李恩成应邀参展，“随类赋彩——当代花鸟画作品展”在北京开展，展期至7月31日

随类赋彩

Conformity To Kind In Applying Colors

展期｜Duration

2025.6.9—7.31

策展人｜Curator

卢柯强

艺术家｜Artist

许晓彬

李恩成

李雪松

地点｜Venue

北京市朝阳区东三环北路27号嘉铭中心B1层南侧

主办方｜Host

中国嘉德国际拍卖有限公司

窥情风景之上钻貌草木之中

李恩成的画作色彩斑斓却不轻浮。他擅长将“没骨法”与染色渲染相结合，用色彩表现植物的生长逻辑和精神状态。色在他手中，不是装饰，而是一种结构、一种节律。

以下内容摘自李恩成自述《窥情风景之上钻貌草木之中——我的花鸟画创作观》：

Li Encheng has devoted years to exploring how gongbi painting can both preserve classical brushwork spirit and develop new visual approaches and pictorial logic in contemporary practice. His works dazzle with vibrant hues yet never succumb to frivolity. He masterfully integrates the mogu (boneless) technique with delicate color washes, using pigment to articulate plants' growth patterns and spiritual essence. In his hands, color transcends mere ornamentation—it becomes structural architecture, living rhythm.

The following excerpts are from his artist statement "Observing Sentiment Beyond Landscape, Delving into the Essence of Flora—My Philosophy of Bird-and-Flower Painting":

《红瓜》

绢本设色70x35cm2021年

起拍价RMB12,000

写生是花鸟画家突破传统藩篱，找寻自我表现技法和题材的重要环节。五代黄筌的《写生珍禽图》和北宋赵昌的《写生蛱蝶图》早有先例，自古以来很多卓有成就的花鸟画家都是从写生中汲取新意，找寻突破的。写生的首要问题是要学会观察，不是简单的用眼睛去看，要用心体悟。易元吉为了画好猿猴，深入丛林，搭建棚屋，隐身期间，窥视猿猴的生活习性，打闹嬉戏，动态结构，从而成为一代画猴宗师，独树一帜。居巢的画尤重写生，他深入观察物象，常不分昼夜到户外细察草虫生态和跃动情状。高剑父称居廉“眼之所到，笔便能到，无物不写，无奇不写，前人不敢移入画面的东西，师尽能之”。居廉在写生时，“每将昆虫以针插腹部，或蓄诸玻璃箱，加之描写。画毕则以类似剥制的方法，以针钉于另一只玻璃箱内，一如今天的昆虫标本，仍时时观摩。”

"Sketching from life serves as a vital gateway for flower-and-bird painters to break through traditional confines and discover their own expressive techniques and subjects. Pioneering examples like Huang Quan’s Sketches of Rare Birds from the Five Dynasties and Zhao Chang’s Sketches of Butterflies from the Northern Song Dynasty demonstrate how masters throughout history drew innovation and breakthroughs from life-drawing. The foremost principle of sketching lies in learning to observe—not merely seeing with the eyes, but perceiving with the heart. To master painting gibbons, Yi Yuanji immersed himself in the jungle, dwelling in huts to secretly observe their habits, playful brawls, and dynamic postures, ultimately becoming an unparalleled master of primate portraiture. Ju Chao’s work placed extraordinary emphasis on life studies; he meticulously observed his subjects, often venturing outdoors day and night to examine the vitality and movements of insects and plants. Gao Jianfu praised Ju Lian: 'Where his gaze could reach, his brush could follow. Nothing escaped his depiction—no marvel was too unconventional, no subject too bold for his canvas.' When sketching, Ju Lian 'would pin insects through their abdomens or keep them in glass jars to depict them. After painting, he mounted them using methods similar to specimen mounting, pinning them in display cases—much like modern entomological specimens—for continual study.'

《红蜻蜓》

绢本设色70x35cm2021年

起拍价RMB12,000

我的写生是从身边寻常所见入手的。牵牛花、蜀葵，凤仙花，柳叶桃，白玉簪，马唐草，它们各具情态，色彩直接涂写，以写意性的笔法进入才能使线条不板不滞，花的形态千变万化，含苞待放吐露生机、半遮半掩娇羞欲语，全面盛开热情奔放，表现出花的万般风情。叶的形态务求统一，从形到色尽量少些变化来衬托花的丰富多彩，也可适当有个别叶梢枯黄或带虫眼的以破除叶的单调。草的画法更应自由，充分发挥毛笔的书写性，长短阔窄交替穿插，不必拘泥于一笔长，两笔短，三笔破凤眼的画法，而是要在群草叠加中追求野蛮生长所具有的疏密聚散的自然状态和坚韧不拔的生命力量。

My sketches begin with the ordinary wonders around me—morning glories, hollyhocks, garden balsams, oleanders, fragrant plantain lilies, crabgrasses—each possessing its own spirit. I apply colors directly with freehand brushstrokes, allowing lines to dance without rigidity. Flowers transform endlessly: buds bursting with nascent life, half-blooms shyly veiled as if whispering, full blossoms exuding untamed passion—thus capturing flora's myriad charms. For leaves, I seek uniformity in form and hue, minimizing variation to frame the flowers' splendor, yet sparingly add withered tips or insect-bitten holes to disrupt monotony. Grasses demand even greater freedom: unleashing the brush's calligraphic essence, interweaving long-short, broad-narrow strokes. I reject rigid formulas like 'one long, two short, three strokes piercing the phoenix eye', instead pursuing the untamed rhythm of clustered growth—dense and sparse, gathered and scattered—echoing nature's chaotic vitality and tenacious life force.

