「大圣·破界」
李文培水墨戏曲人物画展
“Great Sage·Breaking Boundaries”
Li Wenpei's Ink Opera Figure Painting Exhibition
liangShao Feng
广东省文艺评论家协会主席
广东省文联二级巡视员
听完罗一平教授的精彩点评，我深受启发。本次李文培先生 “破界” 主题展览，立意深远、特色鲜明。李文培先生拥有双重深厚艺术积淀：四十年国家京剧院舞台美术设计经验，加之数十年中国画创作功底，让他的戏曲人物画形成了独一无二的艺术面貌。
不同于普通画家案头想象式创作，也区别于简单的舞台剧照记录，他的作品深入戏曲内核，洒脱有笔墨、写意有戏魂。
I was greatly inspired after listening to the insightful commentary by Professor Luo Yiping. Titled Breaking the Boundaries, Li Wenpei’s exhibition carries profound ideas and distinctive artistic characteristics. Mr. Li boasts dual profound artistic foundations: forty years of experience in stage art design at the National Peking Opera Theatre, paired with decades of practice in Chinese painting. This background lends his Chinese opera figure paintings a one-of-a-kind artistic style.
Unlike works created merely from imagination in the studio by ordinary painters, or plain documentary renderings of stage stills, his creations delve deep into the essence of traditional opera. Free and unrestrained brushwork runs through his paintings, and his freehand style fully captures the soul of opera.
贵妃醉酒
纸本设色
68×68cm
绘画是静态、平面的艺术，戏曲是动态、空间的艺术。李文培凭借多年舞美经验，打通二者壁垒。他的笔墨自带戏曲节奏，线条灵动舒展、墨色虚实相生，把京剧的锣鼓韵律、身段气韵、人物风骨，全部转化为水墨语言。他的画不是描摹戏曲，本身就是一场无声的舞台大戏。
Painting is a static, flat art form, while traditional opera is dynamic and spatial. Drawing on his years of experience in stage design, Li Wenpei bridges the gap between the two. His brushwork carries the inherent rhythm of opera, with fluid, unrestrained lines and alternating dense and faint ink washes. He translates the cadence of Peking Opera percussion, the grace of performers’ gestures, and the bearing of characters into the language of ink wash. Instead of merely depicting opera scenes, his paintings constitute a silent theatrical performance in their own right.
齐天大圣孙悟空
纸本设色
68×68cm
真正的艺术破界，不是背离传统，而是承载传统、走向更广的艺术天地。李文培先生以四十年舞美阅历与笔墨修为，游走于戏与画、传统与当代之间，为当代戏曲人物画发展提供了珍贵范本。
最后衷心祝愿李文培先生艺术长青，本次展览圆满成功！也祝愿各位观者在笔墨间聆听戏韵、体悟国粹、感受中国艺术生生不息的力量。谢谢大家！
True artistic boundary-breaking is not to abandon tradition, but to carry tradition forward toward a broader artistic realm. Drawing on forty years of experience in stage design and lifelong mastery of brush and ink, Mr. Li Wenpei moves fluidly between opera and painting, tradition and modernity, offering a valuable model for the development of contemporary Chinese opera figure painting.
Lastly, I sincerely wish Mr. Li Wenpei enduring artistic vitality and every success for this exhibition. May all visitors perceive the charm of opera amid brushstrokes, appreciate the essence of our national art, and feel the endless vitality of Chinese art. Thank you all!
平贵别窑
纸本设色
68×68cm
连环套窦尔敦
纸本设色
68×68cm
杨门女将
纸本设色
68×132cm
Artist
展览艺术家
李文培
李文培，当代著名水墨人物画家，尤其擅长戏曲人物。1958年考入于中央戏剧学院舞台美术系，师从于冯法祀、孙宗慰、郭传璋等先生，毕业后曾受教于戴泽先生，创作深受徐悲鸿、蒋兆和、黄胄等近代艺术家的影响。1977年，水墨人物作品《曹操》亮相全国美展。1988年，在香港举办个人戏曲水墨画展，随后应邀在北京、上海、香港、东京、名古屋，夏威夷等地举办个人画展十余次，荣获如“朝日新闻大奖”、“雪舟国际美术协会展”等多项大奖。其代表作有《将相和》、《甘露寺》、《贵妃醉酒》等，题材丰富多样，开创了水墨人物之新风貌。亦致力于推动美术教育事业的发展，曾于2017年在清华大学艺术教育中心讲授“宣纸上的国粹”。2026年5月做客北京大学进行了京剧经典艺术欣赏系列讲座。
李文培为国家京剧院一级美术师、中国戏剧家协会会员，是中国京剧文化的传承人与发扬者，水墨戏曲人物作品充分显示出民族美术特征与中国审美特色。他的创作成就得益于扎实的绘画基本功、四十余年在中国京剧院的工作经历以及对人生的体会与感悟。作为参与国家京剧院舞台美术设计的第一位大学生，他将所学所感融入到京剧艺术工作中，因此他的学习与创作经历不仅展现了近代中国艺术的创新性探索，也是中国近现代美术教育发展历程的缩影。
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