绘画对我来说是一种寄托，在这里除了乐趣，还有一种消磨感。就如同一个人在编故事哄自己玩。所以，故事编得越逼真，达到的效果就越好。画画的时候可以忘掉很多烦事。生活的选择决定了艺术家的创作道路，我的生活选择一直是随遇而安，由于不善于思考，故乐趣来得容易些。比如，吃喝拉撒睡，虽然每日都在重复这些事情，但我总觉得了解的还是太少。表层的快乐使我接受起来容易些，我认为浮的东西虽短暂但鲜活，加上天生定力不够，易被表层事物所惑。因此，非常不定神，情绪波动也较大，这些问题，体现在绘画上也许不算是坏事。因为不可能知道明天会怎样，拿起肉来就吃，脱了裤子就拉，拿起笔就画，倒在床上就睡。这种求近不求远的生活态度，可能是在回避什么，但我感觉还算充实也就够了。
关于水墨画如何表现当代生活，水墨画这个概念有点儿吓人，就是包容的东西太多，好几十代人打造的境界、技术、语言、形象就是高不可攀。我只能说我敢拿毛笔画画，就是没有多想水墨的意义，还是简单的把它作为一种材料和技巧。作为中国人，我们已经站巨人的肩上了，知足吧！
真诚的对生活、对自己，对艺术加上点自信。如果都从自己做起，水墨的明天是美好的。我觉得逗你玩容易，逗自己玩难。最牛B的人就是会逗自己玩的人。
Painting, for me, is a kind of spiritual sustenance. Apart from pleasures gained from it, it is a way of killing time. It seems as if one person tries to make up a story to amuse himself. Therefore, the more vivid a story is made, the better effects it achieves. I can forget many tiresome things during painting. The life choice determines a creative road for an artist. My life choice is to feel at home anywhere and so my pleasure comes easily as I am not good at meditation. For instance, though the acts like eating, drinking, peeing, pooping and sleeping are repeated daily, I think I know little of them. Simple pleasures are easier for me to accept. I consider that superficial things are temporary but alive, accompanied with the lack of inherent abiding force, I am easily confused by superficial things. Thus, I cannot focus my concentration and have undue emotional fluctuations. All those problems, reflected in painting, may not be a bad thing. Because I don’t know what it will be tomorrow, I eat when taking meat, poop when lowering trousers, draw when grasping the brush and sleep when falling into bed. The life attitude of seeking for the present but not for the future may avoid certain things, however, I feel enriched, which is enough.
How can ink paintings manifest modern life? The concept of ink painting is a little frightening and it contains too much. The realm, technique, language and image created by scores of generations are too high to reach. I can only say that I dare paint with brushes but do not think too much about the significance of ink painting. I simply attribute it to a kind of material and technique. As Chinese, we have already stood on the shoulders of giants. Why not satisfied?
