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【上苑現場】與詩同在：琳子鋼筆畫個人作品展
[2018-9-16 19:28:31]
【上苑現場】與詩同在：琳子鋼筆畫個人作品展
【scene】Go Along with the Poetry: Solo Exhibition for Lin Zi’s Fountain Pen Sketches
策展人：牧野
學術主持：程小蓓
開幕時間：2018年9月22日，下午3:30
展覽時間：2018年9月22日至29日
Curator: Mu Ye
Academic Host: Cheng Xiaobei
Opening: September 22, 2018, 15:30
Time: September 22 till 29, 2018
評論 Comment：
我看琳子的鋼筆畫，有如下幾點值得肯定：
Following
points must be affirmed on the pen-and-ink drawing of Linzi:
一是得其趣。一片天真爛漫之氣，仿佛天然圖畫，自赤子之心歡快流瀉而出，看似出自孩童手筆，但又明顯有“大人”的“手段”，有畫家自己的明確訴求和表達。花草魚蟲，動物植物，包括各色人等均可信手拈來，構成她創作的素材，并組合出妙趣天成的可愛有趣畫面，單純而不單調，看似素雅而五色交輝，畫外題旨暗藏其中，令人百看不厭，暗合藝術創作之奧秘。
The
first one is the fun. All the paintings are of naivety, created by nature,
convivially grown out of pure heart. It looks like all the paintings are from
kids, while all the paintings are made of mature skills of an artist, which
possesses accurate appeals and expressions. All the animals and plants, such as
flowers, grass, insects, even all kinds of person are creative materials at her
fingers and combine as diverting and lovely paintings of simplicity rather than
monotony. Purports out of paintings are deeply hidden in the unadorned and
colorful masterpieces. One never tires of watching these paintings and that’s
the mystery of drawing.
萬物生 37.8x52 0.38彩色中性針管筆—2018（上苑藝術館收藏）
二是得其情。無論人物，動物，牛牛馬馬豬豬雞雞之屬，流露出濃厚的鄉野情思，野趣襲人。我讀她描繪童年鄉野生活的哪些散文詩句，每每掩卷莞爾，一花一葉，一蟲一鳥，被她寫得如此天趣盎然，情真意切，再看她的鋼筆畫，仿佛成凝固的詩句，其詩其畫完全可以互為生發印證的，其實也是“詩中有畫，畫中有詩”，這就具有了大境界，大格局。
The
second is the feeling. All the element, whether persons or animals such as
oxen, horses, hogs and cocks are revealing a strong rural mood which touches
every single person. While I was reading the proses and verses telling about
her rural life of childhood, I was impressed with slight smiles by the alive
fun and sincere love she left in every single flower, leaf, insect, and bird.
Her paintings are just like her verses, both the verses and paintings show her
true similar feelings. Her works, which displays the superior syncretic of
verse and paintings, are of high level and mindset.
三是得其傳。琳子之畫，不難看出中原大地悠久厚重的歷史積淀、民間文化對她的滋養，有些畫作，明顯脫胎于剪紙或年畫。事實上國內不少畫家在自覺向民間美術學習并吸取養分方面的例子太多，作為美術創作形式之一的鋼筆畫，絕無例外，這方面，詩人兼畫家的琳子老師可謂聰明人一個。文學藝術的傳習，若對身邊的豐厚的傳統文化視而不見，要想橫空出世，另起爐灶，是不現實的，尤其是在我們這個有著數千年文明發展歷程的古老中國，在繼承吸取中才能有所創新，琳子的嘗試無疑對鋼筆畫家而言，應該具有一定的啟發意義。
The
third is the inheritance. It’s not difficult to tell that Linzi is of the
nourishment from the long and profound history of Central Plain and folk
culture. Some of her paintings are obviously born out of paper cutting or New
Year pictures. In fact, countless artists inland are learning from folk
culture, so as the Linzi, the smart poet & painter with her pen-and-ink
drawing. It impractical for one to make a fresh start and come out suddenly out
of abundant traditional culture around us, especially in ancient China for
thousands of years. There is no doubt that Linzi’s attempt of pen-and-ink
drawing and her innovation comes from inheritance could be of inspiration.
