简介：      郦文龙、亦作古山，王蘧常私淑弟子，1957年生于杭州，工艺美术专业毕业。1983年入浙江人民出版社，后任美编室主任。1985年谒见王蘧常先生，拜为私淑恩师。并为其出版《王蘧常书法集》。先生点拨，言简意赅，语破天机！指授《说文》《急就》《张迁》三册，入门稍有长进。1992年入浙江美院中国画系人物班深造。平生受王蘧常影响最深，于章草、行楷、隶书、魏碑、大小篆、甲骨有猎涉。乃以草法为归。主张以小学究书学。入传统，言创新。 Self-introduction:        Li Wenlong, also known as Gu Shan, is a private disciple of Wang Juchang. I was born in 1957 in Hangzhou and majored in art and craft. In 1983, I joined Zhejiang Peoples’ Press and later was promoted to the Director of its Division of Art Design. In 1985, I met with Master Wang Juchang and became his private disciple. I then edited and published A Collection of Wang Juchang’s calligraphy works for him. The instructions from Master Wang are concise but contain critical secrets for mastering calligraphy! Wang Juchang taught me three chapters: Shuowen, Jijiu, and Zhangqian, and I was deeply enlightened and improved my calligraphy writing thereafter. In 1992, I completed advanced courses in figure painting offered through the Department of Chinese Paintings at China Academy of Art. My calligraphy writing has been most deeply influenced by Wang Juchang. While I am able to write in the standard cursive style, the running/standard style, the cleric style, the style of the Wei Period, the large and small seal scripts, and the oracle bone scripts, I primarily focus on the standard cursive style. I argue that one should study calligraphy through the study of classics; I delve into traditions and advocate for innovations.He is now the executive director of the Visual Art Research Institute of the art center of China Academy of fine arts

百寿图180cm×240cm（纸面丙烯）（2022） Hundred Longevity Chart 180×240cm (acrylic on paper)（2022）

大运河（纸本丙烯）90x90cm(2021) Grand Canal (paper propylene) 90x90cm (2021)

聚散（纸本水墨） 79cm×110cm（2020） Gathering and dispersing (ink on paper) 79cm×110cm（2020）

秋（布面丙烯）120cm×120cm（2022） Autumn (acrylic on fabric) 120cm×120cm（2022）

叠石流泉（纸本水墨）79cm×110cm（2020） Flowing spring through rockery (ink on paper) 79cm×110cm（2020）

慎独（木板丙烯）44x50cm. 2022

丛碧小隐（纸本水墨） 110cm×79cm （2020） Hidden in exquisite thicket (ink on paper) 110cm×79cm（2020）

瓶花1986

代大权（清华大学艺术学院教授）： 郦文龙的艺术是張力与驱力的较量，人性与魔性的搏击。

虎（木板丙烯）30x60cm(2022) Tiger (KT plate propylene) 30x60cm (2022)

师恩永存、鸣谢！

恩师：王蘧常 早期书法导师：罗会云、朱关田、俞建华 骆恒光、刘承闿 早期国画导师：朱晓岩 早期哲学导师：严群 早期文学导师：胡士莹 早期古代汉语导师：任平 师兄：王运天 早期绘画导师： 素描：邹广明、丁正献 色彩：曾宓、张玉忠 解剖：高照 透视：殷光宇 外国文学：竺志华 综合文艺：冯罗铮 综合素养：寿崇德 水粉：王祖培， 平面设计：孙晴义、佟燕 版画：朱维明 书藉装帧：应善昌， 连环画、综合艺术：池长尧 人物画：吴永良 山水画：童中焘 中国美院人物班导师： 人体写生：王赞 半身人像素描：胡寿荣 半身人像大写意：蔚晓榕 全身人像大写意：刘国辉 中国人物画创作：冯远

宝塔庄严 尊身不灭（纸本水墨） 120cm×76cm （2020） Pagoda standing solemnly (paper and ink) 120cm×76cm （2020）

中国美术学院教授孙晴义说：“兴奋来源于感动。郦文龙对中国文字颇有研究，他运用现代构成的方式，巧妙书写，将中国文字以当代性的魂展现了出来，让人耳目一新。”

翠（kT板丙烯）40cm×60cm（2022） Verdant (kT plate acrylic) 40cm×60cm（2022）

创纪元年（纸本水墨）90cm×89cm（2020） The year of the genesis (ink on paper) 90cm×89cm（2020）

中国美术学院教授安滨评论：郦文龙的版画收藏非常系统而宏富，他的当代艺术也从其收藏中获得启发，笔墨粗犷，画面生动，平面的取舍安排精当，作品气势恢宏，令人震撼。

飞鸟（布面丙烯）106cm×299cm （2021） Flying Birds (acrylic on fabric) 106cm×299cm（2021）

碑草（纸本水墨）67cm×78cm （2020） Cursive scripts written with the flavor of stele inscriptions (ink on paper) 67cm×78cm（2020）

