桥艺术空间
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纸尚
张立的作品很打动人，不仅能打动国人，也很打动外国人, 张立曾多次获得全国性美展奖项，并在2014年法国巴黎展览期间，荣获巴黎市政府市长荣誉奖章就是很好的印证。
张立曾是中央美院的好学生， 与中国的纸张和水墨较了很多年的劲，想到国外看看，于是去了同样对纸张水墨较劲的日本, 又是折腾了许多年。
张立性格沉静，温和儒雅。他的性情给他很多帮助，能耐得住性子去研究、去动脑、去发现、去总结。他潜心研究古人，除传统绘画外，特别钟爱古代壁画、石刻和汉唐文化，尤其是敦煌壁画对他的冲击和震动最为深刻。面对一件件斑驳的壁画、残破的石碑，促使他思考着时间的流逝对当代人产生的烙印和敬畏。
我们看到他的作品大致分为两个部分：一，传统的纸上作品；二，纸上抽象作品。我之所以两部分都在强调纸上作品，是因为他把纸张的特性娴熟于笔，稔熟于心。中国古人作画的心法——澄怀观道，即：凭记忆、冥想来绘画。中国画的似与不似、大象无形、气韵生动，在某种意义上又是艺术家运用抽象的形式，形而上的哲学逻辑“造化”了对生命以及自然的感悟。他借鉴西方当代绘画综合材料的应用，在纸上使用了金箔、银箔、凝胶等材料，使画面的表现力更加强烈，
画面更加丰富靓丽。张立对绘画材料的运用来源于敦煌壁画中的色彩以及制作工艺的启发，这种启发使他更着重于艺术的载体——宣纸和宣纸的表现力，使宣纸的表现力与艺术家的创作情绪、激情相得益彰。张立纸上的抽象水墨作品，控制的非常准确，将许多人还在尝试的偶然性变为自然流畅的必然。这些都是他对现代中国纸上绘画的贡献。
张立对中国绘画纸张的崇尚、痴迷、熟用给中国绘画艺术提供了极好的经验。这是艰辛的过程。我们相信张立会做得更好走的更远。
刘大为
2016年3月
Preface
It is really touching when you encounter with Zhangli’s art works, no matter you are from China or abroad. Zhangli has won quite a few prizes on domestic art events, and ever been awarded with mayor medal from administration government of Paris, which truly approved that the charm of his art.
Zhangli put all himself into study during his campus life in Central Academy of Fine Arts, totally obsessed with paper and ink of China for years, and the obsession pushed him to Japan where he still could enjoy the sweet mess brought by paper and ink, then he came back to Beijing continuing his exploring in art world until today.
Zhangli is a typical gentleman, his peaceful personality helped him in great patience to learn, think, explore and find. He ever let himself to go into the old days of China, focus on the study of traditional art, greatly fancy on ancient wall-paintings, carvings and culture of Han and Tang, especially Dunhuang art in which he was thoroughly impressed and inspired. Those decayed wall-paintings and broken stelas made him to feel and face with the trace and reverence left by time.
We can see that Zhangli’s art works take into two types: 1. traditional paper works; 2. abstract works on paper. I have to point out that why I focus on the works on paper, it is because that Zhangli knows paper so well that he can express his feelings in any way the paper understands. In the past China, artists were in a way—view in clear and wide mind, which means it is to paint by memory and meditation. The likeliness or unlikeliness of Chinese painting, even under giant atmosphere in no shape and essence of vividness, are the inspirations that put artist “materialize” his feelings toward life and nature with philosophy logic in abstract shape. Zhangli tried to use western comprehensive materials on paper, such as gold, silver, gel and so on, which gave us more impressive and rich sight on his paintings. Zhangli was inspired by the color use and technique of Dunhuang wall-painting, which brought him a certain special appealing way with comprehensive materials, and it also pushed him more focus on the media of art – xuan paper and the expression of it. He created such a harmony between paper and feelings, in which we can see that inspired expression in perfect shape. Zhangli got his abstract ink works in perfect control, and turned those contingency into the inevitable in natural pace while others are still seeking the way out. All of these are just his unique and remarkable contribution to Chinese ink painting.
Zhangli led us in a wonderful experience to taste the essence of art world; meanwhile we understand that his exploring on long and hard road with his passion and love toward art could inspire everyone. We believe that Zhangli can do better and go further.
Liu Dawei
March, 2016
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