To be true to life, to oneself and to art, accompanied with self-confidence. If everyone does it from himself, the future of ink painting will be glorious. To my mind, it is easy for people to tease others. However, kidding oneself is not easy at all. To my way of thinking, the most able is the man who is good at kidding himself.
- 李津(李三，李小哥)
- Li Jin(Li San)
1958年出生在天津海河西岸的一个干部家庭，父亲鲁同(李荫培)，母亲丁愫(于帼秀)，二人均是40年代北京师范大学的学生。父亲曾任北京师大地下党总支书记，后遭国民党当局通缉，与母亲同往晋察冀解放区，1949年随部队解放天津，留在天津工作，生有三男一女。李津排行老三，又名李三，小时候跟两个姥姥长大，最喜欢大姥姥，受其影响颇深，同时她也是李津的第一个模特儿。
l962年在天津统计局欢迎越南中央统计局的联欢会上登台演出，背诵毛主席诗词《长征》。
l964年因恐惧拒绝打死一只硕鼠，使母亲失望，在母亲的威逼下，将没有断气的硕鼠倒进百米之外的土箱，由此受惊吓，至今恐鼠。
1966年在天津二十中附小读书。同年“文化大革命”开始。父母均受冲击，家被抄。幼小心灵受到创伤，自卑导致抑郁，产生过破坏心理。开始懂得自怜，不吃肥肉。
1967年随兄李京、弟李平到北京其舅于敏家暂避(于敏是中国氢弹设计者及二弹元勋)。
1968年兄李京赴内蒙古插队，父母出“牛棚”。
1970年母亲平反，赴五七干校劳动。一次与弟弟同去探母，在田野上飞纵，把粪堆误认为土丘，一跃而入。后入丰产河洗净污臭。
l971年在天津南海路中学入宣传组，受到美术教师张润清先生的赏识，开始画速写和水彩画写生。与校友孔千、吴祖光相识。学画宣传画并临摹过领袖像及各类宣传画。在同学夏岩家，第一次看到《列宾画集》，十分崇拜。同年，林彪坠机外蒙，震惊之余，开始对政治问题产生疑惑。
1974年考入天津工艺美术学校染织专业。第一次在北京白塔寺东廊下与表姨周思聪、表姨夫卢沉见面。对表姨创作的《长白青松》、《山区新路》十分敬佩，开始对中国画产生兴趣，从此经常受益于表姨的教诲与帮助。可以说，表姨周思聪对其影响是深远的。
1977年天津工艺美术学校毕业，分配到天津艺术学院教务处工作。在表姨周思聪的影响和指导下，开始画水墨小品，并在院图书馆翻阅了大量中外画册。
1978年同史国良、王彦萍一起赴北京延庆山区写生。在史国良的辅导下学习水墨人物写生，并学到与农民打成一片的方法。
1979年考入天津美术学院中国画系。在学期间，开始关注新美术思潮，绘画风格由写实开始变形。起初喜欢蒋兆和先生，后来喜欢莫迪里阿尼。同年白头发大姥姥去世，第一次感受到人生的生离死别。
1980年与宋永平赴河北省涉县山区写生，画了大量的速写，并被山民的纯朴所滋养。回津时途经邯郸在姑姑家小住，第—次同方力钧见面。
1981年赴敦煌临摹壁画3个月，参观考察沿途的文化古迹。在敦煌期间临摹了《舍身赐虎》(北魏)，并被此画打动。那段日子美好而充实，在甘南拉卜楞寺，第一次见到喇嘛庙、喇嘛和虔诚的藏族朝佛者、牧人，受到震撼！开始对西藏神往。
1982年与阎秉会一起故地重游，再次赴敦煌、甘南及肃南等地，与吕云所老师到他的家乡太行老区涉县写生，追寻“小二黑”和“小琴”的踪影。
l983 年毕业创作以藏族生活为题材创作《炊烟》等。毕业后留校任教，并申请援藏，获批准。
l984年赴拉萨西藏大学艺术系讲学一年。在西藏期间，考察了藏北草原和山南等地，转了很多寺院，观看了天葬。深深地被那里的自然环境和宗教氛围所打动，对人生的认识发生了变化，由紧锁眉头到笑脸常开，凭直觉画了一组《西藏组曲》水墨系列。与李彦平合作的《月亮河》入选“前进中的中国青年美展”。喜欢读的书是马尔克斯的《百年孤独》，喜欢喝的酒是青稞酒，开始酷爱吃肉。
1985年回到内地，由何家英推荐作品给《江苏书刊》余启平。江苏画刊做了专题介绍，李世南发现这组作品后非常喜欢，并来函邀请参加湖北“中国画坛新作品展”，此展览是80年代最重要的展览之一，中央电视台《文化生活》栏目播放了专题片。同年，行踪开始南移，赴南京艺术学院进修。在南艺“黄瓜园”里，受到了各方面的润泽，画风有所改变，不再画藏北牦牛，而改画江南的淑女了。对其产生影响的朋友是朱新建。南艺食堂的“大排”最可口。
1986年参加和策划了“天津美院四人展”。此展览在天津美术界引起了波澜。开幕当天，李津与阎秉会宿舍失火，烧毁部分作品(时间是1月13日星期五)。此展览详况请阅高名潞著《中国当代美术史》。
1987年创作了铜版画《女人与花》，并开始创作《光环》工笔重彩组画。
1988年赴黄山参加“现代艺术研讨会”。
1989年参加在北京中国美术馆举办的“中国现代艺术展”。
1990年应美国费城维兰诺瓦大学艺术系邀请赴美办展、讲学。因仪表遭误有移民倾向，遭拒签。展览4月在费城开幕，作者未能出席。6月参加由艺评家栗宪庭主持的日本东京大田区展览馆展出的“中国现代水墨展”。同年与摄影家莫毅同行经青海，翻唐古拉山进入西藏。在拉萨期间创作抽象水墨作品五十余幅。此期间最爱听的音乐是肖邦的钢琴曲。
199l年在北京西城区菠萝仓39号生活创作。那是一个很老的民宅，屋瓦上长满了草，窗子是纸糊的，大门里用一根门柱顶着，院里有棵枣树。在这个老房子里，画了一组京味作品《洗头图》、《洗澡图》等。此期间与方力钧、刘炜等“圆明园”画家来往密切。与常工在北京音乐厅画廊举办“李津、常工展”。
