• 自然、历史、人生的三相交融，是现代艺术崇高美的三个特征。
  • 自然，让人生获得空间展现，它是艺术家取之不尽的创作源泉；艺术家把大自然的结构和奥妙体现在艺术内在结构的统一性中。历史，是人类与自然共存的轨迹，它让人生获得时间度量。当艺术家对人生作了大半辈子修研，并把它与自然和历史相对应的时候，人生也就自然的趋向了哲理性。对现代艺术家来说，人生意识与哲理追求是相依为命的。在其作品中，不可掩饰地从各个方面显示出自己的哲理品格。它是艺术理性和艺术感性的结合，是艺术家及自然属性和个人属性的体现，是把握自然（世界）和人生整体性的进一步张扬和开掘，作品是寡言的甚至全然沉默不语，但给人们的感受是会意，是神交，是顿悟，是心有所感而不必道之的那种境界。
• 人们一般理解的直觉，当然也包含着某些可供表面的形式轨道，在艺术创作中直觉需要整理、凝聚、抽象为一定的形式，使客观自然形式（可触可摸、可视的浅层直觉）和主题心理形式（艺术家本身的素质、艺术修养、震撼整体的深层直觉）联结、构建、吻合、升华为艺术形式。作品中的艺术形式是艺术家生命活动的直觉造型。种种意蕴、情志都要以直觉形式呈现出来。至于在直觉形式中究竟包含着什么，可以窥探到什么，则仁者见仁，智者见智。
  • 物生而形形焉，形者质也。形生而象象焉，象者人也。形则必成象焉，象者象其形焉。
  • 《尚书引义》王夫之语
• 釉彩和组合的点、线、面、笔触、肌理是现代陶板画创作的艺术符号，是一种具象的抽象，或者说是一种抽象的具象，是形象象征的部件和语汇。这种艺术符号的抽象象征要让人能用肉眼直观，它不仅是一种有表现的符号，而且能够被人们同时感受，从心理上产生共鸣使之震撼。
  • 艺术，就其本质而论便是一种象征，是表现人类感情的符号。
• 我习研板画、油画、国画，不囿于某一种门类，长期以来，我一直对于各种技法和材料进行反复的探索。尝试着各种实验性绘画，因为我认为技法本身是一种内容，是艺术家个人属性与艺术感性的一面，不可能把技法从创作中抽出来，在艺术作品中他们是一体的、结合的、不可分割的。这时我对人生对艺术实践的体验。批评家认为我是一位难以确定名分的艺术家，故有《江西画报》主编陈晓番先生以《非驴非马李林洪》评论文章的出现。
  • 当然，对我来说艺术并非没有侧重点。置身于景德镇这个千年窑火闻名天下的瓷都，处于这块宝地，在艺术创作上应当建立起一块属于自己的“领地”，在那里建造构成个性风貌的世界。因而我将长期积累的绘画技法和经验，以及对西方现代绘画的研究心得结合起来，通过技法的转换，在陶瓷现代装饰品陶板这种新的媒质上作画、融汇成一种带有综合性的新技术语汇，充分发挥陶瓷颜料的材质特征，通过“火”的升华，来编织我融汇东、西绘画精神的审美心得，极力把自然界的暗示形式发作绘画艺术的言语形式，把客观的直观印象化作审美主体的内心意象，在现代陶板画中传达诸多难以作西画或中国画的审美意味。它将传统陶瓷绘画技术与现代绘画观念相结合，推出有别于常规瓷板画和一般绘画的新形式。

2000年孟春  李林洪于日月轩

Creative Thinking for Modern Pottery Engraving

• Nature, History, Life, to be mixed together. These are three basic characteristics of modern art.

  • Nature, making Life gain extension of space: it is endlessly creative fountainhead for the artists. Who embody natural structure and profundity in identity of inside of the arts.

  • History, making Life gain measurement of time. It is existing together with both of Nature and Humanity. When the artist spent his most of lifetime in learning from Life, and mixed with both of Nature and History, Life trends to philosophy. Consciousness of Life and chasing of philosophy are indivisible for modern artists. Looking through all his paintings, it obviously indicates his specific philosophical taste. It is a completed combination of the artistic perception and the artistic rationale; is an embodiment of natural property and personal property is further spread and development of integrity of understanding Nature and Life.

  • The painting is taciturn, even silent being completely. However, it brings us a sense, godsend, rude awakening. It is realm of knowing in heart without expression.

• Instinct, to be understood by normal person, it also includes some formal and shaped tracks. For artistic creativity, instinct needs to handle, to condense, to abstract, becoming a certain shape. It make objective formality and psychology formality combine, set up, link, distil to artistic shape.

  • Artistic shape in all arts is plastic instinct of the artist’s life. Various sense souls will appear in the form of instincts. No matter what it embodied? No matter what you learnt? Everybody has different instincts, it depends on who you are.

• Color glaze, and combined spot, line, surface, skin textures. Vigor of strokes are artistic symbol of modern pottery engraving creativity. It is also a kind of abstract of concrete, or on the opposite is a kind of abstract. This symbolical abstract can be visible by eyes. It is not only a kind of symbol of concrete, also can be feeling and be created sympathetic chord by psychological striking.

• I learned engraving, oil painting, Chinese ink paining etc, rather than single one, keeping on exploring all skills and material using for long time, and making trail drawing. I think that skills content something including artist’s personal essence and artistic feeling. It is impossible to be taken out of creativity. They are integration, combination, indivisible in the painting. It is all my learning from practical art and life. Critics think that it is difficulty to identify my position and skills. This is  why a critique named “Li Lin Hong, horse or donkey?” was issued on “Jiang Xi Pictorial” to be written by chief editor Cheng Xiao Fan.

  • For surely, I also have major speciality for the arts. Located in Jin De Zhen, a well-known porcelain city in China, I should build up own “Land” for artistic creativity, and generate individual style of the world. Therefore, in combined with my skills and experience, which have been accumulated for a long time, in addition of learning from western modern painting. I create a mixture of eastern and western spiritual painting, in terms of modern pottery engraving as new media by the way of “burning” in oven and specific pottery oil paints using.

Li Lin Hong at Sun Moon House In spring of 2000