Page 387 - 亚洲二十世纪及当代艺术
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ҽ੶ၾОε߻eੵወ࡝Νމʇߕኪɿd1985                   Li Qiang, along with He Duoling and Zhang Xiaogang, all studied at the Sichuan Fine
        ϋ੽̬ʇߕஔኪ৫ଭุܝवࣧੂ઺ЇʦdՉ                     Arts Institute. After graduating from the institute in 1985, Li Qiang remained as a
        ͍ࣛ࠽˜ɞʞอᆓ™dʇߕ˸˜ෆ଱ߕஔ™ʿ                    teacher, marking the era of the 85 New Wave. The Sichuan Fine Arts Institute was
       ˜ඊɺᖭ೥™ၲΤd್Ͼ˼จᗆՑவԬࠬࣸʿ                     renowned for its “Scar Art” and “Local-themed painting.” However, Li Qiang realized
        ᕚҿၾІԒᖭ೥ʿซૐʔୌd੽Ͼ̤ᚠᒌࢰd                    that these styles and subjects did not align with his own artistic aspirations. As a
        ͟Չהᆠฌٙ҂ɛߕኪӝ՟ᜳชd࿴ி̈Պඩ                    result, he charted a new path, drawing inspiration from the aesthetic principles
        ৷ᆎeՈ་ઋʿᘔׂชٙҽό˜ڀ̓™f2015                  of the Song dynasty, which he deeply admired. He constructed his own elegant,
                                                refined, poetic, and suspenseful style of “floral” painting. In 2015 and 2018, Li
        ϋʿ 2018 ϋҽ੶΋ܝί؇ԯɪ௉ʘಌߕஔ                  Qiang held major solo exhibitions at the Ueno Royal Museum in Tokyo and the Long
        ᎜eࠠᅅᎲߕஔ᎜ᑘ፬ɽۨࡈ࢝dᜫ˰ɛჯ                     Museum in Chongqing respectively, allowing the world to experience the ethereal
        ଫॸᓔ˰ޢʕᙗඅॱၘʘߕfϤ݊͟ϣяତ                     purity. One can catch a glimpse of this essence in the present artwork, Magnolia
        ٙ͗ᚆ 2015 No.3‘̙Ԉɓ౴f                    2015 No.3.
        ᓃॎვڀ͗௛࠰                                 Unveiling the Elixir of Sublime Beauty
       ˜ෂ୕ࣸ҅א٫Ⴍœͷ̚࿁ҢԸႭ݊ܘࠠ                      “The traditional framework, or rather, the ‘journey to the past,’ holds
        ࠅٙdҢҎૐҢٙɓםɓό݊͟வࡈ͎᜗                      great significance for me. I aspire for every move and gesture of mine
        ͛೯̈ԸdஷཀҢٙഅ၌̘࿁๫ɓ၇̚ɛ                      to originate from this ancestral source, allowing my brush to reflect the
        ٙɽٙၚग़จྤf™                               profound spiritual realm of the ancients.”