火（布面丙烯）78x108cm 2022

韩天雍（中国美术学院教授、博导、浙江省甲骨文学会会长）评论：郦文龙的＂先锋＂现代作品，充满着强烈的视觉冲击力，富有力量感，点、线、面相互纠结，多以三角形和重块面表现出冲突与矛盾，又能很好地协调统一在一幅作品中。如民乐中琵琶曲《四面埋伏》、贝多芬的《命运交响曲》，有一种积极进取不被传统书法技法所束缚的奋斗精神，充满着自信与胆魂。 作者选用上古文字即殷商甲骨、两周金文、春秋石鼓或秦代小篆为创作元素，结合他专业的平面设计、色彩构成和立体构成，带有极强的个性语言表达的符号。 我是作为浙江省甲骨文学会会长，郦文龙是我们甲骨文学会的主要干将，可以说是杀出的一匹黑马，他作品的震撼程度令我非常吃惊。有许多作品，像他利用甲骨文中秋天的“秋”字，秋字在甲骨文中的表现是一个蟋蟀，一个很大的蟋蟀，而且是落叶中带有丰富的书写笔意，它的每个点划就像秋风扫落叶那样，又非常有秩序感，但是懂得甲骨文的一看就是个“秋”字，他对每一个文字内容的选择，和他所对应艺术语言的思考每次都不一样，没有雷同。 他用丰富的色彩作为背景和前面的古文字，甲骨文、金文、简帛书、章草之间进行叠加，可以说是非常的丰富。郦文龙先生的作品更多倾向于倾斜、三角、不固定，或者是一种现代年轻人对时代的思考。这里边有一种进步，有一种奋斗，有一种呐喊。总之他有一种很强的震撼力。我感觉这个展览从纸面上的书法到油画布、乃至木板，综合材料的运用，他的色彩的丰富性可以说是㶷烂无比，同时他把古文字的一些基本点划运用到创作中来，又打破了古文字的严谨的相对保守的结构。 他在点、线、面的运用这方面，我感觉他有一种哲学的思考，无论是尼釆哲学、还是叔本华的悲观主义、抑或贡布里希的视觉和错觉这样的图像学，还有阿恩海姆的格式塔心理学。他有很多哲学的、或者美学的一些思考在里面。他不是按照我们原始的、传统的书法理论体系建立起这样的一个阵营。所以这也是西方美学、哲学、带给我们冲击的一个现象，带给我们新的思索。所以，这个现象是有非常好的学术价值。可以视为搞古文字艺术创作的，带有启发性的、带有探索性的具有非同一般的实践意义。

海棠依旧（布面丙烯） 120cm×120cm（2022） The crabapple remains unchanged (acrylic on fabric) 120cm×120cm（2022）

撼岳（纸本水墨) 60cm×88cm（2020） Shaking mountains (ink on paper) 60cm×88cm（2020）

虎啸（纸本丙烯）200cm×174cm（2021） Tiger’s roar (acrylic on paper) 200×174cm（2021）

潘嘉来（杭州市文艺评论家协会副主席） 评述：文龙老师的书写具有先锋性和实验性，与传统书写拉开了距离。与此同时，他的作品不管怎么变，并没有突破书法的边界，是守住了中国书法底线的。目前，有些现代书法，即兴地用毛笔画些线条或是不可知的符号，我们不能认为那还是书法。所谓书法，从字面上做最简单的理解就是：书写汉字的方法，这是一条底线，文龙是守住了中国书法这条文脉与底线的。 文龙老师先锋性和实验性的书法，来源于中国传统书法的笔意，是对传统书法进行了现代性的转换。我个人的体会，他是将传统书法中的方笔进行了强化和重新组织，形成了他书法作品强烈的个性特征和辨识度，使得他的作品从众多书家中脱颖而出，独树一帜。 文龙老师所书写的大多是古汉字，他是从古文献中选取对当下有启发意义的诸多汉字作为艺术创作的材料，体现了郦文龙书法之外的文化修养。这或许与他的老师王蘧常先生有关，我们知道王先生是书法大家，同时也是成就卓著的文字学家和史学家。文龙是承继了其师的文脉和学养的。

惊蛇（纸本水墨）78cm×108cm（2019） Startled snake (ink on paper) 78cm×108cm（2019）

飞（布面丙烯）101x53cm. 2022

鼓琴散雪 荡剑应雷（布面丙烯）180cm×120cm（2022） Playing the zither to scatter the snow, performing a sword dance to echo the thunder (acrylic on fabric) 180cm×120cm（2022）

蒋跃（中国美术学院教授）评论：郦文龙先生是孙晴义老师的高足，曾受教于中国美术学院。其作品以传统文字书写为基础，融合现代绘画元素，点线之间，个人面貌鲜明。几年前我曾在杭州参加过他的个人展览，但这一次展览有了新的变化与进步，老作品一件都没有出现，而作品面貌更为丰富。既有非常传统“真、、草、篆、隶”各种书体的作品，也有运用色彩叠加，以粗笔豪迈风格挥洒写成的“绘画作品”。如果用一个关键词来形容就是“传统出新”——是传统的，又是当代的。不禁使我想起了辛弃疾《永遇乐·京口北固亭怀古》中的诗句：“金戈铁马，气吞万里如虎。” 既雄浑豪放、温婉低沉；又豪气冲天、韵味十足。郦文龙的当代作品有一种气度之美，他是基于中国文化、中国哲学背景下的汉字书写，其如钢筋水泥建筑之结构，酣畅淋漓之笔势，加上粗犷表象下的精微表达，这种大开大合的气韵和气势，无不散发出正大气象的中华文化意境；郦文龙的当代艺术还有一种装饰之美，从疏密、浓淡、大小精炼到简洁的黑白之间，绚烂至极而归于平淡，张力华丽而震撼，这种黑白构成平面装饰的意趣，也是其当代艺术的精妙体现 归纳而言郦文龙先生的作品具有以下几个特点： 书写性——他的作品以中国哲学、文化为背景，以书写的方式入画，充满了文人写意的精神意蕴，具有很强的生命力和节奏感，从而与西方人静态、描摹的绘画方式拉开了距离。 结构性——他的作品粗壮雄伟，利用书法元素，浓缩概括，以中国汉字间架结构的造型元素，类似钢筋铁骨式的结构，严谨地支撑起整个画面的架构。 表意性——他的作品不仅是一幅独立的画面，同时又根据字面意思，通过画面的强弱粗细等方法，将中国汉字的表意功能发挥到了极致，内涵与外延都得到了充分发挥。 丰富性——他的汉字在平面型上进行了空间叠加，有色彩，有笔墨，有虚有实，虚实之间，粗放中的几枚精致的小印章，叠加出一个丰富的绘画空间。 现代性——他的作品舍弃了复杂的绘画形态，以几何式的概括营造单纯的画面，十分强悍，是西方人所说的“构成”型作品，充满着现代人的气息和很强的视觉冲击力。 郦文龙的作品率真而又考究；单纯却又不简单；方法来自传统但创作意识非常前卫，亦如展览题目概括：“先锋”。

