首页 | 简介 | 建筑艺术 | 文学 | 新闻 | 上苑艺考 | 艺术家专栏 | 驻馆艺术家 | 书讯 | 国际创作计划 | 艺术品市场 | 上苑人物 | 艺术批评
标题 作者 内容
新闻 > 新闻头条

[2018-9-16 19:28:31]


sceneGo Along with the Poetry: Solo Exhibition for Lin Zi’s Fountain Pen Sketches





Curator: Mu Ye

Academic Host: Cheng Xiaobei

Opening: September 22, 2018, 15:30

Time: September 22 till 29, 2018

评论 Comment


Following points must be affirmed on the pen-and-ink drawing of Linzi:


The first one is the fun. All the paintings are of naivety, created by nature, convivially grown out of pure heart. It looks like all the paintings are from kids, while all the paintings are made of mature skills of an artist, which possesses accurate appeals and expressions. All the animals and plants, such as flowers, grass, insects, even all kinds of person are creative materials at her fingers and combine as diverting and lovely paintings of simplicity rather than monotony. Purports out of paintings are deeply hidden in the unadorned and colorful masterpieces. One never tires of watching these paintings and that’s the mystery of drawing.

万物生 37.8x52  0.38彩色中性针管笔—2018(上苑艺术馆收藏)


The second is the feeling. All the element, whether persons or animals such as oxen, horses, hogs and cocks are revealing a strong rural mood which touches every single person. While I was reading the proses and verses telling about her rural life of childhood, I was impressed with slight smiles by the alive fun and sincere love she left in every single flower, leaf, insect, and bird. Her paintings are just like her verses, both the verses and paintings show her true similar feelings. Her works, which displays the superior syncretic of verse and paintings, are of high level and mindset.


The third is the inheritance. It’s not difficult to tell that Linzi is of the nourishment from the long and profound history of Central Plain and folk culture. Some of her paintings are obviously born out of paper cutting or New Year pictures. In fact, countless artists inland are learning from folk culture, so as the Linzi, the smart poet & painter with her pen-and-ink drawing. It impractical for one to make a fresh start and come out suddenly out of abundant traditional culture around us, especially in ancient China for thousands of years. There is no doubt that Linzi’s attempt of pen-and-ink drawing and her innovation comes from inheritance could be of inspiration.


The forth is her knowledge. It’s obvious that the poet-like temperament and knowledge will nourish and influence one’s creation a lot. Many painters failed to show us something beyond the painting skills for whether lacking the abundant knowledge or just seeing painting as a pure craft. It’s very regretful for some artists being poles apart from the right direction for lacking talents and thoughts.


Besides, Linzi is developing her own characteristics, such as skillfully use colors like black, white and grey and balance among point, line, and plane. Her self-taught flexible use of line has her own style, which is very rare. One non-professional painter must learn by herself and keep trying to train the drawing skills. It may be said “No pain, no gain”. I share the similar situation with Linzi during learning pen-and-ink drawing so that I share the same feelings with her art style, and that’s why I pay so much attention to her.

-- 中国钢笔画联盟 程庆拾

-China union of the pen-and-ink drawing. Cheng Qingshi.


 《老屋》0.1红环针管笔  蔡伦原浆手工宣纸—26x18.8  2015(上苑艺术馆收藏)


A belly button in a flower bud. A sheep hoof made of lotus seedpods. A pig with ears of mints. The train with buttons of ladybirds. Owl’s beak as pimiento. A goat’s wandering in the giant sunflower. Sailing lotus. A bee lying in the eye of the horse. Flowers wearing satin. Rivers and scales cling to the tree. Egret bird standing in the blue and white porcelain. The hat as lotus seedpod. Hoopoe’s picking his teeth in the pig’s back. The flying broom. Dream’s vanishing in the beak of a bird. Cloth tiger’s beard. Cherries grow on a pomegranate tree…… These are all the surprising element of Linzi. She’s the spider spinning the web with tales as the thread and the fantasy as the weaving.


That’s what she did, and that’s her style.


Just like her verses and lines, just like The Classic of Mountains and Seas of North Central Plains.


-Feng Jie (Poet, writer, and painter)


中原壁画系列——碑文    纸本0.1针管笔    26x37.8 —2018(上苑艺术馆收藏)


Years ago, I went to the golden cape bay in Istanbul, Turkey. I met a Turkish writer named Pomke. He mentioned miniatures painting a lot in one of his novels, which is not only very meticulous but similar to the pen-and-ink drawing. It’s said that you could come out with a masterpiece closest to the origin of things only if you blind your own eyes. Linzi has very bright eyes while she already meets such level to make paintings close to the origin of things and nature, which all bring us very novel feelings.


