「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
luo Yi Ping
中山大学教授
广东省美术馆协会会长
尊敬的各位嘉宾，非常高兴，也非常荣幸来这边，见到李文培先生的水墨戏曲。今天来到现场，是我第一次近距离欣赏李文培先生的原作，此前对他的艺术经历了解不多。但初见这批作品，便令人耳目一新、心生感慨，从中真切看到中华传统文化，在当代艺术语境中不断传承、焕发新生。
Distinguished guests, it is my great pleasure and honor to be here and experience Mr. Li Wenpei’s ink‑wash opera art. This marks my first‑time viewing of Mr. Li Wenpei’s original works up close. Though I knew little about his artistic career beforehand, these pieces struck me as refreshing and thought‑provoking at first sight. From them, we can truly witness how traditional Chinese culture carries forward and radiates new vitality within the context of contemporary art.
大闹天宫
纸本设色
138×67cm
我就很感触这个展览的题目叫破茧，精准概括了他的艺术特色。李文培先生作画讲究大处留白、精细传神：人物衣身多用淡笔虚化，重点刻画面部神情。画面人物大多定格在登台亮相前的瞬间，充满动感。他把中画的最纯粹的最高深的一种笔墨，揉进戏曲的文化里。
I am deeply struck by the exhibition title Breaking the Cocoon, which perfectly encapsulates his artistic features. When Li Wenpei paints, he embraces ample blank space in broad composition while pursuing exquisite expression of spirit. He renders the figures’ costumes and bodies with faint, suggestive brushwork, focusing meticulous depiction on facial expressions. His characters are mostly captured at the moment just before their grand stage pose, brimming with dynamism. He integrates the purest and most profound brush-and-ink essence of Chinese painting into the culture of traditional opera.
齐天大圣孙悟空
纸本设色
68×68cm
观览本次 “破界” 展览，不由得联想到林风眠、关良两位粤籍艺术大家。
李文培先生与二位前辈有着显著区别。林风眠、关良属于 “戏外画戏” 的高级票友，而李文培先生长期任职于国家京剧院，深耕舞台美术，浸润在戏曲现场语境之中，对戏曲角色的理解拥有得天独厚的优势，做到了既画角色，亦画人生，这是前人难以企及的地方。
李文培作画遵循 “致广大，尽精微”。人物衣袂身形多用虚笔淡化，笔墨重心全部聚焦面部神情。第一层境界是写气韵；更高一层，则是抒写人情。戏曲核心，无非爱恨情仇。他虚化繁复戏服，剥离舞台装扮的外壳，笔下形象不单单是戏曲角色，更是承载人间悲欢的普通人。画里既是戏曲舞台，也是世间现实。
勾勒动作容易，传神写照最难，这也是中国传统绘画千年不变的审美核心。李文培深得其中精髓，不刻意夸大肢体姿态，着力刻画人物眼神，每一双眼眸都贴合人物性格，神韵十足。
When visiting this "Boundary‑Breaking" exhibition, one cannot help but think of two great Cantonese‑born masters, Lin Fengmian and Guan Liang.
Mr. Li Wenpei stands out distinctly from these two predecessors. Lin Fengmian and Guan Liang were accomplished aficionados who painted opera from outside the theatre world. By contrast, Mr. Li Wenpei worked for a long time at the National Peking Opera Theatre, specialising in stage art. Immersed in the real‑life context of Peking Opera performances, he possesses unique advantages in understanding opera characters. His works depict both the theatrical roles themselves and the human lives behind them, an achievement hard for previous artists to match.
Li Wenpei paints in accordance with the maxim “Seek breadth, pursue subtlety.” He renders the robes and figures with elusive, diluted brushstrokes, concentrating all his brushwork on facial expressions. His art reaches two levels of realm: the first is capturing vitality and spirit; the higher one is portraying human emotions. At the heart of traditional opera lie love, hatred, joy and sorrow. By simplifying ornate opera costumes and stripping away theatrical disguises, the figures he depicts are far more than opera roles — they are ordinary people bearing the joys and sorrows of mortal life. His paintings embody both the opera stage and the real world.
It is easy to depict physical movements, yet immensely difficult to capture the inner spirit. This has remained the timeless aesthetic core of traditional Chinese painting for thousands of years. Li Wenpei thoroughly grasps this essence. He avoids exaggerated postures and devotes himself to portraying the characters’ eyes. Every gaze matches the character’s temperament, brimming with vivid charm.
连环套窦尔敦
纸本设色
68×68cm
他的画作延续中国千年传神论的审美内核：人物肢体只保留概括而准确的戏曲动态，全部表现力汇聚于眼神。每一个人物的目光神态，都与角色的身份心境高度契合，传神达意，功力深厚。
步入人生沉淀的阶段，创作心境会慢慢向内沉淀，不再追求张扬外放的表现。李文培先生的作品正是如此，姿态内敛克制，即便静态伫立的人物，也蕴藏向外生发的磅礴气象。十分有幸在艺时代欣赏这批精彩佳作，令人感触良多。谢谢大家！
His paintings carry forward the aesthetic core of China’s thousand‑year‑old theory of “conveying spirit through form”. He retains only generalized yet precise operatic movements for the figures’ bodies, concentrating all expressive power in the eyes. The gaze and demeanour of each figure align perfectly with the character’s identity and inner state, conveying spirit and meaning with consummate skill.
Having entered a phase of life marked by inner reflection,As artists mature, their creative mindset gradually turns inward, no longer seeking bold and ostentatious expressions. This is precisely what we see in Mr. Li Wenpei’s works. His figures are restrained and understated in posture, yet even static standing figures possess immense inner momentum radiating outwards. It has been a great honor to view this outstanding collection at Yishidai Gallery, which leaves me with profound thoughts. Thank you all!
林冲
纸本设色
68×132cm
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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