四是得其學。畫家所具有的詩人氣息和學養積淀，對其鋼筆畫創作的滋潤和影響是顯而易見的，我們不少鋼筆畫人或許正缺乏這一點，甚至將其視為一件“純手藝活”，作品死摳死描，只見畫內技巧，罕見畫外功夫，有“技”而無“道”，缺失才情和思想，這就成南轅北轍之態了，是很遺憾的。
The
forth is her knowledge. It’s obvious that the poet-like temperament and
knowledge will nourish and influence one’s creation a lot. Many painters failed
to show us something beyond the painting skills for whether lacking the
abundant knowledge or just seeing painting as a pure craft. It’s very regretful
for some artists being poles apart from the right direction for lacking talents
and thoughts.
此外，琳子的鋼筆畫在技法上開始形成自己的一些面貌，黑白灰、點線面的處理，以及用線的手段上，居然無師自通，不知不覺得到某種體現，這是很難得的。有些純技法方面的因素，非科班者往往得自自己的獨立探索和不懈嘗試，從自發到自覺，漸漸有所體悟，可謂來之不易，甘苦自知。這方面筆者學習鋼筆畫的情況也頗為相近，因此我對琳子鋼筆畫藝術的感受便更為深透一些，并在此意義上對她高看一眼。
Besides,
Linzi is developing her own characteristics, such as skillfully use colors like
black, white and grey and balance among point, line, and plane. Her self-taught
flexible use of line has her own style, which is very rare. One
non-professional painter must learn by herself and keep trying to train the
drawing skills. It may be said “No pain, no gain”. I share the similar
situation with Linzi during learning pen-and-ink drawing so that I share the
same feelings with her art style, and that’s why I pay so much attention to
her.
-- 中國鋼筆畫聯盟 程慶拾
-China
union of the pen-and-ink drawing. Cheng Qingshi.
《老屋》0.1紅環針管筆 蔡倫原漿手工宣紙—26x18.8 2015（上苑藝術館收藏）
肚擠眼里是一個花蕾，蓮蓬組成羊的蹄子，豬的耳朵是薄荷，裙裾的扣子是瓢蟲，貓頭鷹的喙是紅辣椒，碩大的葵盤里行走著一匹羊，坐在一瓣荷花可以渡航，馬眼里有蜜蜂，披著大緞子花朵，河流和魚鱗都攀附在樹上，青花酒具肚子里面站著鷺鷥，蓮蓬的帽子，豬背上的戴勝在剔牙，掃帚在飛翔，夢讓鳥銜著消失，布老虎的胡子，石榴樹上結櫻桃……這些是琳子的元素。她像是在蜘蛛吐絲織網，都是紙上的童話，夢幻一般穿梭。
A
belly button in a flower bud. A sheep hoof made of lotus seedpods. A pig with
ears of mints. The train with buttons of ladybirds. Owl’s beak as pimiento. A
goat’s wandering in the giant sunflower. Sailing lotus. A bee lying in the eye
of the horse. Flowers wearing satin. Rivers and scales cling to the tree. Egret
bird standing in the blue and white porcelain. The hat as lotus seedpod.
Hoopoe’s picking his teeth in the pig’s back. The flying broom. Dream’s
vanishing in the beak of a bird. Cloth tiger’s beard. Cherries grow on a
pomegranate tree…… These are all the surprising element of Linzi. She’s the
spider spinning the web with tales as the thread and the fantasy as the
weaving.
就是這樣。是琳子的繪畫風格。
That’s
what she did, and that’s her style.
和她的詩一樣，近似北中原的山海經。
Just
like her verses and lines, just like The Classic of Mountains and Seas of North
Central Plains.
