东临碣石（中国画）李宽

　　几年前见到李宽时，他笑盈春风、体态宽厚，款款走来时像一面绕不开的“墙”。这种感觉在我看到他的画作《山高水长》时更加深刻。《山高水长》高240厘米、宽600厘米，以横向宏阔的构图描绘出彝族乡亲生生不息的生命形态和欢悦合美的乐土家园。作品创作之初，李宽曾三次深入大凉山，参加“火把节”，过“彝年”，与当地百姓同欢悦。在随后的一次创作总结会上，李宽深情地说：“伴随着采风活动的深入，我从一个看客逐渐感受到身体里某种隐藏在血液和筋骨中的情感被唤起，大山深处乡亲们的喜怒哀乐真切地触动了我，内心不断奔涌出创作的冲动。”《山高水长》里亘古不变的大凉山、不舍昼夜奔流不息的山泉河流孕育了这方净土和世世代代繁衍生息的彝民族群。他们日出而作、日落而归的生活方式仍保留着许多农耕文明的印迹；他们敦厚质朴的民族性格、独特的地域民俗文化；生于斯长于斯的生命轮回、与大自然和谐共生的自由通达，以及他们身上散发出的泥土芬芳，都构成了李宽这次创作的宏大主题。

　　这幅作品从最初的构思到最终完成，历时近两年的时间，可以说是李宽多年情感累积的一次总爆发。持续不断地赴宁夏、青海、甘肃、新疆等地写生实践成为李宽创作的基础铺垫，对基层劳动者的关注与关爱使他的笔墨言语终于有了适合的载体，他凝聚于心的悯爱情怀一下子找到了表达与挥洒的出口。于是，情由心出，由感而发，一组场面宏阔、人物众多、气势雄强博大的画面在画家笔下渐次呈现出来。《山高水长》同时也是李宽主题性人物画创作的重要节点，自此，一系列个性鲜明的大型创作不断呈现在人们面前。

　　长久以来，李宽一直探索把中国画水墨写意的表现形式转化为自觉自然的意识形态，系统的学院专业学习和训练，造就了他坚实的写实表现能力。然而，李宽并没有留浮在简单的技巧层面，而是深入刻画挖掘出人物的个性特征和精神内涵。所以，在他的画中，我们感受到的不仅是纯朴可亲的直观形象，更多的是激情奔涌的诗性叙事，墨彩风动，神韵飞扬。

　　如何使绘画回归本体、走向纯粹一直是李宽面对的一个现实问题。对中国传统绘画的深入研习，对西方美术的全面观照，使得他对绘画有了更深刻的认知与反思，在深入思考与渐次探寻中，李宽逐渐确立了自己明晰的艺术走向。对笔性墨韵的偏执偏爱和对形式美感的敏感使李宽不断尝试各种线形笔墨综合构成的艺术表达，既有写实绘画的深厚功力又摒弃习性化的概念与程式，在直接的主观感受与现代平面构成的联系和连接中走向更为深邃的精神意境。在这里，他采用多种方法的综合、线墨的交错融汇呈现给人们的是全新的清奇淡远的隐蕴心象。

　　任何艺术表现都是一种语言表述，用洗练的话语把问题说得明晰深刻，重要的不仅是“说什么”更重要的是“怎么说”。对中国画笔墨意义的拓展、对绘画本质精神的追求是李宽的自我表达、自我突破的手段，更是他心灵的真实显现、思想的孤独游走。

　　探索中国画语言的现代方式，是当代中国画家的必然选择。李宽在延续传统文脉的基础上沿变出新，在把握用笔、用墨等文人特质的同时，强调线形墨色的相互转化，注重人物形象的深入塑造和画面的整体节奏与韵律，强调画面的体积感和笔墨的趣味性，在宽厚平实中张显着从容和大气，既有纯正的传统中国画的笔墨风仪，又充盈着生动鲜活的个性表述。观览李宽新近创作的《东临碣石》和《众志成城》，在壮阔如一面墙一样的画幅里形象变换、时空交错，画面富于静态力感又具有鲜明的时代气息。用现代人的思维方式对传统和现实题材进行发掘与重构，通过能动的主观表达，凝结出多维的绘画语境，给人以多方位的启迪与感悟。

　　作为人物画家，李宽立足脚下坚实的土地和土地上美丽、勤劳、善良的人民。他用自己虔诚静谧的心灵去体味生活、关注现实、畅想未来。李宽追寻人与自然的和谐、生命的祥和与崇高，在他饱含敬畏与爱恋的笔下，真实而又幽微夸张的人物形象，既是对客观世界的真情表述，又是他超越现实的形象化语言，尤其是他画面中众多形象意味深长的顾盼与凝望、若有所示的肢体指向都给人以既真切可依又如梦似幻的多重感受。他细微、凝练的描绘向人们昭示着一种希望、一种追求、一种未来可期的明丽与美好。在他笔下，众多的人物形象无不淳朴善良而又坚定执着。其实这些形象已经成为一种象征，成为画家探求民族精神的一种心性指归，洞察的是民族苦难的求索历程和不屈的性格特征以及面向未来的勇气与决心。

　　从李宽长久以来的艺术探索中，我们不难看出画家内心深处难以割舍的本源情结，这种情结更多昭示的是画家对根的一种思恋，对单纯、质朴、宁静的一种追忆，以及对岁月逝去、歌声渐远的一种召唤。因而，李宽更像一个真诚、忙碌奔波的行路人，用画笔带给我们一个更为宽阔的理想境地。俗话说，画如其人，“墙”一样的李宽，款款走来……

　　