                                                                                                        { Li Qiang
                                     { ҽ੶
                                                The magnolia blossoms in the transition from winter to spring, when warmth
        ͗ᚆၛ׳׵̘݆̆Ըe˵าᒔఫʘࣛdஷ᜗ޫ
        ͣdᙚ࠰૱ඩfІ̚˖ɛኈ܄ޟฌ͗ᚆdν˖                    emerges amidst lingering cold. Adorned in pure white, they exude a gentle and
                                                elegant fragrance. Throughout history, literati and ink artists have held great
        ᅄ׼eරʮૐഃޫಀᖭ೥ʘfҽ੶І 2000 ϋ                 affection for the magnolia, with Wen Zhengming and Huang Gongwang among
        ৎک˸˜͗ᚆ™މ౜ᖭ˴ᕚdӝ̚൘ʦfஷ                     those who depicted its beauty through painting. Since 2000, Li Qiang has chosen
        ཀኈᗲe࠭ͣഃҵ౮཭࣒eൈྼ޴͛ٙ؇˙                     the “magnolia” as his subject, drawing inspiration from the past to express the
        ೥ႧdяତՉዹतٙ৪ᘴၾग़।ࠬڕf͗ᚆ                    present. Through the rhythmic brushstrokes, contrasting light and dark, and the
        2015 No.3‘̈ІՉ຾Պٙ˜͗ᚆӻΐ™f˸ɓ               interplay of emptiness and substance in Eastern artistic language, he unveils its
        ࣺସකٙͣ͗ᚆމ˴ԉdϲሌڀ໥d͗௛ᎎ                     unique radiance and enigmatic charm. Magnolia 2015 No.3 belongs to his iconic
        ႜd࢐ణϾЇf͛ݺ׵ࠠᅅٙҽ੶dत˸ʇ                     Magnolia Series. At the centre stage is a blooming white magnolia, adorned in hues
        ಽήਜዹतٙಔيၾ੠࿄ήႶɝ೥dᎀᐨٙ                     of grey and brown, it entres the scene with grace. Li Qiang, residing in Chongqing,
        ͗ᚆᘾўࠠᛂᛌ♣ٙ٤ගชdದᕎၾᏤ݉ࡒ                     incorporates the distinct flora and rugged terrain of the Sichuan-Chongqing region
        Իdฮ࠰ޮஙfᖵஔ࢕ஷཀ೥ࠦʕɨ௅ଯᅂ                     into his art. The clustered magnolia blooms evoke a sense of vast mountainous
        ዑુٙڀ،ிྤdᐄிජΈٙහᓧdίᗯᔝ                     spaces, emanating a subtle fragrance. Through the sparse and slanting flower
        နᜊٙߠ౻ɨd༸༸͗ͣ፹Зᛌ̋dᖭ݆̈                     branches in the lower portion of the composition, he creates an atmosphere of
                                                pouring sunlight. Against a backdrop of gradually transitioning shades of misty blue,
        ఫࣘ࢟ʕٙශ್ܑ࠰f௴ЪϤ೥ࣛdҽ੶ʊ                     layers of jade white intertwine, depicting the proud yet ethereal fragrance amid the
        ҳɝڀ̓˴ᕚ༺ 15 ϋd޴ˢ௰ڋ፭ృ௝جٙ                  lingering chill of spring. By the time he created this artwork, Li Qing had dedicated 15
        ׭ᔫdϤࣛ˼һءࠠІҢઋชٙᙑ׳ʿፄɝf                    years to the theme of flowers. Compared to his earlier adherence to compositional
        ೥ࠦڐஈdໍจ͛ڗٙྠྠڀጶd߰Ϊࠬৎ                     rules, he now emphasizes the release and integration of his own emotions. In the
        ٙݣഔd࡝ۊٙڀ،ၾݓߕٙڀᖙ࿁ͭd࡝                     foreground, the abundant clusters of flower buds grow freely, contrasting with
        ݓԨ᏶d੽࢙਺੶dᙘబҽ੶˜੭ᄲߕ׌ٙ                     the strong branches and delicate petals, harmoniously balancing strength with
        ൖԉ̘޶ܙᖵஔၾ͛ݺ™ٙɝ˰ଣซf߰ਗ਼                     softness. This reflects Li Qiang’s “aesthetic perspective on art and life” with a worldly
        ؍ᏏΪ་ʕ˜ɓዓڀක̬ٙ˜าจ™ၾ˜Ҏ                     ideal. If one were to transform Lin Huiyin’s poetic lines of “the warmth of April when
        ૐ™݈ତϓ೥dᜫ͗ᚆٙᕢาཁᛈɛගf                      a tree blossoms” and “hope” into a painting, it would be to shower the world with the
                                                fragrant warmth of the magnolia.

















        ˖ᅄ׼ͣ͗ᚆྡ‘d੹ኈॷ͉d 27.9 x 133 cmdॲߒɽேึᖵஔ௹ي᎜ᔛ

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