--馮杰（詩人、作家、畫家）
-Feng
Jie (Poet, writer, and painter)
中原壁畫系列——碑文 紙本0.1針管筆 26x37.8 —2018（上苑藝術館收藏）
多年前我去了一趟土耳其的伊斯坦布爾的金角灣，見到一個土耳其的作家，叫龐姆克。他在小說里反復描寫到了細密畫。土耳其的細密畫非常細膩，跟鋼筆畫有異曲同工之妙。據土耳其的畫家講，當你現實的眼睛盲掉之后，你才能畫出來真正的最接近事物本源的畫。琳子的一雙眼睛非常明亮，已經達到了這樣的境界，畫出了最接近事物本源的，和自然的靈魂達到高度的契合的鋼筆畫。給我們帶來了非常新奇的感受。
Years
ago, I went to the golden cape bay in Istanbul, Turkey. I met a Turkish writer
named Pomke. He mentioned miniatures painting a lot in one of his novels, which
is not only very meticulous but similar to the pen-and-ink drawing. It’s said
that you could come out with a masterpiece closest to the origin of things only
if you blind your own eyes. Linzi has very bright eyes while she already meets
such level to make paintings close to the origin of things and nature, which
all bring us very novel feelings.
--何弘（評論家，作家）
-He
Hong (Critic and writer)
大花籃 26x18 0.38 彩色中性管筆 —2018（上苑藝術館收藏）
琳子畫中各種圖案的來源，是她足下的大地，和她心中的愿望相結合的產物，這也是一個詩人所特有的思維狀態。而那些圖案與圖案之間，并沒有互為生成的，物自身的關聯，但卻有著審美上的互為關聯。這就是說，她的畫作在其審美結構上，物與物之間是一種結構關系，而不是傳統意義上的類屬關系。這樣也使得她的畫，在審美感受上有了很強的現代感，把傳統引向現代，把現代畫出個性，讓個性面向時尚，而讓時尚更具審美價值，這就是琳子的畫。
All
the paintings of Linzi are derived from the combination of the earth she stands
and what she desires in the mind. All the elements share no essential relevance
but aesthetic resonance. She’s more concerned about the aesthetic beauty and
harmony rather than the original affiliation among elements. All these together
make her drawing full of a sense of modern. Linzi’s paintings bring the
tradition to modern and put her finger on the individuality, which aimed to the
fashion of modern. That’s what her works truly show.
--單占生（出版人，教授，評論家）
-Shan
Zhansheng (Professor, publisher, and critic)
軍帽下的哥哥 26x37.8 0.38彩色中性針管筆 —2018（上苑藝術館收藏）
《十二生肖》顯現出畫家琳子超人的構圖能力、想象力，和對線條的運用和控制能力，僅用一種顏色，便將十二種動物創造性的、活靈活現地呈現在觀者面前。從使用材料上看，琳子的鋼筆畫似乎仍應歸入中國畫范疇，相當于工筆畫的分支，而在畫中加入詩意的元素在中國畫里并不鮮見，畫家琳子作為一位頗有成就的現代詩人，她像巫婆（真正的巫婆擁有隨意調整物品位置、形狀、色彩的能力）一樣在畫中加入童話色彩和使用巫術，使她的鋼筆畫從眾多的鋼筆畫中脫穎而出。
The
“twelve Chinese zodiac signs” of Linzi showed her superior imagination,
composition ability and her control ability of line. Using just one single
color, she creates twelve lively and creationary Chinese zodiac signs
respectively. Linzi’s paintings can be involved in Chinese paintings if we just
focus on the materials she uses and can be a branch of claborate-style
painting. There are many artists who’re skilled in drawing paintings of poems,
and Linzi, as one accomplished modern poet, is just like a real witch who’s
painting fairy tales and outstanding pen-and-ink drawings.
--唐果（詩人，北京上苑藝術館駐留藝術家》
-Tang
Guo (Poet from Shangyuan Art Museum)
《單車女孩》 26x37.5 —紙本彩色針管筆手繪——2018（上苑藝術館收藏）
琳子的繪畫誕生無疑是中原這塊神性大地上又一簇富有天啟般預示的奇跡發生。在文字無以囊括的所在，琳子用一支彩筆和一顆惠心，開創出中真正具有中原風中國味同時兼具現代性與民族性的繪事格調，人戲謂之有巫媼之法力，余視之乃不世之奇才。
The
birth of Linzi’s painting is undoubtedly another miracle predicted by the
apocalypse in the divine land of the Central Plains. In the area in which words
lose their power, Linzi’s creating something of Chinese style and national
painting style. Some may say she’s a powerful witch, while I think she’s a
prodigy of time.