嶺上云（纸本丙烯）142x109cm(2020) Lingshang Baiyun (paper propylene) 142x109cm (2020)

骏骨西风(110x78cm)水墨纸本。 2020

青春的本性1986

匹马（纸本水墨） 110cm×79cm（2020） Horse (ink on paper) 110cm×79cm（2020）

昆仑莽原（纸本水墨）87cm×118cm（2021） Wilderness overgrown with grass in The Kunlun Mountain (ink on paper) 87cm×118cm （2021）

艺术评论家王文杰评论说：“人们常说要以书入画，郦文龙则反其道而行，常以美术的视觉和构成方式以画入书。比如他书写的“鹤舞”是一幅在抽象的画底上的书作，黑色的字体与底色的红黄蓝色块形成鲜明的对照和呼应，饱和而丰盈，特具当代艺术的气息。他的书法具有强烈的金石味，我们从他所书“碑草”、“创纪元年”、“震响”、“灵岩”等作品中，读出一股侠气，也读出铿锵的力度。他运笔劲健，如刀斩斧凿，这些作品遵循着“笔法依于字法，字法依于章法”的原理。从章法布局上找到突破口，章法立，而后字法变，字法变，而后笔法由之，纵横资任，随心所欲。

江山永铸（纸本水墨）110cm×79cm（2020）   Rivers and mountains (the nation) permanently exist (ink on paper) 110cm×79cm（2020）

夏云奇峰（纸本水墨）110cm×79cm （2020） Summer clouds over grotesque peaks (ink on paper) 110cm×79cm （2020）

叠翠（纸本水墨）60x69cm(2022) Diecui (paper ink) 60x69cm (2022)

中国美术学院美术中心主任司文阁评论：如何将文字的有机变化与书写工具、纸张、色彩等媒介相结合，实现其应具备的当代性，是郦文龙不断实践的过程。他的作品中凸显出的当代感蕴藏了有序中的无序，强调了有序构成的绘画感，构图与文字内容相得益彰，给予观者强烈的视觉冲击，展现出强烈的个人风格，这也与书写者个性极为相关，平铺直叙、有的放矢、直捣黄龙，这都是郦文龙的性格，他极为可贵的探索与可喜成果，真是应证了学习进步的方略，为当代的文字艺术视界和居住精神空间打开了一扇明亮之窗。

叙旧邦 赋新命（布面丙烯）110cm×79cm（2022） Documenting ancient nations, developing new missions (acrylic on fabric) 110cm×79cm（2022）

万岳月（纸本丙烯）89x110cm 2022 Wan Yueyue (paper propylene) 89x110cm 2022

云断晚山（纸本水墨）87cm×119cm（2021） Clouds breaking through the evening mountains (ink on paper) 87cm×119cm （2021）

先春（布面丙烯）70x34cm(2021) Xianchun (cloth faced propylene) 70x34cm (2021)

数声啼鸟（布面丙烯）81x20cm(2021) Counting birds (cloth faced propylene) 81x20cm (2021)

先锋（木版丙烯）91cm×88cm（2022）      Vanguard (wood acrylic) 91cm×88cm（2022）  

刘一丁（杭州市美术家协会副主席） 郦文龙先生毕业于工艺美术专业，受业于孙晴义教授，曾仼浙江人民出版社美编室主任。郦文龙先生在个人艺术上的突破和创新，是以中国文字学为依据，在纸本、木板及油画布等载体上平延或者解构重组汉字结构，将甲骨、金文、篆、隶、行、草、楷等中国书法元素融入绘画之中，画中见书，书在画中，色彩丰富，个性突出，视觉冲击力极强。仿佛在一夜之间，中国诞生了一位令人眼睛一亮的当代艺术新星，真是可喜可贺！

风（纤维板丙烯）38cm×38cm（2022） Wind (acrylic on fiberboard)

道在自然 道法自然 道超自然（布面丙烯）310cm×230cm（2021） The Tao is in the nature, the Tao follows the nature, the Tao transcends the nature (acrylic on fabric) 310cm×230cm（2021）

龙（KT板丙烯）30x60cm(2022) Dragon (KT plate propylene) 30x60cm (2022)

