展览名称：基因——李博个展
艺术家：李博
策展人：李国华
学术支持：苏丰雷 张志刚
展览时间：2017.11.01-11.14
开幕酒会：2017.11.04 下午3:00
展览地点：北京市朝阳区798艺术园区798东街马亚诺空间
电话：010-59789826
Exhibition Name：Gene－Li Bo Solo Exhibition
Artist：Li Bo
Curator：Li Guohua
Academic presider：Su Fenglei Zhang Zhigang
Exhibition time：2017.11.01—11.14
Opening date：2017.11.04 3pm
Address：Mariano Space ,798 Art Zone , Chaoyang District ,Beijing
Tel：010-59789826
展览前言
艺术家被人尊敬，作品为人认可，通常的标准是多元的，甚至可以说，在某些逊于“二流时代”的时代大体还是混乱的。李博，其人我甚欣赏，其作我很推崇，下面我就来简要地陈述原由。
李博，常规的学院出身，硕士阶段于鲁美“新古典工作室”深造。他跟我解释过“新古典”的涵义，“古典”意味面向对象的写真，“新”指谓语境的转换，即吾等处身的世界早已进展为工业、后工业文明时代。书本的知识、导师的传授——学院在他身上发挥出正向的效用。除外，其父的开明也助佑了他在知行之路上无碍。因而，李博的自由意志得以于宽阔的空间中畅行，知识和手艺不断精进，逐渐形成有一定世界视野的独立品格。似乎，这条路顺理成章，但在我看来，却是较少幸运儿能走通。李博毕业后去了长春某高校任教，两年后以颇有陶潜“解印去县”之举的离职结束。他凭靠亲友的支持过了几年纯艺术家的生活。
卞之琳大致说过：做人第一，为艺第二；艺成之后，却只能就艺论艺，不应以人论艺。李博处理的题材不同，但是风格确有显在的调子。比如他理性化的画风：色彩是偏冷的，线条是非感性的，图像是隐喻化的，结构是缜密设计的。读他的画，不会立即获得某种深刻的感受，只有经过细致的分析和合理的联想，才能达乎一定程度的理解。理性精神是李博格外推崇的。他把这种精神/方法当做西方文明的精髓，认为只有掌握好这种精神/方法才有出路（他认为，东西方思想是无法融合的）。他采用理性精神作画，也运用这种精神分析问题。从某些题材，能发现李博相当关注中国人的精神面貌，他的“麻将系列”，里面的小人儿、麻将等等，无不指向理性建构精神匮缺后出现的文化萎靡情状。他另一组作品“DNA”系列，是在“麻将系列”等作品的基础上，所做深度解构与剖析，用排查中国人文化基因的方式，意图找到问题症结。他所使用的创作方法中灌注的理性精神，和他运用理性精神分析中国人精神状况，成为相当具有问题意识的，然而又自问自答的一组自相恰切的艺术作品。他另些作品呈现伪科学、人道精神，是对理性精神的延伸和丰富。
李博后来被当地美术馆聘任，一天早晨他跟我讲述他的一个梦境。他回忆，在一个仿佛是中央美院的地方，我问他“未来最惧怕的是什么”，他回答：“最害怕的是，有一天我老了，在一个系统内获得了高位，却成为阻碍年轻人进步的人，成为阻碍这个社会向善的人。”
苏丰雷
2017年10月2日
Exhibition Preface
Artists are respected and their works are recognized, while the general criterion can be various and even confused in some times inferior to the second-class times. The artist—Li Bo deserves my appreciation and his works have earned my respect. Now I’ll briefly state my reasons.
Li Bo, an art major, graduated from “the Neoclassical Workshop” of Luxun Academy of Fine Arts with a master degree. He has explained the definition of “neoclassicism”, that is , classicism means the accurate portrayal of the subject, while “neo-” means the change of context which refers to the industrial and post-industrial era we are in. The academic side（the knowledge from books and the instruction from the tutors） has a positive effect on him, besides, his open-minded father has helped clear up theobstacles in his way of seeking knowledge. So Li Bo’s free will flows smoothly in the broad universe and his knowledge and works constantly improve which leads to an independent character with a world vision in his paintings. All this seems to indicate the brightness of his art career, but to my point of view, only a few lucky men can succeed. As for Li Bo, he became a teacher in a college in Changchun after graduation and quit his job to pursue art two years later just like the way Tao Qian did. He devoted himself to painting for several years with the support from his family and friends.