--范恪劼（作家，大學教授）
-Fan
Kejie (Writer and Professor)
前言
Intro
看到女詩人琳子的畫時，我第一時間想到了法國素人女畫家薩賀芬•路易，生來有一顆尋找并創造藝術的心靈。 很多人的生命里會有對藝術本能的需要，有一種神秘的天賦。創作動機并不為取悅別人，首先是為提升自己的生命高度，豐富生活質量開始的。琳子與薩賀芬•路易如出一轍。
琳子采用了針管中性油筆在素描紙上畫，她是趴在桌子上畫的，提筆一畫就是好幾個小時，對一幅畫的完成幾乎是強迫癥似的過程。她從黑白到彩色，從單層到復層，到多色重疊，到紙被針管筆刺毛、刺穿……，她所經歷的是不斷的欣喜，也許會有停下來質疑一會兒的時間，調整后神會給她創作沖動，讓她繼續畫下去。那怕手上的肌肉與韌帶已被損傷，她的內心是快樂的。
從她的畫我們能看到她童話般的想像力，以及她生活周圍的良性生態。在那些細細密密歡快而成熟的筆觸中，呈現出她內心世界里住著這么多和平共處、互致問候的美麗生靈。她屏蔽了這個時代丑陋的所有，只呈現美好的東西，將自己也將觀眾帶離生活的沉重。
我期待她繼續帶我們遠離塵世，期待她的紙上王國帶給我們更多驚喜。
——程小蓓
When confronted by Lin Zi’s sketches, the name Seraphina Louis pops into my mind. She is a French amateur painter, with the same kind of mind that born with the talent for searching and creating art like Lin Zi. In many people’s life, there are an instinctual need for art, a mysterious gift. The motivation for create is not to please others, but to improve one’s own life, to enrich one’s life quality. Lin Zi and Seraphina are exactly the same from this perspective.
Lin Zi uses needle rollerball pen to paint on sketch paper. She leans on her desk for hours to complete a piece of work, as if possessed by OCD. From black and white to colors, from a single layer to multiple layers, until the paper starts to feather, what she is experiencing is constant joy, or maybe mixed with a little self-questioning. After adjustment, new inspiration comes to her, keep her going. Even though the muscles and ligaments of her hands are tiresome, inside her heart, she is happy.
From her sketches, we can see her childlike imagination, and the kind environment that surrounds her. The meticulously detailed and mature drawings are the manifestation of the peaceful, polite, and loving creatures which live inside her inner world. She blocked the ugliness of our world out, and only presents us the beauty, to levitate herself and the audience out of the burden of life.
I am looking forward to her to take us away from this world, to bring us more surprises with her kingdom on the paper.