1992年重返西藏。在拉萨生活期间，养了二条狗，院内有花草，画室阳光非常充足，生活十分闲散，常在夕阳里，漫步在拉萨河畔。这一年秋天与姚宇中一起赴藏北无人区。搭乘去阿里拉矿砂的车入文部，露天而宿，沿途景色十分奇丽，不远处有藏羚羊和野驴在奔跑，没有见过如此蓝的水和如此红的天。
1993年在拉萨创作了布上工笔重彩《高原练功图》等和大量的水墨画。
1994年与好友常工在北京东城纱络胡同12号张大娘家租房，生活创作。二人除工作外，经常转后海，逛早市，会朋友，日子过得十分惬意。10月参加在中央美术学院画廊举办的“天津美院五人展”。
l995年回津创作了《吃》系列，参加新加坡蔡斯民先生举办的“大陆六人水墨人物小品展”。
1996年 1月21日，表姨周思聪突然辞世，心情万分悲痛。家中所养文竹奇开白花，四季不败。不久又传来李老十自杀噩耗，心又重创！奈何之情，无与言表。4月参加中国美术学院举办的“96十五人展”。9月由奥地利朋友陈庆庆在维也纳镜花缘画廊举办“李津画展”。10月参加在德国柏林博物馆、哈勒博物馆、TTT艺术中心举办的“新水墨艺术——来自大陆三位艺术家作品巡回展”。同时在北京汉世画廊举办“李津彩墨画展”。
1997年 1月赴新加坡参加“翰墨情境”画展。5月在北京翰墨画廊举办“墙外花——李津个人展”。参加香港联斋古玩号与纽约怀古堂举办的“嘉树新苗——现代中国水墨画展”。7月参加文化部举办的“中国艺术大展——当代中国画展”（上海图书馆）。10月参加“水墨八家——翰墨春夏展”，在上海艺术博览会展出。
1998年1月参加在中国美术馆举办的“国画家学术邀请展”。2月父亲病故。3月接受中央电视台《美术星空》专栏采访。参加“世纪之星——中国艺术双年展”（加拿大安大略美术馆）。参加北京翰墨春夏画廊举办的“妙乐尘缘——李津、雷子人画展”。
1999年1月参加“生存”与“表现”艺术展及学术研讨会。6月参加北京音乐厅画廊举办的“情、境——李津、常工第二回展”。9月参加并策划了“对话·l999艺术展”第一回展（北京国际艺苑美术馆）。11月参加并策划了“对话·l999艺术展”第二回展（天津泰达当代艺术博物馆）。年末，第一本个人画册问世。
2000年与常工赴瑞典参加拉斯·包曼美术馆举办的李津个展。在瑞典期间被北欧宁静的环境、干净的街道、神秘的森林、清澈的湖水和怪异的酒吧所吸引，在斯德哥尔摩期间艳遇瑞典女画家比盖塔，乘车赴丹麦小住。参加伦敦大西洋画廊举办的“梦——21世纪全国当代艺术展”，并开始和北京四合苑画廊合作。
2001年悉尼Ray Hughes画廊的胖老板来津拜访，与随行的英国画家罗杰·劳结为忘年交。同年在Ray悉尼的画廊举办个展，作品全部售出。秋天在北京四合苑画廊首次举办个人画展，开始了与马芝安小姐的合作。
2002年参加在德国杜伊斯堡美术馆举办的“中国艺术展”。汉城世界杯足球赛期间，参加了“中韩现代艺术展”（韩国现代艺术中心），同时在汉城李东宰画廊举办个展。由马俊卿陪同去成都参加双年展，每天仅睡3小时，狂玩儿数日。18米长卷《大餐》首次展出。
2003年同马芝安赴美国。在西雅图博物馆亚洲馆举办李津个展，同时拜访了数位著名的收藏家，并在该馆举办讲座，在华盛顿大学艺术系演讲。在西雅图博物馆的库房里近距离地观看了石涛、文徵明、八大山人、宋徽宗、马远等中国古代画家的原作。画展期间，哥哥、姐姐分别从美国的费城和加拿大飞往西雅图前来祝贺，三人团聚在美丽的海上花园西雅图。展出作品《盛宴》被西雅图博物馆收藏。同年，中国美术馆收藏作品《饮食男女》。
2004年香港《亚洲艺术新闻》介绍李津作品。四合苑画廊举办“李津新作展”，并出版画册《李津》。
2005年开始创作《大花园》系列作品，并在美国旧金山举办个展。在泰国、德国及新加坡举办个展。由人民美术出版社出版传记《浩大能量，就在身旁》，作者为同窗好友宋永平。同年开始进入国内拍卖市场。出版《中国画23家－李津卷》。
2006 年在中央美术学院美术馆和好友武艺举办“李津·武艺作品展”。在澳大利亚悉尼Ray Hughes画廊和上海艺术景画廊相继举办“李津个展”。出版《好画家书系－李津》。秋末与友人赴德出席个人画展开幕式，在黑森林里小住，创作《德国之旅图卷》。12月末参加在北京中国美术馆举行的“2006今日中国美术大展”。
2007年 1月在美国旧金山汉斯画廊参加题为“消费交汇处”的展览，画作和视频同时展出。3月，韩国首尔的个人画展开幕。4月，接受澳大利亚电视台采访拍摄。5月、7月两次入湘，住在长沙郊外进行创作。每日清晨，到门前荷塘边散步。傍晚，穿过一段蜿蜒的山间小路，到村长家吃饭，体会当地淳朴民风。
In 1958, Li was born in Tianjin. His parents were classmates at the Beijing Normal University. They were against Kuomintang and joined the communist party. His father was a leader member. Since the liberation in 1949, the family stayed in Tianjin. They have three sons and one daughter. Li is their third son. His grandmother and the sister of his grandmother brought up the boy. His grandmother who later became his first model especially influenced him.