Bian Zhilin once said: “Learn how to be a man comes before learning art. But after the accomplishment of his art, people should judge his works only for the sake of art rather than for the sake of his character.” Li Bo’s works deal with a less common field, but with a strong tone in his style. For instance, his painting style is rationalized, with cool colors, irrational lines, metaphorical images and rigorous structure. When looking at his paintings, the viewers do not get profound feelings immediately. It takes careful analysis and rational association to an understanding to a certain extent. Li Bo highly respect the rational spirit and he considers this spirit as the essence of western civilization, so he comes to the conclusion that the mastery of this spirit leads to the way out（ in his opinion, the eastern thought and the western thought can not meld together）. He adapts the rational spirit in his paintings and use this spirit in analyzing problems. From one theme of his works, you can notice theartist’s concentration on the spiritual outlook of Chinese people, in fact the figures like the infants and mahjong in his “Mahjong Series” indicates the spiritless culture without the rational spiritual construction. While his other series, the “DNA Series”, which is based on the “Mahjong Series” and other works, is the profound deconstruction and analysis to try to find the antidote to the problem by screening the genes of the Chinese culture. The rational spirit dominating in his creation method together with the his analysis of people’s mental world by the rational spirit constitute a series of artworks which is problem-oriented as wells as properly self-questioning and self-answering. While some of his works present an aspect of pseudoscience and humanitarian spirit, which is the extension and enrichment of the rational spirit.
Li Bo is later hired by a local art museum and one day hetold me a dream. In his dream we satin a cafe in the Central Academy of Fine Arts and I asked him: “What is yourgreatest fear in the future ” and he replied: “My greatest fear is that in myold age I would become the obstacle to the progress of young people and thesociety if I possess a high position in the system.”
Su Fenglei
October 2, 2017
艺术家简介/Artist Resume
李博
1981 生于吉林四平
2005 毕业于吉林师范大学美术学院油画专业,获学士学位,毕业作品被院美术馆收藏。
2009 毕业于鲁迅美术学院油画系第一工作室,研究方向—新古典主义油画 研究,获硕士学位。
2009 任教于吉林动画学院美术基础教研室
2015 北京上苑美术馆完成为期半年的国际艺术家驻馆创作计划
2016 任职于四平市美术馆公共教育部
个展
2015 过期 上苑艺术馆 北京
2017 基因 马亚诺空间 798艺术园区 北京
联展
2013 “辅路--往复的自我与自觉”青年艺术家联展 北京 环铁时代美术馆
2014 北京国际画廊博览会——北京 上上美术馆
2015 鸟巢国际当代艺术中心——北京 奥林匹克中心
2015 为自闭症儿童捐款——“万花筒”主题展 杭州万象城
2015 光空间邀请展——北京 草场地
2015 北京上苑美术馆完成为期半年的国际艺术家驻馆创作交流计划
Li Bo
1981 Born in Siping, Jilin
2005 Graduated from Oil Painting Department of Jilin Normal University,Obtained Bachelor Degree, Graduation works collected by College Art Gallery
2009 Graduated from First Studio Oil of Painting Department in Luxun Academy of Fine Art, Research direction of neoclassicism, Obtained Master Degree
2009 Teacher in Basic Education Office of Jilin Animation Institute
2015 Member of the Residency Programme of Shangyuan Art Scene in Beijing Shangyuan Art Museum
2016 Official in Public Education Department of Siping Art Museum
Solo Exhibition
2015 “Overdue” in Shangyuan Art Museum Beijing
2017 “Metaphor of Hypothesis” Mariano space 798 art zone Beijing
Group Exhibition
2013 “Side Road—Reciprocating Self and Self-consciousness” Young Artists Group Exhibition Beijing Huan Tai Times Art Museum
2014 China International Gallery Exposition
2015 International Art Center of Bird’s Nest
2015 Donation for autistic children—“Kaleidoscope” theme exhibition Hangzhou Vientiane City 2015 Invitational Exhibition of Light Space Beijing Pastures