by Cheng Xiaobei
《12生肖之狗》—37.5x52—紙本0.1針管筆手繪——2014年
《12生肖之猴》—37.5x52—紙本0.1針管筆手繪——2014年
《12生肖之虎》—37.5x52—紙本0.1針管筆手繪——2014年
《12生肖之牛》—37.5x52—紙本0.1針管筆手繪——2014年
《12生肖之鼠》—37.5x52—紙本0.1針管筆手繪——2014年
《12生肖之羊》—37.5x52—紙本0.1針管筆手繪——2014年
《外祖母屬蛇》26x37.5 —紙本0.2黑白針管筆，2015
《媽媽的家》26x37.5 —紙本0.2黑白針管筆，2015
《星星落在屋頂》26x37.5 —紙本0.2黑白針管筆，2015
《日出-大魚》26x18.5.5 —紙本0.1針管筆手繪——2017
《流淌》26x18.5.5 —紙本0.1針管筆手繪——2017
《花旦》—26x37.5-蔡倫手工原漿宣紙-2015
《稻草人-1》0.1紅環針管筆 蔡倫原漿手工宣紙—26x318.8 2015
《媽媽坐在門口拆毛線》0.1紅環針管筆 蔡倫原漿手工宣紙—26x18.8 2015
《小麥生長的地方》 52x37.5—紙本彩色針管筆手繪——2018、5
《光芒》 26x37.5 —紙本彩色針管筆手繪——2018、5
《果核》 26x37.5 —紙本彩色針管筆手繪——2018、5
《馬》 26x37.5 —紙本彩色針管筆手繪——2018
《凈》 26x37.5 —紙本彩色針管筆手繪——2017
《天空》 19x26 —紙本彩色針管筆手繪——2018、5
《藍色背景-1》 19x26 —紙本彩色針管筆手繪——2018、5
策展人評論
與詩同在——寫在琳子鋼筆畫展
文 / 牧野
著名詩人琳子女士用八年也許多于八年的時間創作了一批插畫作品，她是用那種細小的芯筆一根根線條描繪出來的。在當下的專業畫家看來，琳子的確有點讓人不可思議：她怎么不使用討巧的手法，而只用古老的線描手藝就隨意畫出了她的豐富多彩、變換多端的魔幻意象呢？累不累呀。是的，如果不是一位內心禪定的人，你真的無法想象，她摒棄了N多的表現手法和材料的使用，固執于線條的運行，該是怎樣的糾結與執拗。女詩人唐果說，琳子是位巫婆。顯然，唐果看見了琳子“作法”的一面，而我差點就以為她是一位修禪的居士。說不定，琳子畫畫，真的是在潛心修煉生活禪呢。
即將在北京上苑藝術館開幕的琳子鋼筆畫個展，我們會看到一小部分琳子創作的繪畫作品。可以毫不夸張地說，這是琳子詩歌之外的第二生命的外化，或者說是琳子創造的個體專屬的第二語言世界。英國詩人沃爾科特說，你要改變自己的生活，你先要改變自己的語言。事實上，盡管詩歌、繪畫有著語言的相通之處，但仍是不同的兩種思維方式。如此說，繪畫對詩人來說，是個體生命意義的另一種可能。這一點足夠吸引具有創造精神的優秀詩人拿起并不熟悉的畫筆，面對一張白紙、一幅畫布，喚醒內心沉睡的視覺語言的思考與想象。
現在，我們看到，越來越多的詩人加入到畫家的隊伍中，他們顯然不是出于對專業畫家語言及想象能力的不滿，而是自認為繪畫從不專屬于某個職業群體，就像任何人都可以寫詩一樣。在詩人看來，畫畫要經美術學院專業級培訓簡直是無法容忍的事情，用一套規訓的繪畫語言，傳遞某種范式的繪事勞動，只能說是普遍性認同的集體無意識的對自我靈性的扼殺。正因如此，當代藝術的國際化觀念運動，博伊斯倡導的“人人都是藝術家”的理念，已經深入人心；在全球化的今天，絕大部分被學院曾經規訓的藝術家，反學院藝術行動又成為一條藝術話語體系，好像這是藝術生命必經的自我再造之路。在此，特別建議上苑藝術館掌門人程小蓓女士鄭重向國家教育部提出申請，批準在上苑藝術館掛牌成立“中央詩歌學院”。如是，也好留下規訓詩人的詩歌表現之標本。
這里引申出另一問題的思考。在798藝術區，每年都有一場別開生面的藝術展覽，名之曰“素人繪畫展” 。“素人”和“俗人”，不看文字，聽上去以為就是“俗人”藝術展。我們姑且不理會“素人”一詞有否甄別確證身份之意，但也不可否認，“素人”一詞的使用，說明科班出身之外，非專業的繪畫一定有著職業級藝術家可能喪失的某種信任，被“素人”們毫不猶豫地據為了己有。另一面說，是否仍有專業塑造的傲慢與偏見，不得而知，最大的可能，是想為當代藝術挖掘一面接續原初的藝術鏡像。直到目前，作為詩人又可列為“素人”的琳子女士還僅限于芯筆的線條描繪，挑釁的也許只有專業插畫師的小眾經驗。但其身后，僅就上苑藝術館而言，就有一大群女詩人正在繪畫創作，并且不久前舉辦了一場轟轟烈烈的女性詩人畫展。
好像琳子的出現就是為藝術提出問題而來、而現身。盡管在當下的藝術情境中，很難挑出幾位詩人作為繪畫代表挑戰藝術家的創作表現，或給予自覺的藝術家以方向性的啟示意義，但是越來越多的詩人拿起畫筆，已經作為一種現象被現實提了出來。眾所周知，在藝術界，藝術家不讀書往往成了某些批評家詬病的資本，那么對一位著名詩人而言，讀不讀書已不是問題，優秀詩人的文本同樣也是批評家、藝術家的閱讀對象。那么，詩人介入藝術創造又該作何批評與理解？正如我們看到的事實，詩人畫畫并沒有以藝術文本給出某種藝術方向，如宋代大文人蘇軾提出的“文人畫”方向，那么讀書是否構成一個藝術家必須的優秀條件之一呢。暫且懸而不論。這里我想合并詩人藝術家，統一為一種身份，可能嗎？那么這里就有一個詩人藝術家通約的問題，亦即什么是當代詩歌、當代藝術的當代性問題。詩人們很少關心“當代性”，而當代藝術家首要解決的又是““當代性””的認知問題，對藝術家來說，這很重要。其二，詩人對詩歌史的理解和藝術家對藝術史的理解存在嚴重的時空錯位，在當下又是并置同行、井水不犯河水的狀態。那么，詩人拿起畫筆轉換語言模式的時候，畫面感和藝術此在的狀態作為問題同樣提了出來。以上諸多問題都是基于琳子作為優秀詩人將要舉辦個人繪畫展而提出。可見，詩人琳子的出場多么地重要。
