李孝萱 梦魇 200×99 cm 纸本水墨设色
执着地强调笔墨的当代表现力，同时关注与表现当代都市人的生存状态，这就是艺术家李孝萱二十多年来的一贯追求。在创作的早期，李孝萱更多是表现较大的场面，代表性作品有《股市，股市》与《大轿车》等。在这一类作品中，他在构图、造型与用笔用墨上都有很大的突破。在构图上，他创造了一种密不透风、满是线纹的样式；在造型上，他运用夸张变形的方式，创造了一大批既有鲜明时代特色、又有强烈个人印记的艺术形象；在笔墨处理上，他将传统笔墨与当代题材融为一体，为当代中国画发展览提供了很好的借鉴。批评家郎绍君对李孝萱评价甚高，认为他的改革，应视为新时期水墨画最重要的成果之一*，不过，自1997年以后，李孝萱的艺术创作主要表现的是大特写场面，而且，他此时更注重观念的表达。体现在画面中，人常常被消费时代的商品，如房子、车子等包围，并透露出茫然不知所措的样子。至于在表现方法上，则由前期的繁复走向了简练；并由形象的大量铺陈走向了对少数符号的呈现，不仅线纹明显减少，背景也仅是略有变化的淡墨，显示出了全新的艺术面貌。毫无疑问，在将观念艺术的方法论带入当代水墨，而且强调水墨的传统审美特征上，李孝萱不仅走在前端，也卓有成效。
注*《李孝萱的水墨画》，郎邵君，《美术文献》，1994年1期。
Recommendation
By Lu Hong
For over twenty years, the painter Li Xiaoxuan has committed himself to sharp his skills to present the survival conditions of the people in the city in our era. We may see a big breakthrough in both stroke and shape even in his early pieces such as the Stock Market, the High-end Car and so on. Dense lines, magniloquent shapes and the combination of current objects and traditional mode he used shape him personal style strongly. He is highly praised by the critic Lang Shaojun, who considers that Li’s reform shall be one of the great results of ink-painting development in our era. Since 1997, Li began to focus on a magnificent scene in which figures often is surrounded by a huge scene full of houses, cars and the kind of commodity, who feel a loss of what to do. A little change is his style, recently he become more simple in every aspect, the lines and background, apart from his prior works that are often shown somewhat complicated, more like the way of the minimalist art. No doubt, concept art is affecting the painter very much, he is not only prominent but also in the front of exploration of ink-painting.
Note * Lang Shaojun, “On Li Xiaoxuan and His Ink-painting”, Art Literature, 1994, Issue 1.
【编辑：姚丹】