-He Hong (Critic and writer)


大花篮  26x18  0.38 彩色中性管笔 —2018(上苑艺术馆收藏)


All the paintings of Linzi are derived from the combination of the earth she stands and what she desires in the mind. All the elements share no essential relevance but aesthetic resonance. She’s more concerned about the aesthetic beauty and harmony rather than the original affiliation among elements. All these together make her drawing full of a sense of modern. Linzi’s paintings bring the tradition to modern and put her finger on the individuality, which aimed to the fashion of modern. That’s what her works truly show.


-Shan Zhansheng (Professor, publisher, and critic)

军帽下的哥哥 26x37.8  0.38彩色中性针管笔 —2018(上苑艺术馆收藏)


The “twelve Chinese zodiac signs” of Linzi showed her superior imagination, composition ability and her control ability of line. Using just one single color, she creates twelve lively and creationary Chinese zodiac signs respectively. Linzi’s paintings can be involved in Chinese paintings if we just focus on the materials she uses and can be a branch of claborate-style painting. There are many artists who’re skilled in drawing paintings of poems, and Linzi, as one accomplished modern poet, is just like a real witch who’s painting fairy tales and outstanding pen-and-ink drawings.


-Tang Guo (Poet from Shangyuan Art Museum)


 《单车女孩》 26x37.5  —纸本彩色针管笔手绘——2018(上苑艺术馆收藏)


The birth of Linzi’s painting is undoubtedly another miracle predicted by the apocalypse in the divine land of the Central Plains. In the area in which words lose their power, Linzi’s creating something of Chinese style and national painting style. Some may say she’s a powerful witch, while I think she’s a prodigy of time.


-Fan Kejie (Writer and Professor)



看到女诗人琳子的画时,我第一时间想到了法国素人女画家薩賀芬•路易,生来有一颗寻找并创造艺术的心灵。 很多人的生命里会有对艺术本能的需要,有一种神秘的天赋。创作动机并不为取悦别人,首先是为提升自己的生命高度,丰富生活质量开始的。琳子与薩賀芬•路易如出一辙。





When confronted by Lin Zi’s sketches, the name Seraphina Louis pops into my mind. She is a French amateur painter, with the same kind of mind that born with the talent for searching and creating art like Lin Zi. In many people’s life, there are an instinctual need for art, a mysterious gift. The motivation for create is not to please others, but to improve one’s own life, to enrich one’s life quality. Lin Zi and Seraphina are exactly the same from this perspective.

Lin Zi uses needle rollerball pen to paint on sketch paper. She leans on her desk for hours to complete a piece of work, as if possessed by OCD. From black and white to colors, from a single layer to multiple layers, until the paper starts to feather, what she is experiencing is constant joy, or maybe mixed with a little self-questioning. After adjustment, new inspiration comes to her, keep her going. Even though the muscles and ligaments of her hands are tiresome, inside her heart, she is happy.

From her sketches, we can see her childlike imagination, and the kind environment that surrounds her. The meticulously detailed and mature drawings are the manifestation of the peaceful, polite, and loving creatures which live inside her inner world. She blocked the ugliness of our world out, and only presents us the beauty, to levitate herself and the audience out of the burden of life.

I am looking forward to her to take us away from this world, to bring us more surprises with her kingdom on the paper. 