方也（浙江省国际美术交流协会对外交流合作中心主任）评论 文字是有力量的。相传仓颉造字成，天地惊，鬼神泣，从此混沌世界便有了文明的曙光。郦文龙将传统书学融古烁今，真草隶篆皆有其韵，能在书学的法度之内，创造出一种新的书体，融合平面设计，色彩构成，音乐节奏，诗歌韵律等诸多艺术意象和象征的创作手法于一种书写表达样式，这是前无古人的旷世书写艺术，其先锋性、实验性、探索性，震撼力不亚于创造一种字体，无疑予今日之当代书坛扔下一枚深水炸弹，其爆炸威力和当量是无法预估的，也许为中国当代书法的发展方向创造了一种新的可能。 就如中国的文学一样，有类型文学，实验文学，先锋文学等多元的创作流派，书法除了古人创造积累的书体样式，要在继承中穾破，要有多元的表达方式，要与时俱进，才能与这个多彩多姿的时代相匹配。郦文龙的创作实践无疑是具突破性和创造性的，是目前为止任何书法艺术无法涵盖和归类，我姑且把这种独一个的书写艺术称之为先锋书写。

樱花红陌（纸本丙烯）85cm×99cm（2021） Cherry blossoms along a red footpath (acrylic on paper) 85cm×99cm (2021)

眼界（纸本水墨）78cm×110cm（2020） Vision (ink on paper) 78cm×110cm（2020）

雁鸣（布面丙烯）110cm×79cm（2022）     Wild geese chirping (acrylic on fabric) 110cm×79cm（2022）  

虎嘨（木版丙烯）79cm×78cm （2022） Tiger roaring (wood acrylic) 79cm×78cm（2022）  

秋（纸本丙烯）47cm×76cm（2021） Autumn (acrylic on paper) 47cm×76cm (2021)

浓芳（kT板丙烯）80cm×60cm（2022） Thick aroma (kT plate acrylic) 80cm×60cm（2022）

波光86cm×76cm（布面丙烯）（2022） Glistening waves 86cm×76cm (acrylic on fabric)（2022） 秋歌76cm×86cm（布面丙烯）（2022） Autumn song 76cm×86cm (cloth acrylic)（2022）

陶广平（浙音古典音乐收藏馆馆长） 郦文龙的作品就如听协奏曲和交响曲，极具能量感和爆棚感！作品呈现粗犷、先锋、前卫、激越，恣纵的汉字艺术给人酣畅淋漓、金戈铁马、热情洋溢的感受。然而先锋源于传统，郦文龙先生从事汉字艺术研究数十年，章草、甲骨、金文、大小篆、简牍、碑版、行楷，乃至云篆都研究，他的作品是在具有传统学术性很强的基础上突破、突围和飞跃，个性强烈、中西兼容，打破了一般书法的泥古之风和重重束缚，穿越了东西方艺术的时空长廊，重塑了传统书法图象化的价值体系，具有强烈的视觉冲击力和焕然一新的当代气息。能量感十足，创新性极强！

十二生肖图（kT板丙烯）158cm×118cm（2022） Chinese Zodiac (kT plate acrylic) 158cm×118cm（2022）

观海（纸本水墨)35x70cm(2022) Sea View (paper ink) 35x70cm (2022)