In 1962, Li performed on the stage and recited Chairman Mao’s poem “Long March”.
In 1964, Li refused to kill a big mouse due to fear. But this disappointed his mother who forced him to throw away the dying mouse in a rubbish bin, which directly resulted his irrepressible fear for mouse afterwards.
In 1966, he studied at a primary school in Tianjin. At the same year, the “cultural revolution” started, His parents were severely attacked and his home was confiscated. The boy’s little tender heart was hurt. His self-humiliation resulted in depression. He started to pity himself and refused to eat fat meat.
In 1967, he went to his uncle’s home with his brother to escape the turmoil in his family.
In 1968, his brother was assigned to work in Inner Mongolia and his parents were out of the punishment.
In 1970, his mother was remitted. He together with his brother visited his mother. They boys ran in the field, but he mistook the
midden as a soil mound. He had to wash himself in the river.
In 1971, he started to draw sketches and water-color paintings under the guidance of Zhang Runqing, his art teacher at the school who appreciated his talents. He also met his alumni Kong Qian and Wu Zuguang. They drew propaganda paintings. At his classmate’s home, he first saw the album of Lepin and was greatly impressed. At the same year, Lin Biao, China’s former vice president fled to Russia but died in an air crash. Li was shocked by the event and puzzled by those political issues.
In 1974, he was admitted to a fine art academy in Tianjin. He first met his aunt, Zhou Sicong, a famouse ink-wash painter there. He admired his aunt’s artworks and was interested in traditional Chinese paintings. Since then, he often received her help and guidance in the area. His aunt was a person that influenced him strong.
In 1977, he graduated from the academy and was assigned to work at Tianjin Art Institute. Under the influence and guidance of his aunt, he started to draw some small ink-wash paintings and read many foreign and Chinese albums at the institute’s library.
In 1978, Li went with Shi Guoliang and Wang Yanping to Beijing suburbs for sketches. He learned ink-wash figure paintings under the guidance of Shi Guoliang and explored deeply the peasants’ life.
In 1979, he was admitted to painting department of Tianjin Academy of Fine Arts. He began to focus on the new wave art movement. His style switched from realistic to distortion. In the beginning, he admired Jiang Zhaohe but later Modigliani became his icon. At the same year, his grandmother died. For the first time in his life, the man experienced the pain of death.
In 1980, he went to the mountain area in Hebei province with Song Yongping and drew many sketches. He was moved by the pureness of the peasants there. On his way back, he stayed at his aunt’s home at Handan where he first encountered Fang Lijun.
In 1981, he went to Dunhuang to copy the mural paintings for three months and visited the historical sites during his trip. Those days were rich and fabulous for him. He first saw a lama temple, lama, pious Tibetan pilgrims and herd that all amazed his eyes. He began to dream of Tibet.
In 1982, he re-visited Dunhuang, Gansu with Yan Binghui.
In 1983, he created an art piece based on Tibetan life. He worked as a teacher after his graduation. His application to work in
Tibet was approved.
In 1984, he went to Tibetan Art Institute as a teacher for one year. He frequented many temples and even saw the Tibetan funeral. He was deeply moved by its natural surroundings and religious aura. His recognition towards life altered dramatically. His laughing face replaced his former locked eyebrows. He created a series of ink-wash paintings. He and Li Yanping co-operated “Moon River” that was selected in a national art exhibition. His favorite book was Marquez’s “One Hundred Years of Solitude”. He loved drinking rice wine and eating meat.
In 1985, he went back and was introduced to Yu Qiping by He Jiaying. Yu’s magazine wrote a feature story on him that was later discovered by Li Shinan. The man invited him to join an exhibition that was one of the most important exhibitions of the 1980s in China. At the same year, he furthered his study in Nanjing. Because of the environment there, his art style changed. He no longer painted Tibetan cows, but instead the fair ladies of the southern part. Zhu Xinjian was the person that influenced him.
In 1986, he curated and joined a joint show that aroused the attention of the Tianjin art community. At the opening, he and Yan
Binhui’s dormitory was on fire and burnt some of their artworks. Please refer to details on this exhibition in “Chinese Contemporary Art History” written by Gao Minglu.
In 1987, he created copperplate “Women and Flower” and started to work on “Aureole,” a piece of delicate strokes in deep and bright colors.
In 1988, he participated a modern art seminar held at the Yellow Mountain.
In 1989, he joined “Chinese Modern Art Exhibition” held at China National Museum of Fine Arts in Beijing.
In 1990, he was invited to hold an exhibition in Philadelphia in the US. But because of the mistakes filled in the application
form, his visa request was turned down. He was unable to attend the exhibition in April in the US. Later he participated the
exhibition curated by art critic Li Xianting in Tokyo in Japan. At the same year, he together with photographer Mo Yi passed by
Qinghai and crossed over Tanggula Mountain and finally reached Tibet. In Tibet, he created nearly 50 paintings. During this period, his favorite music was Chopin’s piano piece.