by Cheng Xiaobei







《外祖母属蛇》26x37.5 —纸本0.2黑白针管笔,2015

 《妈妈的家》26x37.5 —纸本0.2黑白针管笔,2015

 《星星落在屋顶》26x37.5 —纸本0.2黑白针管笔,2015

 《日出-大鱼》26x18.5.5 —纸本0.1针管笔手绘——2017

《流淌》26x18.5.5 —纸本0.1针管笔手绘——2017


 《稻草人-1》0.1红环针管笔 蔡伦原浆手工宣纸—26x318.8  2015

 《妈妈坐在门口拆毛线》0.1红环针管笔  蔡伦原浆手工宣纸—26x18.8  2015

 《小麦生长的地方》 52x37.5—纸本彩色针管笔手绘——2018、5 

 《光芒》 26x37.5  —纸本彩色针管笔手绘——2018、5

 《果核》 26x37.5  —纸本彩色针管笔手绘——2018、5

 《马》 26x37.5  —纸本彩色针管笔手绘——2018

 《净》 26x37.5  —纸本彩色针管笔手绘——2017

 《天空》 19x26  —纸本彩色针管笔手绘——2018、5

 《蓝色背景-1》 19x26  —纸本彩色针管笔手绘——2018、5



文 / 牧野




这里引申出另一问题的思考。在798艺术区,每年都有一场别开生面的艺术展览,名之曰“素人绘画展” 。“素人”和“俗人”,不看文字,听上去以为就是“俗人”艺术展。我们姑且不理会“素人”一词有否甄别确证身份之意,但也不可否认,“素人”一词的使用,说明科班出身之外,非专业的绘画一定有着职业级艺术家可能丧失的某种信任,被“素人”们毫不犹豫地据为了己有。另一面说,是否仍有专业塑造的傲慢与偏见,不得而知,最大的可能,是想为当代艺术挖掘一面接续原初的艺术镜像。直到目前,作为诗人又可列为“素人”的琳子女士还仅限于芯笔的线条描绘,挑衅的也许只有专业插画师的小众经验。但其身后,仅就上苑艺术馆而言,就有一大群女诗人正在绘画创作,并且不久前举办了一场轰轰烈烈的女性诗人画展。






Curator’s Comment:

by Mu Ye

Our famous female poet Lin Zi has spent 8 years or more to create this series of sketches. She uses that kind of needle rollerball pen to draw each thin line on the paper. For contemporary artists, Lin Zi is truly a surprise: she does not use any ‘smart’ technique, only by probably the oldest method of line drawing, she is able to create a colorful, imaginative, and magical images. Yes, if not as someone with zenic mind, you cannot imagine that she has given up so many different methods and techniques, insists on using just lines. What a stubborn and persistent person! Another female poet Tang Guo commented that Lin Zi was a witch. Apparently, Tang Guo has seen the magic side of Lin Zi’s works. As for me, I almost took her as a Zenist. Actually, maybe by sketching, she is indeed going through her Zen practice.

At the upcoming exhibition of Lin Zi’s Fountain Pen Sketches, we will be able see a small part of Lin Zi’s works. Without a doubt, this is the second manifestation, beside poetry, of Lin Zi’s life. Or, we can say that this is the second language that Lin Zi creates that only belongs to herself. Derek Walcott once said that if you wanted to change your life, you had to first change your language. In fact, even though there are similarities between poetry and painting, they are, by essence, two different ways of thinking. For instance, painting for a poet, is another possibility of personal life. This is enough to draw the interest of great poets with a creative spirit to pick up a brush that she or he is not familiar with, to face a paper, a canvas, in order to wake up the sleeping imagination of visual language and imagination.

Now, we can see, more and more poets are joining the rank of painters. Obviously, it is not out of dissatisfaction over the visual language and imagination of the professional painters, but to recognize that painting does not belong to a single group of professionals, just as anyone can write poems. For poets, it is almost intolerable that be a painter means proper academic training, using a set of disciplined language to create some kind of paradigm. This can only be described as the murder of self-spirituality by a commonly recognized collective unconsciousness. For this exact reason, contemporary international art conceptual movement, Beuys was promoting the idea that everyone can be an artist, ant it is deep in everyone’s heart. In the era of globalization, most of the professional artists who went through the discipline process of academic training have now created a new narrative of anti-academic, as if this is the necessary path to reform one’s artistic life. Hereby, I recommend the Curator of Shangyuan Art Museum, Cheng Xiaobei, to apply to the ministry of education, to establish a Central Academy of Poetry in Shangyuan. As, it is to set up an example of disciplinary training of poets.

Herecomes to another reflection. In 798 Art District, annually, there is an exhibition calledAmateur Painting Exhibition.As if amateur means poor taste, it becomesPoor Taste Exhibition.Let’s leave out whether amateur can really be used to categorize artists, at least, by using it, it means that outside academically trained painters, people might have some kind of trust towards non-academically trained artists. Theseamateursgained the public trust. On the other hand, the use of the world, inherently consists the arrogance and bias of the so-called professionals, which we wouldn’t know. Anyway, the most possible matter is that we want to discover an original reflection of contemporary art. Until now, as a poet and a amateur artist, Lin Zi’s paintings are limited to fountain pen sketches. What has been challenged here is only the experience of a small group of illustrators. But what is behind it, as for Shangyuan, there is a big group of female poets making paintings, and a great exhibition was held not long ago.