2015 Residency Programme of Shangyuan Art Scene in Beijing Shangyuan Art Museum
Beijing Sunshine Museum Beijing Olympic Center
麻将系列（Mahjong Sesies）No.1 Oil on Canvas 150cmX200cm 2013
麻将系列（Mahjong Sesies）No.2 Oil on Canvas 180cmX200cm 2013
麻将系列（Mahjong Sesies）No.3 Oil on Canvas 150cmX200cm 2013
麻将系列（Mahjong Sesies）No.4 Oil on Canvas 200cmX200cm 2012
麻将系列（Mahjong Sesies）No.5 Oil on Canvas 200cmX200cm 2013
转换的视角
李博准备在北京办个展，前日，他到沈阳带来自己的作品图像，讲述了这些年不断变换的工作和生活经历。李博是在鲁迅美术学院读的研究生，作为他的导师,我见证他的三年艺术学习过程。李博毕业后回到家乡吉林，随后的一段时间我们多有交流，只是最近几年联系的不多。当看到他在那样的条件下所完成的众多作品，深为他数年持之以恒执著于艺术的意志力而感动。
李博读研的专业方向是新古典油画研究，这个研究方向的专业教学强调学生对西方传统油画内在精神和外在形式的把握，同时加强自我创造意识，关注社会，寻找树立起自己独特的观察方法和表现语言。但本专业的学生大都把主要精力用在传统绘画的造型能力与技艺的训练上，而对当代性和语言形式创造的“新”字上做得不足。李博则不然，他是一位喜读书，爱思考的学生，对于 “新”有自己见解，他认为“新古典”的涵义应为：“古典”意 味面向对象的写真,“新”指谓语境的转换。因此，当面临道路选择的时候，他遵从个人艺术观念和生活感受的转向，坚定地站在当代的立场上去看待和吸纳传统艺术的有益部分。这是他读研的最大收获，也为日后发展打下坚实的基础。
李博的艺术综合了现代绘画的平面、设计、装饰等抽象因素和传统古典艺术的精髓，他直面生存境遇，感悟于内心深处，将精心选择的具象的人与物作为思想的图式符号，进行各种排列组合，形成充满隐喻的梦幻般的奇异画面，給人以多方位的联想与思考。看李博的画，清冷、迷茫，在充满古典理性精神和稳健的构图中却表达出了我们中国人当下的精神困惑和不安，李博创造出 了属于他的时代的艺术。
鲁迅美术学院教授 刘仁杰
2017年10月
Transformed Perspective
Li Bo is preparing for his solo exhibition in Beijing. Two days ago, he came to Shenyang to see me with pictures of his works and he told me about his constantly changing jobs and life experience. Li Bo was a postgraduate student in Luxun Academy of Fine Arts. As his tutor, I’ve seen how he studied art in his three years in LAFA. Li Bo went back to his hometown in Jilin Province and we kept in touch in the following years, even though we don’t have many contacts in recent years. After viewing his large number of works which were completed under unfavorable circumstances, I was deeply moved by his strong will in perseveringly persisting in art.
Li Bo’s postgraduate program is the study of neo-classical oil painting. The professional teaching of their research direction emphasizes in the students’ capture of the inner spirit and external form of western traditional oil painting. At the same time, the students should strengthen their self-creation consciousness, pay attention to the society and set up their unique observation method and expressional language. However, most of the students concentrate on training of modeling ability and skill of traditional painting and thus they do not do enough to find the “new” side of the contemporary spirit and their expressing language. While Li Bo is an exception, he loves reading and thinking and thus he has his interpretation of “new”. In his opinion, the definition of “neoclassicism” is like this: “classicism” means the portraying of the object and “neo-“ means the transfer of context. Therefore, when facing choices, he follows the veer of his artistic concept and understanding of life and treats and absorbs the healthy part of traditional art from the confirmed stand of contemporary spirit. This is the greatest gain of his postgraduate time and has laid down a solid foundation for his future development.
Li Bo’s art involves the plane, design, decoration and other abstract elements of contemporary painting and the quintessence of traditional classical art. He directly confronts the living circumstances, perceives deeply inside and carefully selects the figurative people and objects as the symbolic signs of thought and presents them in various patterns which forms the magic, fantastic pictures full of metaphors, resulting in the viewers’ multidirectional association and reflection. In Li Bo’s chilly, confusing paintings, the firm composition full of classical rational spirit shows the spiritual confusion and anxiety of modern people. Li Bo has created art of his time.