無論如何，詩人們拿起畫筆都是早已期待的回應。詩人琳子的繪畫創作，明顯不是占有藝術資源的臨場發揮和沖動。我想，正是這一點，讓我們看到作為優秀詩人的創造品質，敢于敞開生命，向與詩歌語言并行的藝術開放，尋求以藝術行為的方式，拓展生命的寬厚度，將豐盈的詩人氣質和想象，帶入藝術時空，在生命的有限性中創生個體存在意義的無限可能。無疑，這是另一種對生命的維護和持守。相信親臨現場的各位嘉賓、觀眾會和我有著同樣的感受！
預祝詩人琳子女士鋼筆畫展圓滿成功！
2018.9.11
牧野（詩人，策展人，藝術評論家）
Curator’s Comment:
by Mu Ye
Our famous female poet Lin Zi has spent 8 years or more to create this series of sketches. She uses that kind of needle rollerball pen to draw each thin line on the paper. For contemporary artists, Lin Zi is truly a surprise: she does not use any ‘smart’ technique, only by probably the oldest method of line drawing, she is able to create a colorful, imaginative, and magical images. Yes, if not as someone with zenic mind, you cannot imagine that she has given up so many different methods and techniques, insists on using just lines. What a stubborn and persistent person! Another female poet Tang Guo commented that Lin Zi was a witch. Apparently, Tang Guo has seen the magic side of Lin Zi’s works. As for me, I almost took her as a Zenist. Actually, maybe by sketching, she is indeed going through her Zen practice.
At the upcoming exhibition of Lin Zi’s Fountain Pen Sketches, we will be able see a small part of Lin Zi’s works. Without a doubt, this is the second manifestation, beside poetry, of Lin Zi’s life. Or, we can say that this is the second language that Lin Zi creates that only belongs to herself. Derek Walcott once said that if you wanted to change your life, you had to first change your language. In fact, even though there are similarities between poetry and painting, they are, by essence, two different ways of thinking. For instance, painting for a poet, is another possibility of personal life. This is enough to draw the interest of great poets with a creative spirit to pick up a brush that she or he is not familiar with, to face a paper, a canvas, in order to wake up the sleeping imagination of visual language and imagination.