龙吟（纸本丙烯）200cm×174cm（2021） Dragon whispering (acrylic on paper) 200cm×174cm（2021）

自序   年轻时代的我，不知所措。二十世纪下半叶中国处于改革开放时代。西风东渐，信息爆炸。我沉迷于哲思、文化艺术的目不暇接而眼花瞭乱。因而思维渉及面广且深，从东、西方文艺而言，我有太多的爱好，变的无所适从。什么也做不了。有人说我好高鹜远，可能批评我志向太大，不切实际。然而我很自信，有诗为证：   我早岁孤独 才华无人推许 晚风沉寂 黄叶飘零 可是在我心灵的百花园里 繁花是如此丰盛 以至在狂风暴雨的落花声中 我也自命不凡 当起大诗人   这确实是当时的心情的真实写照。有点言过其实，更重要的是还存有浪漫主义情怀。   然而，我所处时代是一个文化的断层时代，文革后还刚刚恢复高考。百废待兴。十五岁的我已高中毕业，但其时因为知识份子的地位低下，无人关注学识。所处知识越多越反动的黑白颠倒时代。当时，又因为我在知识层面是白板一块，且无书可读，变得记忆力超强。找到一本《水浒英雄传》实在是爱不释手，只怕看完，只能省着慢慢看，而且连续看三遍，完全被书中人物义薄云天的、热爱自由的、英雄主义情怀所折服！居然500页书的情节在脑中串连，可以朗朗背诵，其时还在上高中，教室就变成了我的说书场地，特别是物理、化学课是无人听课，只听我宣讲《水浒英雄传》，所幸的是，此书是中国文学的四大名著之一。   15岁时偏爱书法，开始临摹汉碑，中国字体称“隶书”，由于经济条件差，一度用不起纸张、墨水，只在青砖上用清水练习，后来又阔展到中国绘画，我的创作元素很大一方面来源于中国古文字，这本身是个宏大而神秘变幻的系统，每一发展时期都有鲜明的特色，且承上启下，数千年不绝，运用至今，这确实很神奇。   世界各民族文字可划分为三类，它是音素文字，音节文字，表意文字三大系统。中国的汉字属表意系统，一个汉字代表一定的音节，又具有一定的意义，包含形、音、义三要素。四千多年来，汉字虽经发展变化，但阐递之迹一脉相承！对中华民族的形成和发展起到了巨大的凝聚作用！汉字无所不在，与生活相伴。生生不息，繁茂昌盛！研究汉字艺术，离不开对汉文字的研究，尤其离不开对汉古文字的研究，不然就成无源之水，无本之木。汉字是世界唯一从造字之始沿用至今的文字语言系统。她博大精深，变化万端，其中涉及古文字学，考古学，语言学，文献学、修辞学、书法学等诸多学科。   我所传承的王蘧常先生就是一位学者型书法家，他是文献学家、历史学家、古文字专家、也是经学家和书法家，他传承了中华文明的伟大传统，他的先生们也都是中国近代史上一流的大学者兼书法家。如康有为、梁启超、王国维、沈曾植、唐茹经等等。也由于基因使然，我对他们都是五体投地崇拜！尤其是我的先生王蘧常他以中国文字学为根据，完整的复兴了流行在东西二汉（公元前226—公元220）一种叫章草（从公元581年—公元1900年已废弃不用的书体）的书法体系，这是他一生中伟大工程之一！确实令人叹为观止！   我师从王蘧常先生，谨遵先生教诲，从汉许慎《说文解字》一本汉代学者许慎编辑的字典起始，以先师指点路径前行，意图深入传统。于章草、甲金文、大小篆、简牍、碑版、楷书、行草、均有猎涉！学习中，对近百年来出土的考古材料尤为重视，沈潜其间，乐乎其行。虽寂寞，尤热情。大致而论，文字学家往往精于学、而碍于书。书家倡导、则縦情怀而疏考辩。而近现代书坛之皎皎者则学贯中西，涉猎深广，为学严谨。如沈曾植、梁启超、康有为、王蘧常、沈尹默等均能别开生面、自成体系，成一代宗师！我深会王蘧常先生教诲，亦随缘而化、为火作薪，在传承上履冰前行，在草创上踽踽独行。由于书写主义我必须深切的关注所写线条的内在质量，这是中国式书写的本质问题，在前贤的书学理论中被提升到至高的程度。中国线条是具有血肉筋骨的，它的前置条件是生命是有意义的。在书法批评史中它处于重要的地位。如“多力丰筋者胜，无力无筋者病。”如“斩钉截铁，力透纸背。”如“气势恢宏，八面出峰”。这些都是对于书写性的一般要求。   大多数时候，我是浙江出版联合集团的平面设计师，曾担任美术编辑部主任。效力于官方出版工作。其中绩效考核、升职考核，外语考核、竞争上岗费去了大部分精力！在三十二年的设计师生涯中，最大好处是思想活跃，学习积极，所以似乎显得视野开阔！有强烈的比较主义倾向。在绘画，诗歌、文学、音乐、雕刻、乃至哲学、建筑、美学都有极大的兴趣和爱好！工作之余，阅书甚多。   另一方面西方文化也深刻的影响也了我。从古希腊、古罗马，到中世纪，从文艺复兴到后现代都启迪着我的思想演进。15岁的我，某一天忽然凝神静思，直觉到生命是无意义的，开启了我的思想追寻之旅。从西方的古典传统、乃至近现代，西方思想家灿若群星，熠熠生辉！康德、黑格尓体系博大严谨，但我更喜好剑走偏锋的思辩，尼釆、叔本华，雅思贝尓斯，克尓凯廓尓、和其后的存在主义萨特、加谬、或是伯特兰·罗索、伯格森、贡布里希等……这些思想在本质上都是人本主义的体现，尤其象奥地作家卡夫卡他的《套中人》文笔的深刻描绘，造成我灵魂上的震撼，都不同程度的影响了我。