In 1991, he lived and worked in an old residence in Beijing. Grasses were all over its roof and the windows were covered by paper. There was a jujube in the yard. He created a series of paintings with a strong Beijing flavor. During this period, he had close connection with Fang Lijun and Liu Wei and other artists living in the old Summer Palace. He held a joint show with Chang Gong at the Beijing Music Hall Gallery.
In 1992, he returned Tibet. During his stay in Lhasa, he had two dogs. There was flowers and grass in the yard. His studio was filled with abundant suns light. His life there was casual. His often walk along the river in the dusk. He and Yao Yuzhong went into the depopulated area in the northern part of Tibet in the autumn. They slept outdoor. They were impressed by the amazing scenery, as they had never seen the water was so azure and the sky so rouge.
In 1993, he created ink-wash painting “Practice in the tableland” in Lhasa on canvas.
In 1994, he together with Chang Gong rented an apartment in Beijing. They frequented Hou Hai after work.. The days at that time were relaxed and comfy. He participated an exhibition at the Gallery of Central Academy of Fine Arts in October.
In 1995, he went back to Tianjin and created “Eating” series and joined a joint show hosted by Cai Simin in Singapore.
In 1996, his aunt died suddenly. He was so grieved. Soon the news that Li Laoshi committed suicide took over him. He jointed an exhibition hosted by China Academy of Art in April. He was invited to have a solo exhibition in Vienna hosted by Chen Qingqing. He participated a joint show that toured in Berlin Museum, Haler Museum and TTT Art Center, while at the same time his solo exhibition was held in a gallery in Beijing.
In 1997, he went to Singapore for an exhibition in January. In May, he held his solo exhibition at the Hanmo Gallery in Beijing. He joined a modern Chinese ink-wash painting exhibition hosted by a Hong Kong gallery and a New York Gallery. In July, he participated a Chinese contemporary painting exhibition hosted by China’s Cultural Ministry at the Shanghai Library. In October, he joined an exhibition at the Shanghai Art Fair.
In 1998, he participated “Traditional Chinese Painter” invitational exhibition hosted by China National Museum of Fine Arts. In
February, his father died. In March, he received an interview given by CCTV. He joined the Chinese Art Biennale at the Art Gallery of Ontario in Canada. He had an joint show with Lei Zi at Hanmo Gallery in Beijing.
In 1999, he attended “Surviving and Expressing” seminar. In June, he joined the second round show with Chang Gong at the Beijing Music Hall Gallery. In September, he curated and participated the first round show of “Dialogue 1999” at International Art Palace in Beijing. In November, he curated and participated the second round show of “Dialogue 1999” at Tai Da Contemporary Art Museum in Tianjin. At the end of the year, his first album was published.
In 2000, he and Chang Gong attended his solo exhibition in Sweden. During their stay there, they two were impressed by its tranquil surrounding, clean streets, mysterious woods, limpid lake and bizarre bars. He had an affair with a Swedish female artist at Stockholm, and they lived for a while in Denmark. He participated “All about Dreams: Exhibition of Chinese Art for the 21st Century” in London and started to work with the Courtyard Gallery in Beijing.
In 2001, The director of Ray Hughes Gallery in Sydney visited him. At the same year, his solo exhibition was held at Ray Hughes Gallery, all his artworks were sold out. In autumn, his first solo exhibition was held at the Courtyard Gallery in Beijing and started to collaborate with Meg Maggio.
In 2002, he joined “ChinArt” exhibition held at Museum Küppersmühle. During the World Cup held in Seoul, he joined “Chinese – Korean Contemporary Art” at Contemporary Art Museum in Korea and his solo exhibition was held in Li Dongzai Gallery in Seoul. He went to Chengdu with Ma Junqing for the biennale there. He only slept for three hours every day and spent most of his time relaxing. His 18-meter long scroll “Banquet” was first on display.
In 2003, he went to the US with Meg Maggio, he held his solo exhibition at the Asian Hall in the Seattle Museum. He visited several renowned collectors and held a seminar at the museum. He also gave lectures at the art department in Washington University. In the warehouse of Seattle Museum, he saw the original pieces of Shi Tao, Wen Zhengming, Badashanren, Song Huizong and Ma Yuan in a close distance. During his show, his brother and sister flew from Philadelphia to Seattle to extend their congratulations to him. They got together at the sea garden in Seattle. His “Banquet” was collected by Seattle Museum. At the same year, China National Museum of Fine Arts collected another of his piece “Eat Drink Man Woman” .
In 2004, “Asian Art New” published in Hong Kong introduced Li Jin. The Courtyard Gallery hosted an exhibition featuring his new artworks and published his album.
In 2005, he started to create “Big Garden” series and had his solo exhibition in Los Angeles. He also had his solo shows in
Thailand, Germany and Singapore. His memoir written by his classmate Song Yongping was published. He started to enter the auction market in China. The album of “23 Chinese Artists, Li Jin’s Scroll” was published.