Liu Renjie Professor of Luxun Academy of Fine Arts
October, 2017
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.1 Oil on Canvas 150cmX200cm 2013
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.2 Oil on Canvas 150cmX200cm 2013
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.3 Oil on Canvas 150cmX200cm 2013
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.4 Oil on Canvas 150cmX160cm 2013
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.5 Oil on Canvas 150cmX160cm 2014
DNA系列之细胞镜像（DNA series-Cell mirror Lmage）No.6 Oil on Canvas 150cmX160cm 2014
假设的隐喻
李博的近作发端于对现实中人的生存状态的混乱感和精神世界的困惑，这种心理状态、社会图景构成了他的画面要素的基本隐喻图式。
作品像似万花筒般的充满幻觉感，画面结构在一种让人心理紧张的互相挤压、侵占、变形和莫名奇妙的状态中交织，那些与中国有关的图式符号如旌旗、传统绘画图案、麻将、数字、红领巾、印章等等在画面中与好像梦魇似的蒙眼的孩子、事件、文化记 忆、现实灾难等等共同飘荡在一个被规矩且有蓝色调统御的矛盾而虚空的游戏般的碎片图景里。
这种混乱的甚至眩晕的万花筒式的作品也许恰恰暗示了今天人的精神与心理的双重矛盾，那种混乱、惶恐与不安，以及来自生存领域的各种问题与压力超时空般的堆积在一起统统作用于今日人的精神与心理世界。而这种混乱的、翻转的、拼接的、碎片化的画面形式正是画家在作品中直面生存状态的真实反映。
当一个人的内心直面现实的撞击，在处于矛盾的意识里，那潜藏的希望、沮丧、努力的无果与愤懑会使人渐渐在不停的被撕扯中绝望，但同样，希望的力量和使命感被无节制的放大也会把一个人在不知不觉中压扁，而这双重矛盾却恰恰在用一种更加直观的感受和隐晦的方式作用于更多的人。
画家通过绘画的形式不断的希望解除困惑和寻找问题的答案。
虽然答案总是远离问题，但画面中浪漫主义情绪般的蓝色依然带来了更多的希望，在严肃的直面生活里让游戏般的梦幻色彩有了一层虚拟的隔离痛苦的慰藉。
在李博敏感、严整并在克制中略有冲动固执的面孔和艺术语言背后，我时常会体验到一种相对细密精确和被主动承受的悲观主义，一种更多建立在主观现实意识和虚幻之间的危机氛围也被他扑捉和机敏地再次创造，类似他画面中“被蒙眼的孩子”般的被隐喻和充满未知的怪诞。
我们总是希望能够有准确的答案，但“问题”或“被问题”总是处于虚设或移动中，在虚设中希望确定和被确定，都可能远离真实。但，也可能没有真实，我们永远均只是假设者。
张志刚
Metaphor of Hypothesis ——Reaction to Libo Works
The conception of Libo's recent works derives from the confusion in the public between the disorder of people’s living state and their mental world, while these two elements（mental state and social reality） constitute the basic metaphor pattern of his paintings.
These paintings create a sense of illusion like a kaleidoscope does. The composition of the painting is an interweaving between mutual extrusion, invasion, distortion and an incomprehensible condition which leads to tension in the viewers. Those schematic symbols related to China（such as flags, traditional patterns, mahjong,numbers, red scarf, seal, etc） together with the covered-eyed infant in nightmare, cultural memory and social catastrophe drift in a fragmented picture which is disciplined, blue-dominated as well as contradictory, void and like a game.
These kaleidoscopic works with a sense of confusion even dizziness may just reflect the contradiction between the spirit and psychology of modern people. The confusion, fear, anxiety as well as the various problems and pressure from human existence pile up beyond time and space and have the same effect on the spirit and mental world of people nowadays. Also this chaotic, reversed, assembled and fragmented picture form is the true reflection of the painter’s confrontation with human existence in his works.
When a person is stroked by the reality, with his consciousness in a contradicted state, he is driven to despair by the constant tearing from the hidden hope, frustration, failed efforts and resentment. While at the same time, the power of hope and the sense of mission is unboundedly magnified which also leads to the crushing of a person. But this contradiction may take effect on more people in a more intuitive sense and in a more obscure way.
The artist continually tries to clear the confusion and seek a solution to the problem in his paintings.
Despite of the fact that the answer is always away from the question, the romantic blue color in the paintings still brings more hope. The playful, fantastic color forms a virtual layer with comfort that isolates the pain in the serious confrontation with the reality.
