展览介绍

展览名称

李可染—華人百年巨匠系列 - Li Keran—Master of Chinese Art in A Hundred Years

展期

2021-4-20 ~ 2021-10-31

地点

晶美術館 Crystal Museum

地址

40758台中市西屯區府會園道157號

迎接辛丑牛年來臨，晶美術館策劃「畫聖•李可染―光墨繪影」特展，集中展出李可染（1907-1989）畢生精粹及其師友之藝術。人心感物，境由心造，藝術家心緒、印象往往深刻的反應在筆墨之中。近現代華人美術中，特別是李可染的山水畫與及牧牛圖系列，兼具有濃厚的自傳性與劃時代的指標意義。適值歲次辛丑牛年，晶美術館隆重介紹可染之牛及其各階段的畫作。藉著李可染溫潤可人的藝術，盼望由此傳達一股安定的力量，給予社會最大的祝福和撫慰。 In 2021, the Year of the Ox, [Sage Painter – Li Keran’s Ink Wash Art World] is exhibited at the Crystal Museum, featuring artworks created by Li Keran (1907-1989) and that of his instructors and fellows. People perceive the surroundings and create atmospheres with their mental power, while artists reflect their feelings profoundly with their stroke. In late modern Chinese art history, Li Keran’s landscapes and oxherding paintings are significantly important not only personal, but also for the era. In 2021, the Year of the Ox, The Crystal Museum presents Li’s paintings of buffalo and other subjects which he created in different stages of his life, aiming to convey a sense of calmness and give blessings to our society through the artist’s warm and attractive works.

作品导览

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李可染在重慶 Li Keran in Chongqing

李可染的山水畫 Li Keran ‘s landscaping painting

李可染畫牛 Li Keran‘s painting of Buffalo

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

擬石濤筆意Landscape in the Brush Idea of Shitao

李可染

虎溪三笑Three Men Laughing by Tiger Creek

李可染

灕江山水甲天下Incomparable Scenery of the Li River

李可染

集錦冊 • 萬山紅遍Precious Images • Red Leaves over the Mountains

李可染

樹杪百重泉A Hundred Cataracts over Treetops

李可染

#10

百牛圖One Hundred Buffalos

李可染

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展览方

晶美術館 Crystal Museum

晶，精光也。會意字，從三日，明亮珍貴，可表示「眾日同天、閃爍發光」，夜幕裡一個閃爍之星，正逐漸以熱切的光芒傳達出對藝術美學的精煉與純粹。晶美術館-林光輝館長、生產力集團-張忠弘董事長、創新文化基金會-張芳民執行長，將個人對中華傳統優秀文化的喜好轉化為致力於博大精深的藝術追求與推廣，於台中七期市政中心的智慧建築「似水年華」大樓中，創辦了「晶美術館」，一肩扛起維護華人文化資產之使命，另一肩為推動美學教育，重新詮釋美學生活經濟。晶美術館所發出的光芒，早已突破傳統美術館舊思維，自許為藝術平台，以創新經營推動文化藝術、提升整體人文素養與藝術美學底蘊，同時更以華人古代、近現代的藝術家作為與世界接軌的前奏，並廣納當代國際頂尖藝術家的作品，晶美術館將陸續帶領世人進入深刻又具內涵的藝術饗宴！ The Crystal Museum names itself in Chinese with the Chinese character “Jing” (written as “晶”), a compound ideograph with three suns (written as “日”) to indicate brightness and preciousness. The word also stands for a dazzling star ‘sparking like all suns are gathering on the same day’, radiating beams of light to deliver the essence and pureness of art. Lin Kuang-Hui(林光輝), Director of the Crystal Museum, Chang Chung-Hong(張忠弘), Chairman of the Productivity Group and Chang Fang-Ming(張芳民), CEO of the Innovation Culture Foundation, they decided to transform their love for traditional Chinese cultures to a deeper pursuit and promotion of art. Therefore, they established the “Crystal Museum”, which is located in the smart building “Crystal House” at the city’s center in the 7th phase of Taichung City. The Crystal Museum not only willingly takes on the burden to protect Chinese cultural assets but also devotes to art education and reinterprets a lifestyle based on aestheticism. The Crystal Museum looks into the art sector from a macro perspective, aiming to prosper the city and even the whole nation by combining arts with tourism. Aside from its innovative curatorial projects, academic research, publication, and production of creative products, the Museum also helps to make the art industry prosperous with its cultural events and expects the industry to further invest in the art and culture as a reciprocal gesture of its commercial success.

艺术家

李可染 Li Keran

李可染（1907-1989）提倡新國畫，探索「光」與「墨」的變幻，致力於民族傳統繪畫的研究，是近現代華人美術代表性的巨匠之一。其開創的「李派山水」，上承古典「積墨法」技巧，兼容突破性的逆光畫法，亦結合了素描的客觀與科學，運用墨法將光引入畫面之中，具有「黑、滿、重、亮」等特徵，形成了獨特的藝術風格。「用最大的功力打進去，用最大的勇氣打出來。」應出了李可染的「可貴者膽」、「所要者魂」兩方章，期許並鼓勵來者，敢於突破傳統中的陳腐框架，接力繼續創造具有時代精神的藝術形式。 Li Keran (1907-1989), one of the most iconic Chinese art masters in modern era, advocated new Chinese painting that explores the flow of “light” and “tonality” while devoting to the research of traditional folk paintings. Inheriting the classical ink accumulation technique, “Li’s landscapes” are characterised by saturated ink, rich blackness, brightness and heavyweight scenes, where the use of objective viewpoints and sketching techniques are observed so as to introduce light to the scene – a unique style of art of his time. “One should get in with the greatest strength, and get out with the bravest mind.” These words echo Li’s two beliefs that “bravery is valuable”, and “spirituality is essential”. Bearing these ideas in mind, Li encouraged his successors to break through traditional stereotypes and create artworks that entail the ethos of the time.

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