我不是哲学家，但通过他们的思想，我学会了自由的思辯，这非常重要。   近现代的欧洲确实是一个伟大的时代，架上绘画从安格尔到德拉克洛瓦，从库尔贝到巴比松画派，从印象主义到塞尚，从塞尚到毕加索、马蒂斯，欧洲有的都是伟大传统，无论是委拉斯贵支、埃尔格列科，还是荷兰画派，无论是丢勒、还是桥社以及表现主义的样式，而后的时尚潮流生生不息。此外法国家征主义的诗歌流派，象兰波、马拉美，阿波里奈尔、波德莱尓，还有安略特的《荒原》以至意大利隐逸派诗人夸西莫多、蒙塔莱、翁伽雷蒂，都深深的影响了我。这确实鼓舞了世界文化的创新精神！这确实是一份特别珍贵的精神遗产！   因而我特别理解达达主义者们在恶劣的环境下拥抱自发性（包括与革命有关的），拥抱生活的乐趣和创造的乐趣。达达否定一切的态度呼应了巴枯宁（Bakunin）的古老格言：“破坏的冲动也是创造的冲动”。其实许多时候这已成为我的创作方法和过程。我喜欢凡高，被其震攝！中国艺术家吴冠中说：“飞蛾投灯，为火所灭，凡高是扑向太阳，被太阳所熔化！”这是献身，对的。我承认一度我放弃从艺，因为我无法抵挡这样一种献身精神。   但是达达主义思想确实做到了打破既有的艺术思维，达达主义颠覆性的思想，最后也变成了少数人“精致品位”的象征。这与表现主义也有共通之处。表现主义在艺术中表现一种自我精神内在的气质美感，传达出内心真正的声音，在社会不平等和人类的灾难面前，他们有着强烈的改变现实的紧迫感，常常流露出一种悲哀感伤的艺术情调，这些对我有着深刻的影响！   我主张通过形式或色彩的变形和夸张，强化艺术家的情绪表现。我非常喜欢表现主义埃米尔·诺尔德（Emil Nolde）的艺术。诺尔德本人被认为是德国表现主义运动的先驱，他能把自然原始的和心灵上细致的因素及力量，通过简明的形式和充满神秘的色彩和谐地表现出来。他是一位用色彩表现情感，用色彩的音符奏出深沉悦耳乐章的大师。他的绘画中的色彩处理得益于印象派的启发。正如他自己所说：“色彩是我的音符，用来勾画相和谐又相抵触的音响及和弦。”我喜欢他在作品中追求一种冷酷而燃烧的情感表现，放射出他那主观的激情，一种原始放纵、跳动、强烈、主观的带有哀傷感的色彩，将人们引入一个激荡又宁静的世界，特别是晚期的隐居生活也深深地感动着我。按中国的观念来看他就是那个时代的大道无形的艺术家！由画面场景指向背面的虚无。由画中的隐喻指向人类的伤痛。   艺术当随时代，表现主义对应当代中国艺术，相当于一种书写主义！强调绘画性、相对的排斥画面的工艺性质，在我看来，书者心画也，笔划如其人，用以写心，也就是一种直舒胸臆的创作方法。书写主义是当代中国艺术家基于自我社会的认识所做出的艺术实践，深刻的反映了当今时代社会和思想的变迁，展现了中国人现实场景的精神生活，也应当成为现代艺术中宝贵的精神财产。我的艺术实践就是一种书写主义！   我的实验汉字艺术把书写性放在首位，试图融合西方自文艺复兴始至印象主义的色彩革命以及当今世界的现代主义和中华文明数千年来的汉字系统进行血缘性嫁接。从而形成指向未来的新人类语境。书写性在中国书法中是一条非常高的技术和认知上的要求，中国的书写线条讲格调、讲生命感、讲韵律、讲自然、讲境界，这些在一些书法理论中多有阐述！在我看来中国书法线条的质地是美妙而多姿多彩的。 比如点如高空坠石 比如动如惊蛇入草 比如横如千里阵云 比如竖如万岁枯藤 比如自然如虫蛀木 比如圆润如金之柔 中国对色彩的理解是感性的，比如姻脂红，鸡油黄、鸡骨白，栗子黄，朱砂红。是一种应物象色，用实物来对应色彩。西方则钴蓝、群青、马斯黑，那波里黄，克莱因蓝等，基本构架建立在类似包浩斯色立体体系内。显得非常理性。但我认为这只是一种认知和识别的习惯而已，并不存在真正意义上的差异，且况毕加索也说过“我想用一种红，发觉调色盘上没有了，我就用蓝色加上。”这话很经典！   艺术创作的终极价值是对人性更积极的表现，不仅仅是表象或行为，更不能止步于标语和口号式的所谓应急之作，而是经过心灵的震荡与人性的净化，去探寻人与人，人与自然之间的关系，通过艺术的语言，更深刻地揭示这种关系是如何作用于我们日常平凡的岁月，让观者不但见其然，还能想其所以然，不但看到点线面，还能想到和谐与生动。好的美术创作源于平常中的不凡，源于均衡时的灵动，我们常常说不要辜负时代，就是要用更冷静更理性的态度去审视现实，去理解社会，去贴近人性，   2022.10   作者：郦文龙 策划：山海星云美术馆 英译：汪渊 郦帅 平面设计：郦文龙 网址：527999958@qq.com 出版：2022年10月 版权所有 翻印必究 除经作者书面同意外，本书任何部分内容不得以任何形式复制 Author: Li Wenlong Planner: Panorama Art Museum English translation ：Wang Yuan Li Shuai Graphic design: Li Wenlong website: 527999958@qq.c Publication: October 2022 All rights reserved

