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李可染的手稿、信札及「狂塗冊」 Li Keran‘s Manuscript, Letter and “Cursory Sketches”

李可染的書法,雍容大度、拙樸是大家認知的。李可染曾說過,「寫字是最幸福的,字寫好了與畫一樣,一張好字把屋子裏的氣氛都變了」,也正是如此,當文革期間不准繪畫時,他便轉而勤練書法,在不斷運筆寫字的過程,不只練就篆隸行草,渾然一體的書法藝術,也進一步形成他晚年具有特色的書體。 本次展覽特別蒐羅李可染不同年代與形式的創作,如與前輩、學者往來的信札二通、自撰的四本手寫畫論、《金鐵煙雲》立軸,以及在物資匱乏年代,以帳簿艱辛練習、構思、創作的《狂塗冊》。從這些作品不只可以看到李可染不同時期的「書法」風貌,也能更具體而微地了解李可染自我的個性和審美藝趣! It is known that Li Keran‘s calligraphy is elegant and generous, he once said ,“Writing calligraphy is the happiest thing , calligraphy is the same as painting, a great calligraphy will changes atmosphere of the room. ”, Precisely, when he was prohibited from painting by government during the Cultural Revolution, he turned to practice calligraphy. In the process of keeping practice, he was not only studied about seal script , clerical script, cursive script and semi- cursive script, but also established the unique typeface of his own type in his later years. The exhibition will collect Li Keran‘s works in painting from different era and different theme, these collection include letter between seniors and scholars, four handwritten theory books, hanging scroll of “Strength of Gold and Iron, Lightness of Mist and Cloud”, and the account book named “Cursory Sketches”. From these works not only can see Li Keran‘s calligraphy from different era, but also can be more carefully and specific observe Li Keran‘s personality and his aesthetics. 一 金鐵煙雲Strength of Gold and Iron, Lightness of Mist and Cloud 1988 132x64 cm 墨筆紙本Ink on paper 二 中國畫論手稿Chinese Painting Theory by Handwriting 32x22 cm each 墨筆紙本Ink on paper 三 信札二封•致馮其庸Letter to Feng Qiyong、致楊仁愷Letter to Yang Renkai 30x20 cm each 墨筆紙本Ink on paper 四 狂塗冊Cursory Sketches 37x26 cm each 墨筆紙本Ink on paper