李庚《大象无形》68x68cm
李庚《天边的光》68x68cm
李庚《湮》68x68cm
李庚（1950 ～ ）
日本京都造型艺术大学 教授，画家
自幼喜爱绘画。好读书，爱骑马，擅速写。青少年时代，在极其艰难的环境中度过，于工笔重彩研究上下过苦功。酷爱水墨，表现手法主要用积墨，有时也用没骨法，对古典技法研究有比较深厚的功力。
授业于日本名门大学京都市立艺术学院、大学院。80年代受文豪井上靖的重视，介绍到日本文学界、艺术界，并得到美术界的承认。之后，尚在大学院学习期间，经哲学家梅原猛的邀请和介绍进入美术大学从事教学和研究，并受托重建因明治维新脱亚入欧论影响而被废除的大学水墨画课程。是80年代日本画系统研究室里仅有的外籍教官之一，被认为是京都第三学派梅原猛的新人之一。
1985年在西德大学里主持东方艺术讲座，并在美术馆举办展览。1987年以后，在河北伦明领导的研究班子里负责水墨研究，摸索新体制，在几个狭窄的领域里负责数项研究工作。曾在日本的2个美术大学里导入“水墨画研究学分制度”。在西德、日本经十数年潜心研究，创立《素材＋表现》《从零开始》等新的海外水墨教学于研究方法。
其作品被日本新闻界、评论界称为“心境山水”（1982年～1985年）、“新古典主义”（1985年～1989年）、“染色媒体＋麻草类支持体”的研究系列（1984年）（1994年），是属于抽象性、观念性研究作品。
主要作品有《麻＋染色＋黑》II III 系列、《墨＋表现》II系列、《西班牙之夜》《意大利之桥》《西德之河》《古都三桥》I II III 、《诗人系列》《为世纪末大作曲家马勒而作》系列、《彭城怀古》《诗人》《诗境》《加古川》等。
90年代初，日本美术界领导层深感美术从形式到表现方法的变化加剧，“体制”及“市场”不稳定。危机感使一部分国立美术馆长及新闻界美术部长组成研究小组，从全国的画家里遴选优秀及骨干人才，创作具有“研究性”、“前倾性”作品，每年在日本全国十个美术馆巡回展出。籍此广泛收集信息，发现并提出问题。河北伦明指名李庚提交水墨作品，参加这一系列活动。
李庚除绘画之外，还长期对日本画、唐代绘画、西域绘画、文艺复兴早期艺术的发展进行了深入的研究。他认为，早期油画与中国唐代绘画同属蛋彩型画种。在西德教学之余，主要对铜板画及北方文化复兴期早期绘画进行研究。他认为德式素描与东方绘画在结构上共性比例很大，并多次在意大利研究文艺复兴早期的壁画，摹写过乔托、佛朗契斯科、佛朗·安其里科、契马菲、马隆桥等人的壁画。曾与日本壁画专家前往与梵蒂冈国立研究所的专家们研修过壁画。
早期研究宋元绘画，提出宋元绘画同源异质的观点。后来转向明清绘画的研究，提出文人画是“概念的享受”等观点。
李庚的作品可分为四期。早期为写实主义、抒情派；中期为表现主义、浪漫派及抽象主义；之后为古典时期、超越派。最近被美术界及评论家誉为澄怀派，有“透明水墨的诗人”、“墨的呼唤者”之称。
Li Geng (1950 ~)
Professor of Kyoto University of Art and Design；Artist
Li Geng has been fond of painting since his childhood, although he lived through his juvenile age in a very difficult environment. He loves reading, riding and is adept at sketching. He has worked hard to acquire the fine brushwork painting skill and reveled in wash painting. His deep attainments of classical techniques are mainly expressed by ink accumulation and sometimes the skill independent of lines.
Li Geng got his Bachelor and Master Degree in Kyoto City University of Arts, has been gradually recognized by great Japanese writer Yasushi Inoue who introduced him to literary and art circles in Japan, and he was acknowledged by the fine arts circle in 1980. Later, he was introduced into Fine Arts University for a vacancy of teaching and research with philosopher Takeshi Umehara’s invitation, and was entrusted to reopen the wash painting course repealed since Japan’s reconstruction from Asia into Europe in Meiji Reform. He was one of the several foreign instructors in 1980’s the research lab of Japanese painting, and one of the youths from Kyoto Third School.
