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

【上苑现场】与诗同在：琳子钢笔画个人作品展

【scene】Go Along with the Poetry: Solo Exhibition for Lin Zi’s Fountain Pen Sketches

策展人：牧野

学术主持：程小蓓

开幕时间：2018年9月22日，下午3:30

展览时间：2018年9月22日至29日

Curator: Mu Ye

Academic Host: Cheng Xiaobei

Opening: September 22, 2018, 15:30

Time: September 22 till 29, 2018

评论 Comment：

我看琳子的钢笔画，有如下几点值得肯定：

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

一是得其趣。一片天真烂漫之气，仿佛天然图画，自赤子之心欢快流泻而出，看似出自孩童手笔，但又明显有“大人”的“手段”，有画家自己的明确诉求和表达。花草鱼虫，动物植物，包括各色人等均可信手拈来，构成她创作的素材，并组合出妙趣天成的可爱有趣画面，单纯而不单调，看似素雅而五色交辉，画外题旨暗藏其中，令人百看不厌，暗合艺术创作之奥秘。

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）

二是得其情。无论人物，动物，牛牛马马猪猪鸡鸡之属，流露出浓厚的乡野情思，野趣袭人。我读她描绘童年乡野生活的哪些散文诗句，每每掩卷莞尔，一花一叶，一虫一鸟，被她写得如此天趣盎然，情真意切，再看她的钢笔画，仿佛成凝固的诗句，其诗其画完全可以互为生发印证的，其实也是“诗中有画，画中有诗”，这就具有了大境界，大格局。

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.

三是得其传。琳子之画，不难看出中原大地悠久厚重的历史积淀、民间文化对她的滋养，有些画作，明显脱胎于剪纸或年画。事实上国内不少画家在自觉向民间美术学习并吸取养分方面的例子太多，作为美术创作形式之一的钢笔画，绝无例外，这方面，诗人兼画家的琳子老师可谓聪明人一个。文学艺术的传习，若对身边的丰厚的传统文化视而不见，要想横空出世，另起炉灶，是不现实的，尤其是在我们这个有着数千年文明发展历程的古老中国，在继承吸取中才能有所创新，琳子的尝试无疑对钢笔画家而言，应该具有一定的启发意义。

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.

四是得其学。画家所具有的诗人气息和学养积淀，对其钢笔画创作的滋润和影响是显而易见的，我们不少钢笔画人或许正缺乏这一点，甚至将其视为一件“纯手艺活”，作品死抠死描，只见画内技巧，罕见画外功夫，有“技”而无“道”，缺失才情和思想，这就成南辕北辙之态了，是很遗憾的。

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.

此外，琳子的钢笔画在技法上开始形成自己的一些面貌，黑白灰、点线面的处理，以及用线的手段上，居然无师自通，不知不觉得到某种体现，这是很难得的。有些纯技法方面的因素，非科班者往往得自自己的独立探索和不懈尝试，从自发到自觉，渐渐有所体悟，可谓来之不易，甘苦自知。这方面笔者学习钢笔画的情况也颇为相近，因此我对琳子钢笔画艺术的感受便更为深透一些，并在此意义上对她高看一眼。

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）

肚挤眼里是一个花蕾，莲蓬组成羊的蹄子，猪的耳朵是薄荷，裙裾的扣子是瓢虫，猫头鹰的喙是红辣椒，硕大的葵盘里行走着一匹羊，坐在一瓣荷花可以渡航，马眼里有蜜蜂，披着大缎子花朵，河流和鱼鳞都攀附在树上，青花酒具肚子里面站着鹭鸶，莲蓬的帽子，猪背上的戴胜在剔牙，扫帚在飞翔，梦让鸟衔着消失，布老虎的胡子，石榴树上结樱桃……这些是琳子的元素。她像是在蜘蛛吐丝织网，都是纸上的童话，梦幻一般穿梭。

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.

就是这样。是琳子的绘画风格。

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

和她的诗一样，近似北中原的山海经。

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

--冯杰（诗人、作家、画家）

-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）

多年前我去了一趟土耳其的伊斯坦布尔的金角湾，见到一个土耳其的作家，叫庞姆克。他在小说里反复描写到了细密画。土耳其的细密画非常细腻，跟钢笔画有异曲同工之妙。据土耳其的画家讲，当你现实的眼睛盲掉之后，你才能画出来真正的最接近事物本源的画。琳子的一双眼睛非常明亮，已经达到了这样的境界，画出了最接近事物本源的，和自然的灵魂达到高度的契合的钢笔画。给我们带来了非常新奇的感受。

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.

--何弘（评论家，作家）

-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）

琳子画中各种图案的来源，是她足下的大地，和她心中的愿望相结合的产物，这也是一个诗人所特有的思维状态。而那些图案与图案之间，并没有互为生成的，物自身的关联，但却有着审美上的互为关联。这就是说，她的画作在其审美结构上，物与物之间是一种结构关系，而不是传统意义上的类属关系。这样也使得她的画，在审美感受上有了很强的现代感，把传统引向现代，把现代画出个性，让个性面向时尚，而让时尚更具审美价值，这就是琳子的画。

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.