Autobiography and Preface   When I was young, I was at a loss. In the second half of the 20th century, China was in the era of reform and opening up. The “west wind” (western thoughts) spreads eastward, with an explosion of information. I was obsessed with philosophy, culture, and art, and my eyes were dazzled by the quantity of such works. Therefore, my thinking is characterized with both width and depth. Because I fell in love with so many fields in eastern and western literature and art, I did not know what to do, nor could I do anything. Some people say that I was pursuing impractical and overly ambitious goals, and some probably criticized me as unrealistic. But I was very confident, as evidenced by a poem of mine:   I was lonely at an early age No one appreciated my talent The evening breeze becomes silent The yellow leaves are falling But inside the garden of my heart Flowers are flourishing Even in the sound of falling flowers amid the furious storm I still view highly of myself To become a great poet   This is really a true portrayal of my mood at that time. It may be slightly exaggerated, and more importantly, it is imbued with the romantic spirit.   However, I lived in an era of cultural fault, and the College Entrance Examination was recently resumed after the Cultural Revolution. Everything is waiting to be improved. At the age of 15, I had graduated from my high school. At that time, few people cared about learning and knowledge, because of the low social status of the intellectuals. It was an era in which the more knowledge one had, the more reactionary one was considered to be. At that time, because I was a virtually a blank slate at the intellectual level and had no books to read, I had developed super-strong memory. I found a copy of Heroes of the Water Margin that I couldn't put it down. I was afraid to finish reading it, so I could only read it slowly, and read it three times in a row. I was completely convinced by the characters in the book with their righteous, freedom-loving, and heroic spirit. The plot of the 500-page book is actually connected in my mind and can be recited aloud. At that time, I was still in high school, and the classroom became my storytelling venue. Especially in physics and chemistry classes, no one was paying attention to the teachers lessons, and they only listened to me telling the stories of in the book Water Margin. Fortunately, this book is one of the four masterpieces of ancient Chinese literature.   At the age of 15, I developed a particularly strong interest in calligraphy, and began to copy Han stele inscriptions, commonly known as the clerical script. Due to my poor family financial conditions, there were times when I could not afford to use paper and ink, and I could only practice calligraphy with clean water on grayish-green bricks. Later, I also developed a strong interest Chinese painting. The creative elements in my current works are largely derived from ancient Chinese characters, which is a grand and mysterious system. The development stages are all well connected, and each has its own distinctive characteristics. The Chinese writing system has been used for thousands of years till today, and this is really amazing.   The writing systems of all ethnic groups around the world can be divided into three categories, which are phonemic writing, syllabic writing, and ideographic writing. The Chinese writing system belongs to the ideographic category, where each Chinese character is pronounced through one syllable, and each character represents one specific meaning. Chinese characters have three key elements: shape, pronunciation, and meaning. For more than 4000 years, although Chinese characters have evolved over time, the trace of inheritance has come down in one continuous line! The Chinese writing system has played a huge role in the formation and development of the Chinese nation! Chinese characters are ubiquitous in our daily life, live and prosper! The study of the art of Chinese characters cannot be separated from the study of Chinese characters, especially the study of ancient Chinese characters. Otherwise, it will become water without source, trees without roots. Chinese characters are the only writing system in the world that has been used since the beginning of its creation. She is broad, profound, varied and ever-changing, involving many disciplines such as ancient philology, archaeology, linguistics, bibliography, rhetoric, and calligraphy.   Mr. Wang Juchang, whom I have inherited, is a scholar calligrapher. He is a philologist, a historian, an expert in ancient characters, a scholar of Chinese classical studies, and a calligrapher. He has inherited the great traditions of Chinese civilization. His teachers are also first-class scholars and calligraphers in modern Chinese history, such as Kang Youwei, Liang Qichao, Wang Guowei, Shen Zengzhi, Tang Rujing, etc. Because of shared artistic genes, I admire them from the bottom of my heart! In particular, my teacher Wang Juchang, based on Chinese philology, completely revived a calligraphy style called Zhangcao (a calligraphy style that were abandoned between 581 to 1900 AD), which was popular during the Eastern and Western Han Dynasties (226 BC – 220 AD). This was one of his great life achievements, and is really breathtaking!   I learned from Mr. Wang Juchang and sincerely followed his teachings. I started my learning with “Shuo Wen Jie Zi”, a dictionary compiled by Xu Shen, a scholar of the Han Dynasty, and I intended to delve into the tradition with the guidance of my teacher. I have studied Zhangcao, oracle bone script, bronze vessel script, great seal, small seal, bamboo slip script, stele inscriptions, standard script, running script, and cursive script. During my study, I paid special attention to the archaeological materials unearthed during the past hundred years. I indulged myself in such materials and enjoyed doing so. It was lonely, but I was highly enthusiastic. Generally speaking, philologists tend to be good at doing research, but not so good at calligraphy. Calligraphers, on the other hand, tend to emphasize emotion but are not good at doing research. In modern and contemporary era, the best calligraphers are those who possess a thorough knowledge of both western and Chinese learning, have studied with width and depth, and are meticulous in research. Calligraphers such as Shen Zengzhi, Liang Qichao, Kang Youwei, Wang Juchang, and Shen Yimo all developed their unique styles and formed their own calligraphy systems, and they eventually became great masters. I have strived to deeply understand the teachings of Mr. Wang Juchang, and I have also adapted to circumstances and become “firewood for fire” – I progress with great caution to inherit traditions, and I advance by myself with my distinctive works. Because of calligraphy-ism, I must pay close attention to the internal quality of the lines (strokes) I write. This is the essence of Chinese calligraphy and has been promoted to the highest level in our predecessors’ theories of calligraphy. The Chinese lines have flesh, blood, muscles and bones, which is an understanding that is based on the premise that life is full of meaning and significance. This understanding occupies an important position in the history of calligraphy criticism, as reflected in comments such as "those (lines) that demonstrate more strength and abundant tendons are superior, and those (lines) that have little strength and tendons are inferior”, “(lines that) cut off nails and cut through iron, the strength (of lines) penetrates paper”, and "magnificent momentum, full of vigor”. These are some of the basic requirements of writability (in calligraphy).   For the most part of my life, I served as a graphic designer of Zhejiang Publishing United Group and as the Director of its Art Editorial Department, contributing to official publishing. Throughout my employment, I had to spend most of my energy on performance evaluation, promotion, foreign language tests, and competition for employment. During my 32 years of career as a graphic designer, the best thing is that I have been active in thinking and learning, so I seem to have gained a broad vision, with a strong comparativist tendency! Hence, I have developed great enthusiasm in painting, poetry, literature, music, sculpture, and even philosophy, architecture, and aesthetics – I read a lot after work.   