Facing Jieshi (Chinese painting) in the East, when Li Kuan saw Li Kuan a few years ago, he smiled with spring breeze and was generous. When he walked slowly, he looked like a "wall" that couldn't be opened. This feeling is even more profound when I see his painting "high mountains and long rivers". High mountains and long rivers is 240cm high and 600cm wide. With a horizontal and broad composition, it depicts the endless life forms of Yi villagers and the happy and beautiful paradise home. At the beginning of his creation, Li Kuan went deep into Daliang Mountain three times to participate in the "Torch Festival" and celebrate the "year of Yi" and rejoice with the local people. At a subsequent creation summary meeting, Li Kuan said affectionately: "with the deepening of wind collecting activities, I gradually felt from a spectator that some emotion hidden in blood and bones in my body was aroused. The joys, sorrows and joys of villagers in the depths of the mountain really touched me, and my inner heart kept pouring out the impulse of creation." The unchanging Daliang Mountain and the mountain springs and rivers flowing day and night in "mountains high and rivers long" gave birth to this pure land and the Yi ethnic group that has thrived for generations. Their life style of working at sunrise and returning at sunset still retains the imprint of many agricultural civilizations; Their honest and simple national character and unique regional folk culture; The reincarnation of life born and raised in Si, the freedom and accessibility of harmonious coexistence with nature, and the fragrance of soil emitted by them all constitute the grand theme of Li Kuan's creation. It took nearly two years from the initial conception to the final completion of this work, which can be said to be a total explosion of Li Kuan's emotional accumulation for many years. The continuous practice of sketching in Ningxia, Qinghai, Gansu, Xinjiang and other places has become the foundation of Li Kuan's creation. His attention and love for grass-roots workers has finally provided a suitable carrier for his pen and ink words. His compassionate love condensed in his heart has suddenly found an outlet for expression and expression. As a result, feelings come from the heart and from the feeling. A group of pictures with broad scenes, numerous characters and great momentum are gradually presented in the painter's pen. "High mountains and long rivers" is also an important node in the creation of Li Kuan's thematic figure painting. Since then, a series of large-scale creations with distinctive personality have been presented to people. For a long time, Li Kuan has been exploring to transform the expression form of freehand brushwork in Chinese painting into a conscious and natural ideology. Systematic professional learning and training in the college have created his solid realistic expression ability. However, Li Kuan did not stay at the simple skill level, but deeply portrayed and excavated the personality characteristics and spiritual connotation of the characters. Therefore, in his paintings, we feel not only the simple and amiable visual image, but also the passionate poetic narrative, ink color and charm. How to make painting return to noumenon and pure has always been a practical problem faced by Li Kuan. The in-depth study of Chinese traditional painting and the comprehensive observation of Western art made him have a deeper understanding and Reflection on painting. In the process of in-depth thinking and gradual exploration, Li Kuan gradually established his own clear artistic trend. The paranoid preference for pen and ink rhyme and the sensitivity to formal beauty make Li Kuan constantly try the artistic expression composed of various linear pen and ink, which not only has the deep skill of realistic painting, but also abandons the habitual concept and program, and moves towards a deeper spiritual artistic conception in the connection and connection between the direct subjective feeling and the composition of modern plane. Here, he uses the synthesis of various methods and the staggered integration of lines and ink to present people with a brand-new strange and distant hidden mental image. Any artistic expression is a kind of language expression, which makes the problem clear and profound with refined words. What is important is not only "what to say", but also "how to say". The expansion of the meaning of Chinese painting and the pursuit of the essential spirit of painting are not only the means of Li Kuan's self-expression and self breakthrough, but also the real manifestation of his soul and the lonely wandering of his thought. Exploring the modern way of Chinese painting language is the inevitable choice of contemporary Chinese painters. On the basis of continuing the traditional context, Li Kuan changed along the new line. While grasping the characteristics of literati such as pen and ink, Li Kuan emphasized the mutual transformation of linear ink color, paid attention to the in-depth shaping of character image and the overall rhythm and rhythm of the picture, and emphasized the sense of volume and the interest of pen and ink. In a generous and plain manner, Li Kuan showed calm and atmosphere, with both pure pen and ink style of traditional Chinese painting and vivid and vivid personality expression. Looking at Li Kuan's newly created "Jieshi in the East" and "unite as one city", in the magnificent picture like a wall, the image changes, time and space crisscross, the picture is full of static force and has a distinctive flavor of the times. Explore and reconstruct the traditional and realistic themes with modern people's way of thinking, condense the multi-dimensional painting context through dynamic subjective expression, and give people multi-directional enlightenment and perception. As a figure painter, Li Kuan is based on the solid land under his feet and the beautiful, hardworking and kind people on the land. He used his pious and quiet mind to appreciate life, pay attention to reality and imagine the future. Li Kuan pursues the harmony between man and nature and the harmony and sublimity of life. In his works full of awe and love, the real, subtle and exaggerated characters are not only the true expression of the objective world, but also his figurative language beyond reality. In particular, the meaningful looking and gazing of many images in his pictures and the body direction if shown give people multiple feelings that are both real and dreamy. His subtle and concise description shows people a hope, a pursuit and a bright and beautiful future. In his works, many characters are simple, kind and firm. In fact, these images have become a symbol and a psychological guide for painters to explore the national spirit. They have insight into the quest process of national suffering, unyielding personality characteristics and courage and determination to face the future. From Li Kuan's long-term artistic exploration, it is not difficult for us to see the original complex in the painter's heart. This complex more shows the painter's yearning for roots, a memory of simplicity, simplicity and tranquility, and a call to the passing of years and the fading of singing. Therefore, Li Kuan is more like a sincere and busy traveler, who brings us a broader ideal situation with a brush. As the saying goes, painting is like a man, and Li Kuan, who is like a "wall", comes slowly