中国的陶瓷彩绘艺术，之所以立万年而长盛不衰，是“贵在创新”。那么，展现在我们面前的李林洪先生的现代陶板画与传统的陶瓷彩绘艺术相比，有哪些创新、哪些突破呢？借此让我们着重对李林洪先生的现代陶板画从形式到艺术风格诸层面作一些探讨。

    任何艺术创造，其实质都企图达到美学效果。一如美国著名人类学家和民俗学家博厄斯在他的代表作《原始艺术》中所阐述的，“我们必须记住艺术效果的双重源泉，其一，仅以形式为基础；其二，是与形式有关联的思维为基础。”从李林洪先生的陶板画作品中，我们可以一目了然地悟出他对神奇的大自然的钟情与向往。不言而喻，这正是他创作陶板画的思维基础和主旋律。但是任何视觉功能的艺术，必然有与其相匹配的形式为载体，否则其理念与精神的审美功能又何以释放呢？以文字语言艺术的诗词为例，我们常常以“诗言志”来赞赏诗的形式的美妙。而“诗言志”，不正是对“诗”的形式特质的高度概括吗？面对天地山川、江湖河海，欲恣意纵情，如以陶为形式媒介，那末择何种形制为上呢？作为长期从事中西绘画和陶艺创作的李林洪先生，深知陶瓷器具形制，无论是瓶、壶、罐、钵、盆、碗、杯、碟等等，都因受其形制使用功能的制约而不足以满足他自己的情感渲泄。唯有以陶板的形式为载体，方可摆脱传统的陶瓷彩绘实用功能形式的藩篱。陶板的画面，对于其载体陶板而言，就如油画、中国画、水彩画、版画等对于其载体画布、宣纸、水彩纸、拓印纸等等是完全一样的，同样已不是陶板的局部了，而是与任何独立的中西绘画一样具有完全的独立性了。当然，其画面审美的潜能因没有任何使用形式的制约而得到了自由的无拘无束的释放。就此而言，普普通通的陶板，正是李林洪先生赖以得心应手的释放陶瓷彩绘审美效果的理想形式的突破口，陶板画自当成为李林洪先生抒发胸中情怀的新天地。

        20世纪的西方，也包括中国现代的艺术家，在绘画和雕塑等创作过程中，已渗入程度不等的工艺技术或对载体材质的选择，甚至有的到了“不择手段”的地步，有的作品已很难从传统的角度加以艺术分类了。尽管如此，我们也并没有因此而否认其作品纯粹的“视觉艺术”，也从未听说过将他们的作品冠以“装饰艺术”的称号。其实，是不是“装饰艺术”，关键还是看它是否出于实用的目的，它的美又是否依附于实用的媒介。如果我们基本苟同这一认识的话，那末，李林洪的现代陶板画，尽管有“装饰性”美的成分，或者因为是陶板，还有烧制的工艺，但与传统的陶瓷器具相比，它更具有独立的审美价值。因此我们将李林洪的现代陶板画列入与其它独立的纯粹的中西绘画一样的另一种绘画艺术——陶板画，似也未尝不可。同时，依笔者之见，不同的艺术形式、不同的艺术分类并无高低之分，因此，探讨李林洪先生现代陶板画的归属，当然也并无丝毫贬低“装饰艺术”之意了。

    任何新的画种，必须与其它画种有所区别，有所创造，才会有生命力，也才能站住脚。那么，李林洪先生的现代陶板画与其它中西绘画又有何不同呢？

    李林洪先生与其它有成就的中国艺术家一样，尽管风格各异、画种不一，但都是中国传统艺术精华的继承者。因此，他的现代陶板画，无论章法、用笔、用色，几乎已到了将中国传统艺术综合运用、驾驭自如的地步。从这一点看，说李林洪先生的陶板画是“有根之木”、“有源之水”是毫无置疑的。而且他的现代陶板画，凡中国传统的陶瓷彩绘所有的，他都一应俱全。再者，李林洪先生在长期的艺术创作生涯中，既汲取油画、雕塑、水彩画、版画等艺术的精粹，又得益于东西方艺术的滋养，这无疑为他的创作和发展现代陶板画艺术，奠定了广泛而有深厚的基础。因此，综观李林洪先生的现代陶板画，可以说是集中西绘画、书法、雕塑与陶瓷彩绘诸艺术于一体。它既有中国传统书法的抽象美和中国传统绘画的神韵，又有油画的深厚、水彩的灵动、板画的生辣，还融入了雕塑的凝固感。特别要提及的是，由于在陶板画创作过程中，充分调动和控制烧造过程中的变化，使得陶板画面目焕然一新，中西绘画和陶瓷彩绘之特质，经由土与火的熔炼而合二为一。李林洪先生的现代陶板画，似可以用“形神兼备、凝重而不迟涩、剔透而不轻滑”加以概括，从而探索了一种与中国画、油画、水彩画、版画、新陶瓷彩绘似而不似的、独特的、有高尚审美情趣的纯粹的独立的绘画艺术。

