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學術主持：栗憲庭 展覽總監：鄧鋒 日本：北九州市立美術館 （2023/9/19–2023/9/24） 韓國：釜山設計振興院展廳 （2023/10/3—2023/10/9） 深圳：旭生美術館 （2023/11/1—2023/11/6） 北京：雅昌藝術中心 （2023/11/19—2023/11/25） 此次巡回展共展出近五年創作的31件書法作品。
寒士 落款：寒士-杜甫可嘆詩選字-恆彪塗意 創作時間：2020 作品尺寸：125x63cm 正是從個人和時代精神的意義上，以及傳統的繼承與現代轉換的角度，看李恆彪的書法作品。我以為李恆彪更多的是在清書法變局的基礎上，探索屬於自己的書法風格，在字形上，他廣泛吸收魏碑、金文，乃至甲骨文的結字因素，變化出一種有自己風格的結字，即在嚴正平衡結字基礎上，把每一個字不同部位進行符合自己感覺的拆分和重新組合，如「寒士」的寒字，不強調它在傳統意義上的完整性，而是拆分並重組一種有疏離感覺的結構，讓「寒」字充滿了寒氣。尤其值得注意的，是他的運筆方式，即在傳統「屋漏痕」的感覺上，把乾而濃的墨色，緩慢、摩擦，不斷在同一筆划里的疊加，這讓我想到一個詞：遲滯生澀。從某種意義上說，這種遲滯生澀語言方式的創造，我能感覺到李恆彪想表達的是：我們生活的時代，常常讓我們處於精神的極度壓抑和痛苦中，所以說遲滯生澀的運筆和不暢快情緒之間，成為語言和內心的對應，是李恆彪形成個人獨特語言方式的原因。這既是這個時代帶給他個人的印記。同時，也讓這種遲滯生澀，給生活在同一個時代有感覺的人，分享了可以共享共情的感覺，這就是李恆彪書法的魅力所在。 栗憲庭 My interpretation of Li’s calligraphy work starts from the meaning of individual spirit and zeitgeist, along with the inheritance of tradition and modern transformation. In my point of view, Li explored his own calligraphy style based on which belongs to the transformation period of middle of the Qing dynasty. In terms of font, he extensively studied the elements of Wei-Bei(魏碑, calligraphy work, year 420-589), bronze inscription(金文, calligraphy work, year 1300-221 BC）, and even oracle bone inscription, and converted them into a style of his own. That is, he split and recombined different parts of each character according to his own feeling, meanwhile based on the principle of balance strictly. Such as the character 'cold(寒)’ in cold scholar’(寒士)', he did not emphasize its integrity in the traditional sense, but split and recombined a structure with a sense of alienation, making the character cold filled with coldness. What is particularly noteworthy is his brushwork, that is, upon the traditional technique 'house leak mark(屋漏痕)’ , he slowly overlapped strokes over and over again by using dry and thick ink, which reminds me of a word: 'sluggish’. In some extent, from the creation of his 'sluggish’ way of writing, I can feel what Li wants to express: the era we live often makes us into a state of extreme mental depression and anguish. Therefore his brushwork of 'sluggish’ and the mental depression of our era can be considered as a metaphor between language and innermost being, and that might be the reason why Li formed such a unique calligraphy style. That is not only the personal mark that this era has brought to him, meanwhile, this particular sensation of 'sluggish’ could be transferred among people who have same perception and who live in the same era with Li, that is the charm of Li’s calligraphy work. Xianting Li
幽夢 落款：夜半幽梦忽還鄉-蘇軾詞取字-二零二零行筆落意幽州-阿彪 創作時間：2020 作品尺寸：119x49.5cm 李恒彪就是這樣壹個左沖右突的書寫者，在書寫與造作之間迸發出漢字的、詩意的、自我的多重“表情”。 就書體而言，很難將恒彪所寫按照傳統的篆隸行草楷分類，呈現出的往往是破體的雜糅，並時時加入俗體與自造，體非完體，錯落跳蕩中激越出撲面的勢象。從用筆來看，也難以界定其是否為某種單壹標準的筆法，筆盡所用，絲毫摣裂，墨變淋漓，蒼潤兼施；筆與墨會中既有屋漏之痕、折釵之股的自然質性，又有氤氳不分的渾茫之氣。作品章法布局隨內容意蘊與字數多少而定，或滿密堅實如壘石之墻，字字緊挨，不留喘息之地；或水潤墨漲，倏忽變態，演化出人意表的空靈意象。 傳統主義者或許會對這樣的體勢、用筆、章法提出各種詬病，我卻以為，這恰恰是書寫在根植於傳統基礎上所作的現代的、個體的極致張揚。具體到恒彪的創作行為：所謂“造”，是對字象的回歸，是在意義與情緒的交匯中再造文字的表情，讓每壹個字符要麽勾連其肇始起源的自然之象，要麽呈現出在上下文、在主客間孕化的情感意象，古老的漢字憑藉新的顯象回到了最初的生命情態。“造作”之要，惟在正心誠意，確有感悟。 恒彪的作品是當代書法中的大膽嘗試，是對傳統的反動，更是壹種遙遠的回歸；是對自我現實生活的貼近，更是壹種不得已的抽離。 言不盡意，所以立象；詩不能盡，溢而為書。 故節錄數年前調侃其創作狀態及作品的現代打油詩，權以為結。 彪的表情 撕裂 彌合 滲化 覆蓋 纏繞 撇脫 白加黑 墨疊彩 穿上漂亮外衣 裝 真費勁 輕輕地劃過 狠狠地頓駐 吐壹個煙圈 罵壹句臟話 瞪著 閉著 詭魅的眼 舉頭望青天 爽著 癱著 跳躍的線 如露亦如電 表情 就是這般 千千萬 鄧鋒 2023年夏末秋初 Li Hengbiao is such a calligrapher who rushes left and right, and bursts out "expressions" of Chinese characters, poetry, and even himself in multiple directions in the process of writing and creating. It is hard to categorize Li’s calligraphy works according to the traditional five styles (seal, clerical, running, cursive, and regular), because his style is often a mixture of broken forms, popular elements and lines（of Chinese characters）he created and inspires a majestic scene. In terms of brushwork, it is also difficult to define whether it is within a certain standard. He used his brush to the fullest, making it ragged and soaked with ink, creating contrast of darkness