Now, we can see, more and more poets are joining the rank of painters. Obviously, it is not out of dissatisfaction over the visual language and imagination of the professional painters, but to recognize that painting does not belong to a single group of professionals, just as anyone can write poems. For poets, it is almost intolerable that be a painter means proper academic training, using a set of disciplined language to create some kind of paradigm. This can only be described as the murder of self-spirituality by a commonly recognized collective unconsciousness. For this exact reason, contemporary international art conceptual movement, Beuys was promoting the idea that everyone can be an artist, ant it is deep in everyone’s heart. In the era of globalization, most of the professional artists who went through the discipline process of academic training have now created a new narrative of anti-academic, as if this is the necessary path to reform one’s artistic life. Hereby, I recommend the Curator of Shangyuan Art Museum, Cheng Xiaobei, to apply to the ministry of education, to establish a Central Academy of Poetry in Shangyuan. As, it is to set up an example of disciplinary training of poets.
Herecomes to another reflection. In 798 Art District, annually, there is an exhibition calledAmateur Painting Exhibition.As if amateur means poor taste, it becomesPoor Taste Exhibition.Let’s leave out whether amateur can really be used to categorize artists, at least, by using it, it means that outside academically trained painters, people might have some kind of trust towards non-academically trained artists. Theseamateursgained the public trust. On the other hand, the use of the world, inherently consists the arrogance and bias of the so-called professionals, which we wouldn’t know. Anyway, the most possible matter is that we want to discover an original reflection of contemporary art. Until now, as a poet and a amateur artist, Lin Zi’s paintings are limited to fountain pen sketches. What has been challenged here is only the experience of a small group of illustrators. But what is behind it, as for Shangyuan, there is a big group of female poets making paintings, and a great exhibition was held not long ago.
As if Lin Zi’s appearance is to rise new questions to art. Even though under current art world, it is very hard to pick any of the paintings made by poets to challenge artists’ works, or to give self-aware artists some profound inspiration, as more and more poets are taking up the brush, it is now a reality. As we know, in artists circle, it is common among critics to criticize that artists don’t read enough. For a well-established poet, this wouldn’t be a sufficient criticism, his or her writings will become the subject of reading by critics and artists. Thus, how can we understand and comment poets’ invasion of painting? It is true that poets’ paintings so far haven’t made any profound directional impact, as the great literati of Song Dynasty Su Shi created the category of literati painting, is to read as a necessary quality of a good artist? This is a question we can’t answer for now. Here I want to combine the two identity of artist and poet together. Is it possible? A question concerning the commonality between artists and poets comes up. Thus, what is the contemporality of contemporary poetry and art. Poets pay little attention to contemporality, but artists’ first priority is to solve the issue with it. It is very important for artists. Also, there is a huge gap between poets’ understanding of literature history and artists’ understanding of art history. They are fully separated from each other now. Therefore, when a poet picks up a brush and transform his or her language pattern, imagery and art here has been brought up as a question as status. So many questions have surfaces just from Lin Zi’s exhibition. This makes exhibition such important one!
Nevertheless, poets by picking up the brush are answering a longing expectation. Lin Zi’s paintings, surely, are not the result of the urge from artistic capital. I think, this is exactly what we see as the creative quality of a good poet, dear to open to life to both poetic language and to explore and to expand the dimension of life. Poetic quality and imagination has been brought into the space of art, to create infinite possibility within limited experience of personal life. Undoubtfully, this is another kind of guardianship of life. I believe all the guests and the audience to this exhibition will have the same feeling as I do!
I wish the best success to Lin Zi’s exhibition!
2018.9.11.