As if Lin Zi’s appearance is to rise new questions to art. Even though under current art world, it is very hard to pick any of the paintings made by poets to challenge artists’ works, or to give self-aware artists some profound inspiration, as more and more poets are taking up the brush, it is now a reality. As we know, in artists circle, it is common among critics to criticize that artists don’t read enough. For a well-established poet, this wouldn’t be a sufficient criticism, his or her writings will become the subject of reading by critics and artists. Thus, how can we understand and comment poets’ invasion of painting? It is true that poets’ paintings so far haven’t made any profound directional impact, as the great literati of Song Dynasty Su Shi created the category of literati painting, is to read as a necessary quality of a good artist? This is a question we can’t answer for now. Here I want to combine the two identity of artist and poet together. Is it possible? A question concerning the commonality between artists and poets comes up. Thus, what is the contemporality of contemporary poetry and art. Poets pay little attention to contemporality, but artists’ first priority is to solve the issue with it. It is very important for artists. Also, there is a huge gap between poets’ understanding of literature history and artists’ understanding of art history. They are fully separated from each other now. Therefore, when a poet picks up a brush and transform his or her language pattern, imagery and art here has been brought up as a question as status. So many questions have surfaces just from Lin Zi’s exhibition. This makes exhibition such important one!

Nevertheless, poets by picking up the brush are answering a longing expectation. Lin Zi’s paintings, surely, are not the result of the urge from artistic capital. I think, this is exactly what we see as the creative quality of a good poet, dear to open to life to both poetic language and to explore and to expand the dimension of life. Poetic quality and imagination has been brought into the space of art, to create infinite possibility within limited experience of personal life. Undoubtfully, this is another kind of guardianship of life. I believe all the guests and the audience to this exhibition will have the same feeling as I do!

I wish the best success to Lin Zi’s exhibition!

















Lin Zi:

Lin Zi, original name Zhang Lin, from Hua County, Henan Province, writer from Henan Provincial Literature Academy. Participated in the 9thQingchun HuimouPoetry Conference. Published several books. Her collection of poemsXiangdongentered the 3rdXu Zhimo Poetry Award. BookHuaduo Li Kahuawas selectedMost Beautiful Bookof 2016. Illustrated fairy taleCao Shouzhuowon the 6thLiterature and Art Accomplishment Award from Henan Province. BookZuimei de Taiyangwon Top 10 Books from Small Publishers 2017, the same book entered the 7thLu Xun Literature Award.

2011, started fountain pen sketching because ofCao Shouzhuo,later the paintingNuren yu Yuand 5 other paintings were used in Ming Di’s bookChang Gan Xing.

2012, paintingMayi he Daxiangand 65 other paintings were used in bookBailu Weishuang,published by Duzhe Publishing Group.

2014, paintingMifeng,and 3 other paintings were used for Zi Fanmei’sMimi de Pingzi Kaizhehua.

2014, paintingShouwas used as the cover of bookRiver Merchant Swieeby Ming Di

2014.4, paintingZuomeng de Xiaonuhai and 49 other paintings were used in bookCao Shouzhuo,published by Tianjin Tech Publishing House, won the 6thLiterature and Art Accomplishment Award from Henan Province.

2015.2.1 – 3.7, Magical Nature: Lin Zi’s Solo Exhibition in Zhengzhou Damozhi Shidai Bookstore.

2015, 14 paintings were presented on the 3rdShige Fengshang.

2016, 8 paintings were published onYalujiangmagazine.

2016, 26 paintings were used in Zhu Tao’s bookBanlun Huangri,published by Changjiang Literature and Art Publishing House

2016.10,Huaduo Li Kahuawas selectedMost Beautiful Book of 2016,and entered the 2017 World Most Beautiful Book Award in Leipzig, Germany, won Special Award from Both Sides of Taiwan Strait Design Competition, entered the 9thNational Design Award.

2017, invited byPLA Literature and Artfor designing the cover for a year.

2017, 35 paintings used for Zhang Xianming’s bookMeiyu,published by Guang Ming Daily Publishing House.

2018, Shangyuan Art Museum International Residency Program participant.


【上苑现场】 赎:宓赫言个展9月8日在上苑艺术馆开幕
【上苑艺评 | 李念奴】限制·解脫——張智罡近作解讀
【上苑展讯】 简·灵:詹明昭个展 | 9月15日开幕
【上苑展讯】 赎:宓赫言个展9月8日在上苑艺术馆开幕
【上苑现场】Goran STAKIC(塞尔维亚)作品展