--单占生（出版人，教授，评论家）

-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）

《十二生肖》显现出画家琳子超人的构图能力、想象力，和对线条的运用和控制能力，仅用一种颜色，便将十二种动物创造性的、活灵活现地呈现在观者面前。从使用材料上看，琳子的钢笔画似乎仍应归入中国画范畴，相当于工笔画的分支，而在画中加入诗意的元素在中国画里并不鲜见，画家琳子作为一位颇有成就的现代诗人，她像巫婆（真正的巫婆拥有随意调整物品位置、形状、色彩的能力）一样在画中加入童话色彩和使用巫术，使她的钢笔画从众多的钢笔画中脱颖而出。

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.

--唐果（诗人，北京上苑艺术馆驻留艺术家》

-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）

琳子的绘画诞生无疑是中原这块神性大地上又一簇富有天启般预示的奇迹发生。在文字无以囊括的所在，琳子用一支彩笔和一颗惠心，开创出中真正具有中原风中国味同时兼具现代性与民族性的绘事格调，人戏谓之有巫媪之法力，余视之乃不世之奇才。

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.

--范恪劼（作家，大学教授）

-Fan Kejie (Writer and Professor)

前言

Intro

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。

琳子采用了针管中性油笔在素描纸上画，她是趴在桌子上画的，提笔一画就是好几个小时，对一幅画的完成几乎是强迫症似的过程。她从黑白到彩色，从单层到复层，到多色重叠，到纸被针管笔刺毛、刺穿……，她所经历的是不断的欣喜，也许会有停下来质疑一会儿的时间，调整后神会给她创作冲动，让她继续画下去。那怕手上的肌肉与韧带已被损伤，她的内心是快乐的。

从她的画我们能看到她童话般的想像力，以及她生活周围的良性生态。在那些细细密密欢快而成熟的笔触中，呈现出她内心世界里住着这么多和平共处、互致问候的美丽生灵。她屏蔽了这个时代丑陋的所有，只呈现美好的东西，将自己也将观众带离生活的沉重。

我期待她继续带我们远离尘世，期待她的纸上王国带给我们更多惊喜。 

——程小蓓

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

《12生肖之狗》—37.5x52—纸本0.1针管笔手绘——2014年

《12生肖之猴》—37.5x52—纸本0.1针管笔手绘——2014年

《12生肖之虎》—37.5x52—纸本0.1针管笔手绘——2014年

《12生肖之牛》—37.5x52—纸本0.1针管笔手绘——2014年

《12生肖之鼠》—37.5x52—纸本0.1针管笔手绘——2014年

《12生肖之羊》—37.5x52—纸本0.1针管笔手绘——2014年

《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

 《花旦》—26x37.5-蔡伦手工原浆宣纸-2015

 《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

策展人评论 

与诗同在——写在琳子钢笔画展

文 / 牧野

著名诗人琳子女士用八年也许多于八年的时间创作了一批插画作品，她是用那种细小的芯笔一根根线条描绘出来的。在当下的专业画家看来，琳子的确有点让人不可思议：她怎么不使用讨巧的手法，而只用古老的线描手艺就随意画出了她的丰富多彩、变换多端的魔幻意象呢？累不累呀。是的，如果不是一位内心禅定的人，你真的无法想象，她摒弃了N多的表现手法和材料的使用，固执于线条的运行，该是怎样的纠结与执拗。女诗人唐果说，琳子是位巫婆。显然，唐果看见了琳子“作法”的一面，而我差点就以为她是一位修禅的居士。说不定，琳子画画，真的是在潜心修炼生活禅呢。

即将在北京上苑艺术馆开幕的琳子钢笔画个展，我们会看到一小部分琳子创作的绘画作品。可以毫不夸张地说，这是琳子诗歌之外的第二生命的外化，或者说是琳子创造的个体专属的第二语言世界。英国诗人沃尔科特说，你要改变自己的生活，你先要改变自己的语言。事实上，尽管诗歌、绘画有着语言的相通之处，但仍是不同的两种思维方式。如此说，绘画对诗人来说，是个体生命意义的另一种可能。这一点足够吸引具有创造精神的优秀诗人拿起并不熟悉的画笔，面对一张白纸、一幅画布，唤醒内心沉睡的视觉语言的思考与想象。

现在，我们看到，越来越多的诗人加入到画家的队伍中，他们显然不是出于对专业画家语言及想象能力的不满，而是自认为绘画从不专属于某个职业群体，就像任何人都可以写诗一样。在诗人看来，画画要经美术学院专业级培训简直是无法容忍的事情，用一套规训的绘画语言，传递某种范式的绘事劳动，只能说是普遍性认同的集体无意识的对自我灵性的扼杀。正因如此，当代艺术的国际化观念运动，博伊斯倡导的“人人都是艺术家”的理念，已经深入人心；在全球化的今天，绝大部分被学院曾经规训的艺术家，反学院艺术行动又成为一条艺术话语体系，好像这是艺术生命必经的自我再造之路。在此，特别建议上苑艺术馆掌门人程小蓓女士郑重向国家教育部提出申请，批准在上苑艺术馆挂牌成立“中央诗歌学院”。如是，也好留下规训诗人的诗歌表现之标本。