《山花烂漫》

绢本设色240x200cm2021年

起拍价RMB500,000

参加展览：1.“第八届全国画院美术作品展”，2023年4月20日—6月20日，山东美术馆。

2.“中国国家画院庆祝中国共产党成立100周年邀请展·百年风华——花鸟画名家作品展”，2021年7月15日—7月27日，中国国家画院。

出版：1.《第八届全国画院美术作品展展览作品集》第186页，山东美术馆出版社，2023年。

2.《中国国家画院庆祝中国共产党成立100周年邀请展·百年风华——花鸟画名家作品》第176-177页，安徽美术出版社。

3.《芳华》第66-67页，山东美术出版社，2021年。

《草木敷荣》

绢本设色70x35cm2021年

起拍价RMB12,000

写生是在鲜活的场景中进行的生命体验，“窥情风景之上，钻貌草木之中”（刘勰《文心雕龙》），草丛里的虫鸣蛙叫，耳边蜂蝶飞舞的声音环绕，空气中弥漫的花香草气，都会影响到写生的画面，应当接受并反映到画面中来，让写生的过程多姿多彩，画出的作品才会有滋有味，情趣盎然……

Sketching from life is a vital communion with living scenes—as Liu Xie proclaimed in The Literary Mind and the Carving of Dragons, **‘probing the spirit above the landscape, penetrating the form within the flora.’ The chorus of insects in the grass, frogs croaking at twilight, the hum of bees and flutter of butterflies by your ear, the air laced with floral perfumes and green scents—all these sensory whispers permeate your canvas. Embrace them, let them breathe onto the paper, and the act of sketching transforms into a dance of senses. Only then does the artwork pulse with spontaneous poetry, becoming a feast for the soul, teeming with unscripted vitality...

《望月》

绢本设色70x35cm2021年

起拍价RMB12,000

近些年来的创作不知不觉中绿色成了我画面的主调子，那些魂牵梦绕的儿时玩伴也成了我画里的主角，花开花落，草长莺飞，青蛙跳，蝈蝈叫，小鱼成群，蜻蜓飞舞，里面既有儿时家乡的味道，也有曾经走过的各地优美风物的记忆，总之那些打动着我，感染着我的自然界中花草鸣虫，那些年复一年的花落花开，那野火烧不尽，春风吹又生的野草，那看似杂乱无章的草丛中自带生长的规律的四时更替，自然的永恒与魅力一直充盈着我的生命和创作，我也以我的创作回馈着大自然，做一名大自然生命乐章的歌者。

In recent years, verdant green has flowed unconsciously as the dominant hue across my canvases, while childhood playmates of my dreams now animate my paintings—blossoms waning and waxing, meadows teeming with warblers, frogs leaping, katydids chirping, fish schooling like liquid silver, dragonflies flutter-darting. Here lies the essence of my ancestral homeland, interwoven with memories of sublime landscapes wandered through ages. Ultimately, it’s nature’s flora and chorusing insects—those that stir and haunt me—that permeate my being: the eternal return of seasons in fallen petals and reborn blooms, the wild grasses chanting Bai Juyi’s ode—'unscathed by wildfires, resurrected by spring winds'—and that tangled thicket where chaotic beauty conceals its celestial rhythm. This primal eternity, this ineffable magnetism of the natural world, floods my existence and artistry. In return, I offer my creations as hymns to the wilderness—becoming a conductor of Earth’s undying symphony.

《活色生香》

绢本设色70x35cm2021年

起拍价RMB12,000

（来源：中国嘉德）

画家简介

李恩成，中国美术家协会会员，山东省美协主席团委员，国家艺术基金评审专家，中国工笔画学会理事，山东工笔画学会副会长，济南市美术家协会副主席，一级美术师，第六批齐鲁文化英才，山东工艺美院研究生导师，山东省第十届文联委员，山东画院专职画家。

2014、2023年两次荣获泰山文艺奖，2019年作品《芳华》获第十三届全国美术作品展（第三届中国美术奖）银奖，2019年作品《弥生·NO2》入选第十三届全国美展综合材料作品展，2021年作品《凝翠》获2021百家金陵画展典藏作品奖，2017年作品《相遇》入选第五届全国画院美术作品展，2019年作品《徙》入选第六届全国画院美术作品展，2021年作品《锦绣》入选第七届全国画院美术作品展并被评为优秀（晋京）作品，2022年作品《滴翠》入选第十三届中国艺术节全国优秀美术作品展，2023年作品《百年风华》入选第八届全国画院美术作品展并被评为优秀（晋京）作品，2024年作品《滴翠》入选第十四届全国美术作品展。

作品、论文及评介发表于《美术》《美术观察》《中国美术》《中国美术研究》《中华书画家》《中国书画》《荣宝斋》《美术界》《书画艺术》《艺术市场》《山东文学》等杂志。2021年个人作品集《芳华》（文集·图集）由山东美术出版社出版发行。作品被中国美术馆、中国国家画院美术馆、山东美术馆、江苏省美术馆、宁夏美术馆、上海明圆文化艺术中心等机构收藏。