In 2006, he together with Wu Yi had a joint show at the Central Academy of Fine Arts. His solo exhibition was held in Ray Hughes Gallery in Sydney and Art Scene Gallery in Shanghai. His album titled “Good Artists Series, Li Jin” was published. At the end of the autumn, he went to Germany with his friends to attend the opening of his solo exhibition there. During his stay, his created the scroll on his German trip. At the end of December, he joined “2006 Chinese Art Today” hosted by China National Museum of Fine Arts.
In 2007, he joined an exhibition titled “Consumption Junction” at Haines Gallery in San Francisco in January. In March, his solo exhibition was opened in Seoul. In April, he received the interview given by Australian Television Station, In May and July, he went to Hunan province for two times. He lived at the suburbs in Changsha and worked on his pieces. Every morning, he walked leisurely before the pond in front of his house. Every dusk, he meandered through a small road to a peasant’s home for dinner and experienced the local pure folkway.
- 食色性也:新文人画运动和李津的作品——栗宪庭
- Appetite for Food and Sex Is Nature: New Literati Painting Movement and Li Jin's Works - Li Xianting
作为新文人画家的李津，风格形成于上世纪九十年代初，虽然晚出，但却卓然独立于同类画家之中。李津天性散淡、诙谐，爱玩、爱吃、爱喝酒、爱女人，还有点玩世不恭，他的作品多艳情和吃喝题材，这正是李津的创造，如这里展出的作品。古人说“食色性也”，但这句话出于《孟子》，是孟子辩论对手告子的观点，孟子继承孔子的观点，强调道德的自我修养，另一个对中国影响深远的大儒朱熹说“存天理，灭人欲”。所以，历代文人画借物抒情的情，不是饮食男女的世俗之情，而是宋代以后逐渐形成的一种精神品格，即把儒家的道德自律，道家的清静无为，佛家的超越现世人生的禅境作为最高境界，所以才有明代董其昌的“读万卷书，行万里路”的名言。很多新文人画家尤其是李津在作品中所创造的形象，反叛了历代文人画的清静意象，给了现代人一种新的“享乐美感”，让人在艺术里“吃尽人间美味，悦尽人间美色”，尤其对于现代消费社会，现世享受往往只是一种虚幻的口号，作为垄断资本的阴谋，现实享受实际上成为一种新的社会异化力量，把追求现实享受的人们，抛到欲望膨胀和竞争激烈的生存环境里而高度精神紧张。从这个角度说，也许只有艺术上的“享乐美感”，才是人类精神的一种新的治疗剂。
李津以自己的人生感觉，创造了一系列以自己为模特的懵懵懂懂的男人，像微醉的人，沉浸在人生忘记一切的感觉中，眼神朦胧，神情恍惚，不谙世事，逍遥自在。其实，中国文人画没有创造出来的审美感觉，在中国文人的另一条文字线索中比比皆是，如魏晋《世说新语》多有记载，名士多“纵酒放达”，遍阅元代散曲，此类作品更是普遍，关汉卿：“我是浪子班头……半生来弄柳拈花，一世里眠花卧柳……天与我这几般儿歹症候，尚兀自不肯休”；周仲彬：“问甚鹿道作马，凤唤作鸡。葫芦今后大家提，别辨个是和非”。以及明清戏曲、小说，尤其是艳情小说如《金瓶梅》、《肉蒲团》等等。李津创造的男人形象，继承和发展了中国文人的另一种审美传统。
李津笔下的女人，有感而发，像他画的男人一样，表情也是懵懵懂懂的，傻得可爱，丑得诙谐，肥得诱人，作为李津的心理意象和性爱中的理想女人——充满了肉欲和艳情，崩紧的衣服，被撑开的衣襟，掩不住和突出的是肥艳和肉体的引诱，这是一种特殊的美感——带点邪恶感的肉欲，为相拥而美，而非时尚女性的骨感美，骨感美女作为衣服的架子，是为时装而美，为看而美。所以，李津笔下的性感肉感的女人造型，有种触摸的感觉，仿佛李津画女人的过程，不是在纸上，而是他触摸女人的过程。
传统文人画一向追求清高淡雅，多不以世俗之物入画，寄情隐逸，才有山水，尊崇高风亮节，才称竹菊梅兰为四君子。上世纪初齐白石，以菜蔬、瓜果，农家常见草虫入画，一变文人的淡雅，创造出一种清新的自然气息。李津以美食入画，更是一大创造。红烧猪头，油焖大虾，清蒸鲑鱼，素炒菜苔，每种菜肴在李津的笔下，都类似文人画四君子的地位；一个鸡腿，两根萝卜，三只蟹爪，四头大蒜，仿佛都能和李津产生心灵上的对话。凡美食必配美器，李津笔下的杯、盏、盘、碟、碗、盆、勺、筷，乃至火锅、汤钵、茶壶、酒杯，既是盛食之器，更像藏家手中的把玩之宝器。日常所食，所见，所用之美食之美器，皆在李津的画中成为一个角色，与微醉、懵懂的李津作对话状，相对无言，惺惺相惜。
近代中国戏曲大师梅兰芳说过“俗到极处便成雅”，所谓大俗才能大雅。大俗就是在对俗——日常生活功利和困扰的超越中，把日常生活的情绪转换成一种审美情趣，俗就变成了雅。李津把爱吃、爱喝酒、爱做饭、爱女人皆作为人生和审美的需要，没有在生活之外另建一个艺术的金字塔。知道享受生活，才能给生活以乐趣，乐趣就成了李津艺术的“主旋律”，画画也就成了一种生活的享受，所以，李津画面中所有的形象创造，无论是男人、女人、美食、食具、茶具、花花草草，都充满了生活的情趣，诙谐好玩，让人看了忍俊不禁。
把俗语作为题画语句，首创于新文人画家朱新建，后来为多数新文人画家所采用，这本不足为奇，而李津把大篇幅的菜谱题于画面，则闻所未闻。而且李津一反传统文人画留空白的做法，题款密密麻麻，使整个画面另有一种古代“书版”的美感。李津的字体，也多得益于中国古代书版刻字的感觉，其横笔细，竖笔粗，点、勾、撇、捺，皆有书版印刷体的造型味道，但又用笔放松，所以，在笔画造型的刻削感和用笔松动之间，在结字求拙和用笔求媚之间，自有一种松与紧，拙与媚相对相生的感觉。
中国传统文人画讲墨分五彩，强调的既是墨本身的丰富性，同时强调的是以黑、白、灰为主调，因为文人追求淡泊的境界。而色彩对于李津强调的“享乐美感”，却至关重要，但李津在色彩的运用上，一是处处见笔，即强调色彩如书法般的笔法，一笔下去，如书法之一波三折，既是物象的形，也是笔法的形状。二是多不使用勾线填色的方法，墨和色常常混合使用，勾线与各种笔法的墨块处处浑然一体，勾、点、染跟着感觉，线、墨、色随性情所至，既挥洒自如，又节奏分明。如他画的多幅美食图，各种美食和器具，玲琅满目，嵌入到密密麻麻如印刷书版的字中，墨和色争艳，字和图辉映，斑斓，喧闹，热气腾腾。
栗宪庭
