李华生《0403》2004年 145×370cm
李华生的线都是按宣纸的隐线方格“画”的﹐有时是短线﹐大多是横贯或竖贯全纸的墨线。这些线不是轻轻划过﹐或毫无控制地运行的线﹐而是摒住气斫力于笔端而“写”出的线。如果我们能理解弘一法师可以用六分钟写一个字﹐那么我们就可以理解李华生的漆线或“屋漏痕”式的线。有时李华生在同一条线上重复地写许多遍﹐这样墨迹就会浸润到线与线交叉形成的小方块中﹐并获得一种预期不到的偶然效果。李华生还在一张宣纸上本来就有的众多的隐线方格中写上密密麻麻的“印章”。或者写上类似印章的方块字﹐内容是每天的日记。
这些线﹑章﹑字是慢慢地﹑专一地﹑一丝不苟地写出来的。其过程象参禅﹑修道﹐象佛教徒每日的功课。所以﹐这些类似西方极少主义的抽象画与极少主义的“物质化”观念正相反。它们是一种精神过程的结晶﹐你得去体味那时间的流程和艺术家的心理状态﹐而非“你看到的是什么就是什么”。
另一方面﹐这些看似单调﹑平庸的线消解了传统的多样线型的性情特征﹐因为它们都是直接和规则地排列的。它们是理性的﹑秩序化的。但这些线凝固着某种精神化了的东西﹕清心寡欲的坚韧﹐远离闹市的平常心。它们极力驱除表现性和个性。这些线也不试图表现任何再现因素﹐也回避告诉你艺术家自己的感情。它们是现代人出家﹐或在家出家的精神状态的如实表现。它们是“无意义”的﹐抑或“虚无”的重复。但执行者得到了内心的充实。
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By Gao Minglu
Li Huasheng’s strokes are arranged along the hidden square lines of rice paper, some long and some short, and most vertical and horizontal. He also writes some Chinese characters, similar being sealed on, of diary contents. Sometimes he will write again and again on the same line densely, and his strokes are soaked in the squares which often reach an unexpected effect. If someone may understand why the rabbi Hong Yi ever took six minutes to just write a character, he may come cross through Li’s strokes. None of them are done randomly but designed well.
He design those lines, characters, slowly and carefully, following the same way as practicing Zen or Buddhist monk reciting sutras. It is the very contrary to the concepts in minimalism, but the crystallization of the painter’s spiritual processing. When enjoying his work, you are at the same time feel the status that the painter is treating time, and not what you see is what that is.
On the other hand, these monotonous, mediocre lines is a deconstruction to the traditional lines required rich as the criterion, all are liner arranged and are strait lines. We regard it as a spiritual tolerance, mind purifying, and desire diminishing under simple rational order rather than lines only. Obviously, the painter strives to destroy expressiveness of any stroke, trying to avoid expressing something or the painter’s mind. Li is as monk in painting circle, and the great contribute that he reached is the meaningless and nothingness.
【编辑：姚丹】