琳子介紹
琳子，原名張琳，河南滑縣人，河南省文學院簽約作家。參加詩刊社第九屆“青春回眸”詩會。出版文集多部，其中：詩集《響動》入圍第三屆徐志摩詩歌獎。詩畫合集《花朵里開花》獲評2016“中國最美的書”。童話散文集繪本《草手鐲》獲河南省第六屆文學藝術優秀成果獎。詩集《最美的太陽》獲“小眾書坊2017年度十大好書”推薦，參加了中國第七屆魯迅文學獎評選。
2011年因《草手鐲》涉足鋼筆畫，隨后畫作《女人和魚》等6幅用于旅美女詩人明迪的英文詩集《長干行》封面及內文插圖。
2012年，畫作《螞蟻和大象》等66幅用于青青散文集《白露為霜》（讀者出版集團）封面、內文插圖。
2014，畫作《蜜蜂》等4幅用于子梵梅詩人隨筆叢書《秘密的瓶子開著花》（北京郵電大學出版社）封面、內文插圖。
2014年，畫作《手》用于旅美詩人明迪的詩《RIVERMERCHANTSWIEE》封面。
2014年4月，畫作《做夢的小女孩兒》等50幅插圖用于童話散文集《草手鐲》（天津科學出版社）出版，該書獲得“河南省第六屆文學藝術創作優秀成果獎”。
2015年2月1日-3月7日“魔法自然——詩人琳子的鋼筆畫個展”在“鄭州大摩?紙的時代”書店開展。
2015年畫作14幅刊登《詩歌風賞》第三期“雕塑”欄目。
鋼筆畫8幅刊登《鴨綠江》文學期刊2016年第二期“作家藝境“欄目。
2016年為深圳詩人朱濤的詩集《半輪黃日》創作插圖26幅，長江文藝出版社出版并全國發行。
2016年10月，《花朵里開花》由當當網簽約出版，同年11月獲評“2016年中國最美的書”，并參加了2017年“德國萊比錫世界最美的書”評選，獲得“海峽兩岸設計邀請賽評委特別獎”，參加“第九屆全國設計展”等榮譽。
2017年，受邀為《解放軍文藝》創作全年封面圖案。
2017年為詩人、攝影家張鮮明的小說《寐語》創作插圖35幅，光明日報出版社出版，游讀會全球推薦。
北京上苑藝術館“2018年國際創作計劃駐留藝術家”。
Lin Zi:
Lin Zi, original name Zhang Lin, from Hua County, Henan Province, writer from Henan Provincial Literature Academy. Participated in the 9thQingchun HuimouPoetry Conference. Published several books. Her collection of poemsXiangdongentered the 3rdXu Zhimo Poetry Award. BookHuaduo Li Kahuawas selectedMost Beautiful Bookof 2016. Illustrated fairy taleCao Shouzhuowon the 6thLiterature and Art Accomplishment Award from Henan Province. BookZuimei de Taiyangwon Top 10 Books from Small Publishers 2017, the same book entered the 7thLu Xun Literature Award.
2011, started fountain pen sketching because ofCao Shouzhuo,later the paintingNuren yu Yuand 5 other paintings were used in Ming Di’s bookChang Gan Xing.
2012, paintingMayi he Daxiangand 65 other paintings were used in bookBailu Weishuang,published by Duzhe Publishing Group.
2014, paintingMifeng,and 3 other paintings were used for Zi Fanmei’sMimi de Pingzi Kaizhehua.
2014, paintingShouwas used as the cover of bookRiver Merchant Swieeby Ming Di
2014.4, paintingZuomeng de Xiaonuhai and 49 other paintings were used in bookCao Shouzhuo,published by Tianjin Tech Publishing House, won the 6thLiterature and Art Accomplishment Award from Henan Province.
2015.2.1 – 3.7, Magical Nature: Lin Zi’s Solo Exhibition in Zhengzhou Damozhi Shidai Bookstore.
2015, 14 paintings were presented on the 3rdShige Fengshang.
2016, 8 paintings were published onYalujiangmagazine.
2016, 26 paintings were used in Zhu Tao’s bookBanlun Huangri,published by Changjiang Literature and Art Publishing House
2016.10,Huaduo Li Kahuawas selectedMost Beautiful Book of 2016,and entered the 2017 World Most Beautiful Book Award in Leipzig, Germany, won Special Award from Both Sides of Taiwan Strait Design Competition, entered the 9thNational Design Award.
2017, invited byPLA Literature and Artfor designing the cover for a year.
2017, 35 paintings used for Zhang Xianming’s bookMeiyu,published by Guang Ming Daily Publishing House.
2018, Shangyuan Art Museum International Residency Program participant.
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