Li Jin, as a new literati painter, evolved a style of his own in the early 1990s. Though he appeared late on the stage, he remarkably stands alone among his peers. Li Jin was born indolent, indifferent and humorous and he loves playing, eating, drinking and women, in addition, he is a bit cynical. Most of his works focus on erotic themes, food and drink, which is, as the works on display, an innovation created by Li Jin. As the old saying goes, “Appetite for food and sex is nature”. However, the sentence originates from Mencius and this viewpoint was borrowed from Gao Zi, an opponent to Mencius. Mencius inherited Confucius’ doctrine and emphasized on the self-cultivation of morals. Another great scholar influential in China, Zhu Xi, put forward the supremacy of “the laws of heaven over the desires of men”. Therefore, the emotions expressed by literati paintings through all ages are not profane emotions between drinking men and eating women but a kind of spiritual character gradually formed after the Song dynasty, i.e., the highest realm lies in ethical self-discipline of the Confucian school, in quietistic philosophy and effortless action of Taoism and in surpassing this life of Buddhism. Thus, a famous remark, “read extensively and travel widely” said by Dong Qichang in the Ming dynasty, came into existence. A large number of new literati painters, Li Jin in particular, created different images in their works from traditional quietistic images, impressed modern men with a type of new “pleasure-seeking sense” and led them “to eat all the delicacies and enjoy all the beauties under the sun” in art. For modern consumption-oriented society, to enjoy this life is commonly taken as an illusive slogan. As a conspiracy of monopoly capital, to enjoy this life actually becomes a new social alien force and casts those pleasure-seeking men into a living environment full of ever-expanding desires and fierce competitions, which makes them suffer a lot from nervous tension. From this perspective, the artistic “pleasure-seeking sense” may be a new therapeutic agent for human pneuma.
With his life experience, Li Jin created a series of completely-muddled men modeled on himself, like a tipsy man indulging in the feeling of forgetting life, whose eyes do not focus and the expressions are in ecstasy, without earthly wisdom, and leisurely as well as carefree. As a matter of fact, the aesthetic feel which was not created by Chinese literati paintings can be found everywhere in another clue of words by Chinese literati, as recorded in Shi Shuo Xin Yu/ New Anecdotes of Social Talk in Wei and Jin dynasties, most scholars were “indulgent in wine and unconventional”. That type of works is more common in lyric songs of Yuan Dynasty. Guan Hanqing composed, “I am a leader of libertines…frequently visit the brothels for half a lifetime and sleep with prostitutes there all the time…God provided me with those bad faults and I won’t stop at all”. Zhou Zhongbin also said, “why ask to call the deer as horse and phoenix as chicken? Let’s lift the gourd and don’t make a clear distinction between right and wrong”. Examples can also be found in plays and novels in Ming and Qing dynasties, in erotic novels in particular, such as Jin Ping Mei/The Golden Lotus and Rou Pu Tuan/ The Carnal Prayer Mat etc. The male images created by Li Jin inherit and develop another aesthetic tradition of Chinese literati.
