He studied from the famous teachers of Lingnan painting, from traditional Chinese painting to Western oil painting, and then returned to Chinese painting again, and his unique experience has created his unusual creative style, even those works with visual effects of Western painting, the core of which is still full of elements of traditional Chinese painting.
(Tang Feng Song Yue, 2002, 185x150x3 Li Jinkun)
He is the inheritor of Lingnan painting, but he uses the most "rebellious" way to pass it on. He said: "Art can only advance, not retreat, it can only change, not repeat." "He is the famous Lingnan artist Li Jinkun.
Li Jinkun: A native of Nanhai, Guangdong. Born in September 1958 in Guangzhou. In 1987, he graduated from the postgraduate class of Chinese Painting of the Guangzhou Academy of Fine Arts with a master's degree in landscape science. After graduation, he taught at the Department of Chinese Painting of the Guangzhou Academy of Fine Arts, serving as the deputy director and associate professor of the department.
(Twilight of the Desert, 1989, 153x150cm Li Jinkun)
Li Jinkun is the most praised and the most well-known style, the first to promote the 7th National Art Exhibition in 1989 and won the bronze medal "Twilight of the Desert". The picture has a large and desolate atmosphere, which is a typical northwest landscape: the low brownish yellow land stretches out into the distance, the land is so barren that there is no tree, and the ravines washed out by the years and rain form the outline of the mountain, and the heavens and the earth are integrated.
(One of dunhuang legends, 1995, 145x185cm Li Jinkun)
He wanted to create seriously, paint rigorously, and treat painting as meticulously as the Song people did. Painting is no longer an amateur affair for him, but a profession, so it is necessary to establish the spiritual attitude and work rules of the profession. In a sense, Li Jinkun's attitude is also a result of the modern artistic revolution, that is, to cut off the relationship between painting and literati ink opera, and to try to cultivate a new aesthetic principle of professionalism, seriousness, facing reality and the spiritual world.
(Phantom, 1994, 185x145cm Li Jinkun)
Li Jinkun is an artist who has a multi-faceted attempt at art form. Although he is often positioned as a "landscape painter" in a conventional context, there is no shortage of works in his pen that challenge the boundaries of landscape painting and even the concept of Chinese painting.
Li Jinkun positioned himself as a "practical painter with a spirit of exploration". He believes that before painting, the painter should have a sense of oppression "like a great enemy". "If I hadn't had that kind of investment, I would have despised the painting myself."
Li Jinkun has a special affection for the Song paintings in the heyday of The development of Chinese landscape painting, and has done relatively in-depth copying and research, and has made a lot of efforts. But his purpose was clear, and the mind was clear. He believes: "The brush and ink technique, which is the main feature of Chinese painting, cannot be successfully applied to the creation of modern Chinese painting without understanding its modern aesthetic value. ”
He advocated that the pen and ink "symbols" with independent aesthetic value and high generalization power should be re-judged and combined with modern concepts to give them new meanings and extract new techniques from them. Li Jinkun's experience in the study of landscape painting in the Song Dynasty has been subtly reflected in his paintings.
(Wind and Rain Return, 2004, 190x360cm Li Jinkun)
Over the years, the interweaving of the triple identities of painter, teacher and social position has allowed Li Jinkun to cultivate a unique artistic language. He adheres to the scholarly posture of an artist, breaks into the tradition with the greatest skill, goes deep into the core of the exploration of the previous masters to study painting, refines the pen and ink symbols with special aesthetic value, and achieves the artistic realm of "exquisite pen and ink" and "profound artistic conception" in landscape painting.
Quotes from Li Jinkun:
1. Art should serve the people, and this 'people' includes not only the people of the Chinese, but also the people of the world.
2. The masters of art in an era are limited, and the efforts of most painters are fruitless, but they still paint without complaint.
3. "Facing the contemporary, studying the West in the middle, and learning from the past to the present" is the attitude that China's comprehensive national strength has developed to the present, and cultural self-confidence and cultural spirit have been continuously strengthened.
4, I like to be a teacher, students can help me complete the things I have not yet completed, to solve the problems I have not yet solved.
5. The progress of painting has never been inseparable from the cultural people with perseverance to take responsibility, and it is also necessary to participate in the promotion process of this kind of painting with serious professionalism. And the whole society is becoming more and more impetuous, and people can't even calm down and think.
6. Study Li Xiongcai and find that there are too many things that are lacking in our generation of artists. Taking the Fa, other people's paths can also be followed. Walking other people's roads can see other people's landscapes and let yourself know the way.
7. I attach more importance to the exploration attitude of the painting profession, and I advocate that painting must be carried out in a rigorous state.
8. I attach importance to the exploration attitude of the painting profession, and I advocate that painting must be carried out in a rigorous state.