Hidden behind the sensitive, strict, restrained as well as slightly impulsive and stubborn face of the artist and his art language, I often feel a sense of detailed, accurate and active bearing of pessimism. The artist seizes and cleverly recreates the crisis atmosphere between subjective reality consciousness and illusion, such as the metaphor of “the covered-eyed infant” and the unknown weirdness.
We often hope to get the exact answer, but “the question” or “the given question” always lies in fiction or in motion, so the effort to determine or be determined in fiction may actually stay away from reality.
Zhigang Zhang
意之动（Activity of mind）NO.1 Oil on Canvas 160cmX240cm 2011
意之动（Activity of mind）NO.2 Oil on Canvas 160cmX240cm 2011
意之动（Activity of mind）NO.3 Oil on Canvas 160cmX240cm 2011
“花”里藏刀蕴深情
——读李博的画
典型的李博的画，里面通常有一个或多个裸身的胖大小子，比如《麻将系列》。圆嘟嘟的脸，马桶盖儿般的短发，嘬着的小嘴儿，好不惹人怜爱。似乎还没到上学的年纪，但打着鲜艳的红领巾儿。仿佛并不是在玩捉迷藏的游戏，但蒙着眼睛。他/他们背后插着几面龙旗，一副朝朝暮暮都处于某种超我身份意识的亢奋之中。他们置身在麻将桌上，或是几个麻将作为符号点缀在画幅中。又用非常中国化的青花瓷色做主色调。图式与色彩花俏而又在完全的掌控中。
只要沉湎在这些意象符号中，定然能打开李博的隐喻盛宴，他在其中玩够了隐喻游戏。这些意象符号，不论其呈现的尺幅大/小、整体/局部，全然指向智力低幼化、视野封闭化、意识形态官方化、生活方式腐朽化、文化民族主义化的当代中国人的精神症候世界，在貌似花里胡俏的谐趣表面下，讽喻的火力全开。尤其炮轰麻将作为国粹所指涉的孱弱、狭隘的人格（用在这里的“人格”一词竟也仿佛自我质疑）。
李博用多重手法排列组合这些意象符号，试图对当下国人精神病况予以科目式呈现，但其柳叶刀依然向更深处蔓溯、探寻，此即《DNA系列》，它指向了针对中国人文化基因的质询与指控。在从具象到半抽象的变换中，伴随的是，从病症的呈现至病症的把脉、追问，这一掘进难能可贵，且直指人心。
按文化哲学的视角，比如索罗金的观点，他认为，“决定人类发展的不是社会经济结构的改变，不是革命，而是文化类型的更替”。文化有其诞生、成熟、繁荣、衰老、死亡的命运。文化在全球范围内的危机——文化末世论，这是世人普遍关注的问题之一，价值的失落或价值相对主义的流行，导致当下悲观、虚无的泛滥。
以我的理解来谈中国文化，其兴起在商、西周，成熟在春秋、战国，繁荣在唐、宋，然后接续似乎便是漫长的衰变轨道。而中国文化与西方文化相比，似乎又有些先天的不足，影响了其健全的发育生长，比如科学理性、宗教信仰的匮缺。只是到了东西方汇流的近现代，中国文化才从西方不断汲取其所需的新鲜血浆，始又启动新一番的征程。但不久又蹶倒于地，泥足深陷，乃至今日依旧盘桓在“文革的延长线上”（敬文东语）。不过，文化问题，端的是绕不过去的，我们不管偏离得多远，都将不得不返身回来重新塑铸我们的文化DNA。
李博习惯在工作时穿件白大褂，本本经经像个医生那样作画，他确乎具有医生的理性及其操作的手法。他熟谙当代艺术并深受其影响，解剖当代中国人的精神世界，在当代语境里面来开他的花结他的果。他所把捉、呈奉的种种意象符号都是经过他自个儿摸索、思考、提炼的结晶，很观念、很好玩、很带劲儿，已很有李博范儿了。
苏丰雷
2015.9.16
Sharpness Hidden in Flowers with Great Passion Inside
——Interpretation of Paintings from Li Bo
A typical painting of Li Bo usually involves one orseveral naked fat boy such as the Mahjong Series. The lovely boy has chubbycheeks, bob hair and pouted lips. He is not yet the age for school but stillwears a red scarf for Yong Pioneer. He is not in a hide-and-seek play but stillblindfolded. He（or they） carries several dragon flags on his back, constantlyindulging in the excitement of a certain superego. The boys are on the mahjongtable or the mahjong are dotted as symbols in the painting. The dominant toneis the color of blue and white porcelain which is very Chinese. The scheme andcolor is fancy but still under control.