Li Geng joined the research group led by kemy Ochi and was responsible for wash painting research. He took charge of a number of research projects in a few special areas, and introduced “wash painting credits system” in two fine arts universities of Japan. His over a decade of research with great concentration in West Germany and Japan has created new research methods such as “Materials + Performance” and “From the beginning” in teaching wash painting overseas.
Li’s “Landscape of Mind” (1982--1985), “Neo-classicism” (1985--1989), “Colored media + Grass supporter” Series (1984) (1994) called by the Japanese media and critics belong to abstract and conceptual research works.
His major works include “Ma + Coloration + Black” Series II and III, “Ink + Performance” Series II, “Night in Spain” “Italian Bridge” “West German River” “Three Bridges in the Ancient Capital” Series I & II & III, “Poets Series” “For Great Composer Mahler” Series, “Nostalgia in Xuzhou” “Poets” “Poetry” “Kakogawa”, etc.
In the early 1990s, the leadership of Japan’s Fine Arts Circle has felt the drastic changes form to performance method and unstable “institution” and “market” of fine arts. The sense of crisis urged curators of National Fine Arts Museum and art ministers from media to compose a research team, selecting outstanding artists from all over the country to create “experimental” and “avant-garde” works for annual circuit exhibitions at ten galleries in Japan. These opportunities are good platforms for collecting information and finding problems. Mr. Ochi ordered Li to submit wash paintings for this activity.
Besides painting, Li has carried profound study in Japanese painting, Tang dynasty painting, Western painting, and the development of the Early Renaissance for a long period. He regards oil painting in the early days belongs to “dancai” style. After his teaching in West Germany, he has done some study in copperplates and the early painting of Renaissance. He believes German sketching has many common points with East Painting, so he has studied early frescos in Italian Renaissance, counterdrawing Giordo, Francesco, Fran Angelico’s works, and done a special research over the Vatican frescoes with mural experts from Japan.
Through early studies in paintings of Song and Yuan Dynasties, Li presented the idea of homology and heterogeneity of paintings from these two dynasties. Later, he turned to the research in paintings of Ming and Qing Dynasties, putting forward the idea of “the enjoyment of concepts.”
Geng works can be divided into four phases----realism and lyric in the early period, expressionism, romanticism and abstract art in the second, classicism and transcendentalism in the third, and “Chenghuai (Seeking clarification of mind)” named by the art circle and critics recently. He is known as “Transparent Ink Poet," and “Ink Summoner.”
画展名称: “大象无形”李庚水墨作品推荐展
展览日期： 2007年3月17日－2007年3月25日
开幕式： 2007年3月17日15：00-18：00
展览介绍：
李庚是位学者型画家，聪明，文气。他血液中流淌着父亲李可染先生对神秘崇高的宇宙精神悠然神往的可贵品质，对自然的神性有一种发自灵府的会意。因此，唐人诗歌的宇宙意识，马勒音乐的超越情怀，山水风云的无言大美，水墨语言的玄化鸿蒙，在他看来都是道通天地的律动，他所要做的，就是“从而和之”，让气韵发于笔端。李庚的水墨画把父亲早年的墨戏和晚年的抽象推到了一个风神飘举的境界，其作品玄韵淡泊，情思淹济，风气韵度似父而更其恣纵迈达。
Creation Art Gallery March Solo Exhibition
Exhibition： Flexible Impression of Ink
Duration: March 17th, 2007 – March 25th, 2007
Opening： 15:00-18:00, March.17th, 2007
Li Geng is a scholar artist, smart and gentle. His father(Chinese great Master Li Keran)’s adoration in mysterious cosmic spirit was branded in his blood, and left him a great comprehension of natural divinity from deep of his heart. Therefore, the cosmic awareness of Tang poems, Mahler’s transcendental sentiment, remarkable landscape beauty, and abstract language of wash and ink are all rhythms of heaven and earth in his view, and his task is to “follow and echo”, outpouring verve under brushes. Li Geng’s ink has promoted his father’s early inks and late abstraction to an elegant realm. It can be said that the artistic conception and charm of his works has gradually exceeded his father. |