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。

好像琳子的出现就是为艺术提出问题而来、而现身。尽管在当下的艺术情境中，很难挑出几位诗人作为绘画代表挑战艺术家的创作表现，或给予自觉的艺术家以方向性的启示意义，但是越来越多的诗人拿起画笔，已经作为一种现象被现实提了出来。众所周知，在艺术界，艺术家不读书往往成了某些批评家诟病的资本，那么对一位著名诗人而言，读不读书已不是问题，优秀诗人的文本同样也是批评家、艺术家的阅读对象。那么，诗人介入艺术创造又该作何批评与理解？正如我们看到的事实，诗人画画并没有以艺术文本给出某种艺术方向，如宋代大文人苏轼提出的“文人画”方向，那么读书是否构成一个艺术家必须的优秀条件之一呢。暂且悬而不论。这里我想合并诗人艺术家，统一为一种身份，可能吗？那么这里就有一个诗人艺术家通约的问题，亦即什么是当代诗歌、当代艺术的当代性问题。诗人们很少关心“当代性”，而当代艺术家首要解决的又是““当代性””的认知问题，对艺术家来说，这很重要。其二，诗人对诗歌史的理解和艺术家对艺术史的理解存在严重的时空错位，在当下又是并置同行、井水不犯河水的状态。那么，诗人拿起画笔转换语言模式的时候，画面感和艺术此在的状态作为问题同样提了出来。以上诸多问题都是基于琳子作为优秀诗人将要举办个人绘画展而提出。可见，诗人琳子的出场多么地重要。

无论如何，诗人们拿起画笔都是早已期待的回应。诗人琳子的绘画创作，明显不是占有艺术资源的临场发挥和冲动。我想，正是这一点，让我们看到作为优秀诗人的创造品质，敢于敞开生命，向与诗歌语言并行的艺术开放，寻求以艺术行为的方式，拓展生命的宽厚度，将丰盈的诗人气质和想象，带入艺术时空，在生命的有限性中创生个体存在意义的无限可能。无疑，这是另一种对生命的维护和持守。相信亲临现场的各位嘉宾、观众会和我有着同样的感受！

预祝诗人琳子女士钢笔画展圆满成功！

2018.9.11

牧野（诗人，策展人，艺术评论家）

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!

2018.9.11.

琳子介绍

琳子，原名张琳，河南滑县人，河南省文学院签约作家。参加诗刊社第九届“青春回眸”诗会。出版文集多部，其中：诗集《响动》入围第三届徐志摩诗歌奖。诗画合集《花朵里开花》获评2016“中国最美的书”。童话散文集绘本《草手镯》获河南省第六届文学艺术优秀成果奖。诗集《最美的太阳》获“小众书坊2017年度十大好书”推荐，参加了中国第七届鲁迅文学奖评选。

2011年因《草手镯》涉足钢笔画，随后画作《女人和鱼》等6幅用于旅美女诗人明迪的英文诗集《长干行》封面及内文插图。

2012年，画作《蚂蚁和大象》等66幅用于青青散文集《白露为霜》（读者出版集团）封面、内文插图。

2014，画作《蜜蜂》等4幅用于子梵梅诗人随笔丛书《秘密的瓶子开着花》（北京邮电大学出版社）封面、内文插图。

2014年，画作《手》用于旅美诗人明迪的诗《RIVERMERCHANTSWIEE》封面。

2014年4月，画作《做梦的小女孩儿》等50幅插图用于童话散文集《草手镯》（天津科学出版社）出版，该书获得“河南省第六届文学艺术创作优秀成果奖”。

2015年2月1日-3月7日“魔法自然——诗人琳子的钢笔画个展”在“郑州大摩?纸的时代”书店开展。

2015年画作14幅刊登《诗歌风赏》第三期“雕塑”栏目。

钢笔画8幅刊登《鸭绿江》文学期刊2016年第二期“作家艺境“栏目。

2016年为深圳诗人朱涛的诗集《半轮黄日》创作插图26幅，长江文艺出版社出版并全国发行。

2016年10月，《花朵里开花》由当当网签约出版，同年11月获评“2016年中国最美的书”，并参加了2017年“德国莱比锡世界最美的书”评选，获得“海峡两岸设计邀请赛评委特别奖”，参加“第九届全国设计展”等荣誉。

2017年，受邀为《解放军文艺》创作全年封面图案。

2017年为诗人、摄影家张鲜明的小说《寐语》创作插图35幅，光明日报出版社出版，游读会全球推荐。

北京上苑艺术馆“2018年国际创作计划驻留艺术家”。

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.

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