Once you go into the image symbols, you will explore inthe banquet of metaphor. These image symbols, regardless of the sizes, whole orpartial, all lead to the symptoms of the mental world of contemporary Chinesepeople which include low intelligence, enclosed horizons, official ideology,rotten lifestyle and nationalized culture.
The painting is full of satire under the cover of garishcolor. Especially criticizes the frail narrow character of mahjong as thequintessence of Chinese culture.
Li Bo arranges and combines these image symbols invarious ways with the attempt to present the sickness of modern people in theway like school subjects. While his scalpel still cuts into the deeper world totrace and explore, and this is the nature of the DNA Series, which is theinquiry and accusation of the gene of Chinese culture. The transfer fromconcretization to semi-abstraction is the process from presenting symptoms todiagnosing and examining illness, which is a precious step and points directlyto the point.
From the perspective of culture philosophy, such asSorokin, he believes, what determines the development of human being is thesubstitute of culture rather than the change of economic structure orrevolution. Culture has its destiny of birth, maturity, prosperity, aging anddeath. The culture crisis, Eschatology of culture is a universal concern. Thelost of values or the prevailing of value relativism leads to the overflow ofpessimism and emptiness.
From my perspective, the Chinese culture originates inShang Dynasty and the Western Zhou Dynasty, gets mature in Spring and AutumnPeriod, flourishes in Tang and Song dynasties and gradually decays in thefollowing periods. At the same time, compared with the western world, theChinese culture has some inherent problems, like the lack of scientificrationalism and religious faith, which leads to the insufficient development.Only until modern times when the eastern world and the western world getsinflux like two divergent rivers, the Chinese culture continuously draws theneeded new blood from the western world and starts a new stream of exploration,but it suffers a setback and steps deep into the mire, and still lingers on“the extension line of cultural revolution（ Jing Wendong）”. Still, the cultureproblem is a question that cannot be evaded, thus no matter how far we go, wehave to come back to remould the DNA of our culture.
The artist usually wears a white coat while painting,seriously does his painting as a doctor in an operation and he does possess therationality and operation technique of a doctor. He knows contemporary art welland is deeply influenced by it. He dissects the mental world of contemporaryChinese people and reveals his finding in contemporary art. The image symbolsrepresent what he sees and seizes which are the fruits of his fumbling,pondering and refining. His paintings are full of concepts as well as interestsand excitement, which is full of style of Li Bo.
Su Fenglei
September 16, 2015
师夷长技No.1 150cmX160cm 2009
师夷长技No.2 150cmX160cm 2009
并置——装置作品 Oil on Canvas 150cmX160cm 2010
创作中
自述/Artist Statement
我的工作也是在通过绘画的形式不断的解除困惑需找问题的答案,寻找济世的良药,寻找我们这个民族 未来的文化之路。绘画毕竟是视觉的东西,我的困惑与思考是否能够在画面中予 以体现这是艺术技巧高低的问题,当我每每站在自己亲手绘制的一幅幅画面前我总是觉得其实是我所生 活过的过去和现在为我提供了画面,而我只是第一个读它的人。
我珍爱这个民族的全部历史,无论它所承载的光荣与梦想妥协与屈辱,希望我们这个民族能够在未来寻找到一条属于我们自己的真正文化复兴之路。
I hope, through my paintings, we can seek for the answer to remove confusion, the medicine for this disorder and the future path of our civilization. Sometimes I question myself in my ability to carry this kind of burden and I question myself in the sufficiency of my schooling and knowledge. Anyhow, I cannot get rid of the bother of all this thinking. After all, painting is a visual thing. Whether my confusion and thinking can be expressed in the pictures or not is affected by my artistic skill. Whenever I stand in front my paintings, I always have the feeling my past experience and my present day have provided the pictures for my works and I am just the first person to read them.
I cherish all the history of our nation, both the glory and dream and concession and humiliation. I hope our nation can find the right path for our own cultural renaissance.
（编辑：杨晶）