    李林洪先生在他的作画笔记中写道：“我的创作愿望，是陶板画要区别于工艺美术陶瓷或其他的绘画形式，成为一种独特的、纯粹的艺术式样。当然，这还需要我在艺术表现上的不断追求和探索”这是李林洪先生对自己陶板画艺术创作的自勉，而他那种艺术上励精图治、永不满足的精神，为拓展中国现代陶板画艺术所留下的印迹，将是有目共睹，功不可没。

   “众人拾柴火焰高”，有志于开创探索中国现代陶板画艺术的艺术家们，皆与之共勉，奋力向前，那么，只要待以时日，中国现代陶板画艺术终将与中华民族创造的其它艺术一样，一起步入世界艺术之林。

        上海理工大学艺术设计学院院长 陈培荣教授

Li Lin Hong-Explorer for Modern Pottery Engraving

    As form development of human history and the needs of society, Pottery Color Painting aged 7~8 thousands of years could not get rid of depending on shape of pottery wares, in order to meet all aspects of the needs of normal people’s life, even if anyhow fantastic. It has to keep consistent with original style of ware to be decorated, because pottery color painting could not jump put of range of “Decorating Aesthetics”, rather than being classified as “Decorating Art” (or is called “Practical Art”, “Craft Art”).

    It is “continuous creation” with the result that Chinese Pottery Color Painting Art has been flourishing constantly. In comparison of traditional pottery what kind of breakthrough and characters modern pottery engraving created by Li Lin Hong has? Therefore, let’s make an analysis on Li Lin Hong’s pottery painting.

      Any art creation, its essence is to achieve aesthetic effort Like famous American anthropology and folklore Mr. Bose said in his representative article named “Primitive Art” as: We must remember dual resources of Art efforts, one is based on form, second is based on thinking to be related to form”. In Li Lin Hong’s painting. It is conspicuously to see his heartfelt and yearn on marvelous nature, Axiomatically, it is the base and theme of pottery of engraving he created. However, any art with optical function, must has a kind of shape to be matched with as carrier: Otherwise, how to release its concept and spiritual aesthetic function? For example, “poem” to be constituted by character and literary art. We always compliment the shape of poem as fantastic in terms of “Poem Telling Ambition”, as “Poem Telling Ambition” is great epitome of the characters of the poem. Facing great nature, lake and sea, hill and mountain, how to describe those of shape in terms of pottery? Li Lin Hong with mumerous years of experiences on East and Western painting , is deeply concerned of shape of pottery wares, bottle, pot, pan, cup, bowl, etc, all are difficult to express his feeling as the limit of its shape. Using Pottery flat to be carrier, it could get rid of the way of traditional pottery painting in order to keep practical function. Potter flat is the same as traditional carrier, like painting cloth, paper, etc. For oil painting Chinese ink painting, etc. Therefore, Mr. Li could express his true feeling by using pottery flat.

    In the 20^th century of Western countries, including Chinese modern artist, started to choose different materials and different techniques, even” using all skills”, some of paintings are difficult to classify its department in using traditional way. In this case, we did not deny its pure “optical art”, also never regarding as “decorating art”, the point is seen whether it is using for practical function, whether its aesthetic is depending on practical media. If we realize it, Li Lin Hong’s pottery painting has independent on aesthetic value compared with traditional pottery wares, although it has some of “decoration” meanings, because of pottery plate, and processing way. Then Li’s painting absolutely is regarded as independent art pottery-engraving art. It doesn’t mean to be little value of “decorating art”.

    Any new painting must has unique characters, so that it has long lifetime. Then, what are differences between modern pottery painting and traditional one?

     Like the other successful painters in China, Mr. Li is one of successors for Chinese traditional art, although it is different type of painting. Therefore, his painting，whatever of his rule，color using, etc, are almost very skillful combined with Chinese traditional art. For this point, it is no doubt that Li’s painting has essential resource. His painting owns all skills what tradition pottery has. Therefore, looking through Li’s painting, it can be said that it is integrated Eastern and Western painting with his modern pottery engraving. Especially during the process of creation for pottery engraving, in control of burning processing, it makes painting change entirely to ensure two to one combined with western painting and pottery painting. It is   becoming unique painting art with independent, in familiar with Chinese ink painting oil painting watercolor painting, engraving, new pottery painting etc.

     Mr. Li Lin Hong wrote in his notes as “My wishes for pottery engraving are different from craft pottery art or the other way of painting, and to from a unique, pure art style, it is definitely to need continuous exploring and chase”. It is his expectation for his working, but his contribution for development of Chinese modern pottery engraving is significant and never wiped off.

    “More persons picking up branch, stronger flames up”, I wish artists devoted to exploring modern pottery engraving going ahead. It is not so long that Chinese modern pottery engraving will enter worldly arts fields, like other arts created by Chinese.

Head of Artistic Design College ,University Science and Engineering Shanghai

Professor Per-rong Cheng