be unexpected results. What will be the situation? "Water knows the answer"

Mr. Li Guangming created ink painting by Lao-Tse’s attitude, what will be the situation? "Water knows the answer"

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