The females painted by Li Jin, as males, are depicted as those who wear muddled facial expression, silly but cute, ugly but humorous, with attractive fatness. As Li Jin’s psychological imago and ideal women, they are full of carnal desires and erotic feelings. The tight clothes, bulgy jacket front, hardly-concealed and prominent corpulent beauty and fleshy attraction all belong to a special sense of beauty － carnal desire with a bit sense of evil and embraced beauty, which is not the bony beauty of fashionable females who serve as clothes hangers and are beautiful for fashions and for watching. Then, the sexy and fleshy female images drawn by Li Jin show a sense of touching. It seems that the process when Li Jin drawing females is not on the paper but a process of touching females.
Traditional literati painters pursue uprightness and elegance and most of them do not paint articles for daily use. To fall in love with seclusion promoted landscape paintings. To pay homage to lofty thoughts and great nobleness enabled bamboo, chrysanthemum, plum and orchid to be the four gentlemen. In the early 20th century, Qi Baishi painted vegetables, melons, fruits and common insects in farmhouses, which changed literati’s simple elegance and created a fresh natural scent. Li Jin takes delicious food as his subject matter, which is a great innovation. Each type of food, such as braised pig head, braised prawns, steamed salmon and stir-fried flowering stalk, plays similar roles as that of the four gentlemen in literati paintings. One chicken leg, two carrots, three crab claws and four garlic seem to be able to have a spiritual talk with Li Jin. All delicious food is accompanied with beautiful containers. The cup, mug, plate, tray, bowl, basin, spoon and chopsticks as well as hotpot, soup earthen bowl, tea pot and goblet painted by Li Jin are both food containers and treasured articles cherished by collectors. Both delicious food eaten and watched daily and beautiful containers used daily become a part in Li Jin’s paintings. They make a dialogue with the tipsy and innocent Li Jin, wordless, face to face and showing respect and affection to each other.
Mei Lanfang, the great Beijing Opera artist in modern history, said, “When the popular taste reaches the extreme, it will turn into the refined taste.” It is so-called great earthliness to be great elegance. The great earthliness lies in changing daily life into an aesthetic interest during surpassing mundane affairs － the everyday life, fame, gain and disturbance. Then, the earthiness becomes elegance. Li Jin takes his love to food, drinking, cooking and women to be a necessity of life and aesthetics. He doesn’t build an artistic pyramid beyond life. He knows that to enjoy life can bring pleasure to life. Then pleasure becomes a major theme for Li Jin’s art and then painting turns into a kind of enjoyment of life. Therefore, all images created by Li Jin, whatever males, females, delicious food, food containers, flowers and grass they are, are full of temperament and interest in life. They are all humorous and amusing and the audience cannot help laughing after seeing them.
Taking vernacular as the inscription was first initiated by Zhu Xinjian, a new literati painter. Later, most new literati painters adopt the method. It is no wonder at all but it is unheard that Li Jin inscribes the whole menu onto his paintings. Meanwhile, He writes a dense inscription, which goes against the blank space left by traditional literati painters and enabled the whole painting to be with a sense of “book edition” of ancient times. Li Jin’s style of calligraphy benefits a lot from the feelings of book-edition carving in ancient China. His slender horizontal strokes, thick vertical strokes, dots, corners, left-slanting strokes and right-falling strokes are all endowed with the modeling scent of print forms in book edition. However, his way of using brush is relaxed. Therefore, between carving and chopping impression of modeling strokes and relaxed brush usage and between questing for clumsiness in characters and pursuing charms in brush using, there is a kind of coexistence of looseness and tightness, clumsiness and charms.
The traditional literati paintings pay attention to the classification of ink into five colors in China. They emphasize on the enrichment of ink itself and meanwhile they pinpoint on major themes based on black, white and gray because the literati are in pursuit of a simple life. However, colors for “enjoying sense of beauty” emphasized by Li Jin are of paramount importance. Nonetheless, Li Jin’s using colors lies in two aspects. One is featured with all-around brush strokes, i.e. colors are stressed with calligraphic techniques. One brushstroke down, full of twists and turns as in calligraphy, is not only the form of natural phenomenon but also the shape of brushwork. The other is that most works are not colored in according to previous outlines. The ink and colors are used together. Outlines naturally integrate with ink blocks in various styles of drawings. Outlining, dotting and coloring follow his feelings while lines, ink and colors come with his temperament, which not only shows a free command but also manifests a clear rhythm. As a large number of delicious food paintings drawn by Li Jin, different delicious food and containers are a feast for the eyes and are embedded into dense characters which looks like printed form in book edition. The ink and colors vie with each other for glamour. The Chinese characters and paintings enhance each other’s beauty. They are multicoloured, loud and steaming hot.
Text by Li Xianting