Meanwhile, western cultures also exerted a profound impact on me. The evolution of my thinking has been inspired by the works ranging from ancient, Greece, ancient Rome to the Middle Ages, and from the Renaissance to the post-modern era. When I was 15 years old, I suddenly became absorbed in meditation one day, and intuitively realized that life was meaningless, which started my quest for thought. From the classical traditions of the West to modern and contemporary times, western thinkers are shining like stars! Kant and Hagel have developed broad and rigorous philosophical systems, but I prefer unconventional thinking such as the philosophies of Nietzsche, Schopenhauer, Estesballs, Klkekor, and the later existentialists such as Sartre, Camus, or Henry Rosso, Bergson, and Gombrich. Their philosophical thoughts essentially reflect humanity. Also, the Austrian writer Kafka's vivid descriptions in The Man in the Suit particularly shocked my soul. All of these works have influenced me to various degrees. I am not a philosopher, but I have learned to think freely through their thoughts, which is very important.   Modern Europe is indeed a great era. In terms of easel painting, from Anger to Delacroix, from Courbet to the Barbizon School, from impressionism to Cézanne, from Cézanne to Picasso and Matisse, what the Europe has had are all great traditions. Whether it is Velázquez, El Greco, or the Dutch School, whether it is Dürer, Die Brücke, and the expressionist style, there are just so many new artistic styles emerging one after another. In addition, the poetic schools of French impressionism, represented by Rimbaud, Mallarmé, Apollinaire, Baudelaire, as well as Eliot's “The Waste Land”, and even the Italian hermitic poets such as Quasimodo, Montale, and Ungaretti, all have deeply influenced me. This has really encouraged the innovative spirit underlying the cultures around the world! This is indeed a special and precious spiritual legacy!   Therefore, I particularly understand that the Dadaists, under harsh environments, chose to embrace spontaneity (including those related to revolution) as well as the joy of life and creation. Dada's attitude of negating everything echoes Bakunin's old adage, “The impulse to destroy is also the impulse to create”. In fact, oftentimes this has become the way and the process through which I create my works. I love Van Gogh and I am fascinated by him and his works! Mr. Wu Guanzhong, a Chinese artist, said, "Flying moths dart to lamps, extinguished by fire. Van Gogh darts to the sun and is melted by the sun!" Yes, this is dedication (to art). I admit that once I gave up practicing art, because I was not able to resist such a dedication.   Nevertheless, Dadaism did manage to break the existing artistic thinking. The subversive thoughts of Dadaism have eventually become a symbol of the "refined taste" of a few people. This has something in common with expressionism. Expressionism demonstrates a kind of aesthetic feeling based on one’s inner temperament and spirit; it also conveys the real voice from one’s heart. In the face of social inequality and human disasters, they have a strong sense of urgency to change the real world, thus often reveal sad artistic sentiments. All of these has deeply influenced me.   I advocate strengthening an artist’s emotional expression through deformation and exaggeration of form or color. I love the art of expressionist Emil Nolde. Regarded as a pioneer of the German expressionist movement, Nolde is able to illustrate, in a harmonious approach through simple forms and mysterious colors, the natural and original factors as well as the delicate forces within one’s heart. He is a master who uses color to express emotion, and who is able to use the notes of color to compose deep and melodious music (of art). The treatment of color in his paintings benefits from the inspirations of impressionism. Just as he said, "colors are my musical notes, I use them to create harmonious and contradicting sounds and chords”. I like the pursuit of a kind of cold yet burning emotional expression in his works, which radiates his subjective passion – a primitive indulgence, beating, strong and subjective color with sadness. It leads people into a turbulent yet quiet world. The seclusion life during his late years has also deeply moved me. According to the Chinese view, he was an invisible artist embracing the almighty Tao in his era – the scenes depicted in his paintings lead to the underlying emptiness, the metaphors embedded in his paintings point to the pain experienced by humans.   Art shall follow its times. Corresponding to contemporary Chinese art, expressionism is equivalent to a kind of calligraphy-ism – emphasizing the creative nature in painting and correspondingly rejecting the craftsman style in painting. In my opinion, calligraphy can illustrate the picture in one’s heart; strokes, just like the artist, can be used to depict his mind. In other words, calligraphy-ism represents an approach to creating artistic works by directly expressing one’s thoughts and emotions. Calligraphy-ism is an artistic practice by contemporary Chinese artists based on their own understanding of the society. It deeply reflects the changes in our contemporary society and ethos, and shows the spiritual life of Chinese people in reality. It should also be regarded as valuable spiritual property in modern art. My artistic practices follow calligraphy-ism.   My experimental Chinese character art puts writability in the first place. It attempts to integrate the color revolution from the Renaissance to impressionism in the West, the modernism in today’s world, and the Chinese character system that has existed for thousands of years in the Chinese civilization. In so doing, it aims to form a new human context pointing to the future. Writability is a very high technical and conceptual requirement in Chinese calligraphy. The lines in Chinese calligraphy emphasize taste, liveness, rhythm, spontaneity, and (spiritual) realm. These issues are elaborated in certain theories of calligraphy! In my view, the texture of the lines in Chinese calligraphy is beautiful and varied.   For example, dots are like falling rocks Movements (of lines) are like startled snakes rushing into grass Horizontal lines are like clouds spreading across one thousand miles Vertical lines are like withered vines lasted for ten thousand years As spontaneous as moths eating wood As mellow as malleable gold   Chinese people’s understanding of color is perceptual, such as rouge red, chicken oil yellow, chicken bone white, chestnut yellow, cinnabar red. It is an approach that defines color according to actual items in the world. In contrast, the western approach appears to be very rational and is basically based on some kind of Bauhaus-like system – there are colors such as cobalt blue, ultramarine blue, Mas black, Napoli yellow, and Klein blue. But I think these are just different habits of understanding and labeling colors, and such differences are by no means significant. Afterall, Picasso once also said, "I want to use a red color, and when I find there is no red color on the palette, I use blue." This comment is really classic!   The ultimate value of artistic creation lies in a more positive expression of the human nature, rather than in merely depicting appearance or behavior. Artistic creation should not produce the so-called hasty works just like making signs or slogans. It should, by means of shocking of the soul and purifying the human nature, explore the relationships among individuals and the connections between human beings and the nature. Through the language of art, it should more profoundly reveal how such relationships and connections affect our daily life and ordinary years. In this way, the viewers can not only see what is depicted (in artistic works), but also reflect upon the underlying rationale. They can not only see the dots, lines, and surfaces, but also perceive harmony and liveliness. High-quality artistic creation originates from the uncommon in the ordinary, and from the flexible in balance. We often say that we shall live up to our times. This means that we should examine the reality, understand the society, and approximate the human nature with a calmer and more rational attitude.   October, 2022