and brightness. In his work we can not only tell traditional techniques such as “屋漏 痕”（House leak mark— thin and stretched lines like the mark of raindrops left on the wall） and “折钗股”(Hairpin shape— bold curves similar to the shape of twisted hairpins), but also atmosphere of blurred and splendid. The placement of chapters in his works varies depends on the content and the number of characters. Sometimes the letters stick together so tightly like a solid wall. Sometimes, by spreading characters intentionally, it suddenly transforms and evolves into an unanticipated sense of void. Traditionalists may criticize such styling, brushwork, and composition, but that this is a modern and personal resuscitation based on tradition of calligraphy as far as I concern. What Li's has done in his creative work, is the regression to the imagery sources of ancient Chinese characters, and to recreate the 'expression’ of these characters combine with their meaning or emotion so that each character can either connects with the natural image of its origin, represents the emotional outcome, or among the context and between the subject and the object. Li’s work make the ancient Chinese characters return to the original state with new manifestations. The essence of his "creation" is only in the sincere heart and the real understanding. Li's works is a bold attempt in contemporary calligraphy, a reaction to tradition, a distant return, a closeness to his real life, and it is a kind of unavoidable detachment. Finally, I would like to conclude with a modern poem commenting on his work that I wrote a few years ago. His expression Tear and heal Penetrate and enclose Wind and separate White with black and dark with pigments Put on a nice coat Poser So freaking hard Swipe across gently, stop firmlySpit a smoke ring, curse a line of bad word Staring, closing the evil eyes, looking up at the blue sky Refreshing, paralyzed, the jumping thread just like a myth Expression That's it Possibility of thousands Feng Deng End of summer 2023
李恆彪1982年生於四川 2004年畢業於西安美術學院現生活工作於北京 個展： 1998「李恆彪花鳥畫習作展」綿陽豐谷師範學校 2004「兩年李恆彪個展」 西安美院 聯展: 2004「八英里」三人聯展 西安 2006「樣藝術空間開幕聯展」 北京 2007「當藝術遭遇足球」 北京 2007「中突藝術家聯展」 北京突尼斯大使館 2007策劃「GS進出七人聯展」北京宋莊藝術節 2008「三缺一」聯展 北京 2008「在山之水」聯展 北京 2015「方向未來」 華盛頓卡曾藝術中心國家主題展 2015「醫本草」 北京大千畫廊青島成都聯展 2015 中國青島東南亞版權創意精品展示交易會 青島國際展會中心 2016「人文水墨中日韓邀請展」第一回 北京國粹苑藝術館 2016 「方向.未來2」 北京798前方藝術空 2017「新詩百年中國詩歌藝術大展」 北京巡洋艦美術館 2017「方向 未來3」 芬蘭拉普蘭美術館 2018「金寶匯共享藝術空間」開幕展 北京 2019「濟州島國際藝術節」 韓國 2019「第30屆韓國扇面展」 韓國首爾阿里秀美術館 2020「重啓當代」 北京金寶匯共享藝術空間 Hengbiao Li1982 Born in Sichuan2004 Graduated from Xi’an Academy of Fine ArtsBase in BeijingSolo exhibitions:1998 Li Hengbiao’s Flower and Bird Painting Exhibition, Mianyang Fenggu Normal School2004 Two Years Li Hengbiao Solo Exhibition,Xi’an Academy of Fine ArtsGroup exhibitions2004 Eight Miles, Three-person Group Exhibition Xi’an2006 Sample Art Space Opening Exhibition, Beijing2007 When Art Meets Football, Beijing2007 China-Tunisia Artists Exhibition, Tunisian Embassy, Beijing 2007 Curator of GS In and Out Seven-person Exhibition, Beijing Songzhuang Art Festival2008 Three Missing One, Beijing2008 Among Water and Mountains, Beijing2015 Direction and Future, Kaizen Art Center of Washington National Theme Exhibition2015 Medical Herbs, Beijing Daqian Gallery, Qingdao Chengdu Joint Exhibition2015 China Qingdao Southeast Asia Copyright Creative Products Trade Fair, Qingdao International Exhibition Center2016 Humanistic Ink Painting China-Japan-Korea Invitational Exhibition, Beijing Guicuiyuan Art Museum2016 Direction and Future 2, Beijing 798 Qianfang Art Space 2017 New Poetry Century Chinese Poetry Art Exhibition, Beijing Cruiser Art Museum2017 Direction and Future 3, Lapland Art Museum Finland2018 Jinbaohui Shared Art Space Opening Exhibition, Beijing 2019 Jeju Island International Art Festival, South Korea2019 30th Korea Folding Fans Exhibition, ARISOO Gallery, Seoul Korea2020 Restart Contemporary, Beijing |
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