90年代，江峰的“干花”系列，至今还不时萦绕在我脑海，那样的高傲、从容、典雅，是花？非花？那是生命的尊严呵。之后又见她的瓶花，她画鲜花，要么简化为一个圆团，要么画出了带梭角的花，那花还真有性格。她画“土陶家族”，一个个土陶罐，高的、矮的；胖的、瘦的；歪的、扭的不说，又让“光”这位魔术师，在不平整的陶罐表面变幻出奇异的色彩图形来，它们各有个性，互相比着美，好一出出生动活泼而有生气的舞台戏。她画皖南水乡，并不在乎那小桥流水的娇美，只是想法子让画中的屋宇、街道水气迷离。她画土街道，或洋街区，并不管那房屋有多土、多洋，专爱画那阳光与影子所造成的怪异感觉。10多年后，偶见她的“大风景”，着实让我有所震惊，她好像把我推上了高山之巅，遥望那辽阔、苍茫、邈远的天地，如此宏阔、深远，好一个黄天厚土的家园！

　　印象中这位画干花、画瓶罐的小女子——李江峰，她的画着眼点是有点怪，表现的手法也超凡脱俗，但何时有了这等吞吐山河的大气魄，又何以画出了这等的大气势？

　　李江峰，北方人氏。平时不乏女人的温柔细致，挺讲究生活的品位，但又不时露出一股子说不明的嘎劲。有时她很女人味，有时又有满不在乎的粗犷洒脱，这文与野相谐的个性特点，倒也处处流露在她的笔底。

　　近写远雕的画面笔致：她的画，总以那洒脱生动的用笔让人感到了动人的气息，但又常被她那精工细做的画面肌理所透出的神韵而着迷。她常用特写，把要表现的主角推到你面前，用写意的笔法，向你诉说着“青葵”的羞涩、“葵花朵朵”成长的快乐，或向你展现葵披上“紫雾”的妖娆、“正午阳光”中的热烈，“收获”在即的骄傲，也有“冬雪”的严酷……她“写”得是如此放松，自在，这是一种自由精神的放飞。就在那“写”之中蕴涵着自我与自然的统一，那种重神韵，重精神指向的形象，彰显着美与善的人格精神和“天人合一”的宇宙精神，让人感受到有限融入无限之中永不停息的生命精神。而她在画面的中、远景的处理中往往又似用刻刀精工雕琢出了层层梯田，块块丛林，仟陌纵横，勃勃生机，画出了人们赖以生存的大地温厚的质感，而不是一种飘渺虚无的幻觉。因而她的画给人一种豁达大度又精心设计的饱满感，透着一种自由舒畅又张弛有度的优雅的气质。

　　视角的独特：她舍弃了写生的焦点透视，也似乎不完全用我们传统山水画的平远、高远、深远的散点透视，是一种由着她的性子喜好，搭配着画面的近景、远景去组合着一幅幅“有意味”的画面。有时她似乎用了一种“航空透视”从高处向下俯瞰，那宽银幕似的《桥下的风景》，从高处向下、向远处看，阡陌纵横，一望无际，这是幅多么广阔深远又生动和谐的田野交响乐。她不用硬边结构的桥梁横跨画面，而用桥的影子倒卧在大地上。试想，如果用桥梁生硬地嵌入，会使画面割裂，空间变得狭窄，破坏了画面整体的和谐情调。改为桥所投射在大地上的影子，变立体为平面，影子是软性的、虚的，随着大地的形和色与大地互为作用融为一体。这不能不说是她的别出新裁。画面因桥而有新气象，又因是桥的影子而新奇。那幅《天高地厚》，用俯瞰和平远的视角，让层层圆弧状的地形，在色彩深浅、明暗间隔的渐次变化中推展开去，使画面空间既宏阔又深远且浑厚。那大色块的色彩布阵，著实令人惊心动魄，近乎黑色的深褚与土黄、土绿组成的近景、中景以暖色为主调，而与远景的近乎黑色的深蓝，这么冷峻的色调相呼应，给人是冷热两重天的视觉冲击，产生一种凶险的心理反应。作者如此超常规的色彩布局，让观者置身于神秘的苍穹之中，陡然生出一种对自然的敬畏之心。

　　运动的风景：一般的风景画大多是由近处平缓地推向远方，以平远景象为主。而她要么用倾斜的地平线，要么用起伏不平的地平线，甚而在画面中让山峦破了那平缓的地平线，形成纵横交织，迂回盘旋的运动旋律，那《大地早春》、《大地晚秋》倾斜的地平线，和丛林、田地条条块块的节奏，你不觉得大地在行走吗？那《风》、《草》中茅草动势和田野块面的动态的节奏，你不觉得这是多么美妙动人的生命的脉动？她以节奏的动势引起空间感觉，化空间为生命的境界，谱写出充满着生命活力的田野交响乐。我常纳闷她为什么能跳出那平凡而平庸的常态的风景画图式，创造出如此勃勃生机的风景图像。我后来才悟出这是与她出生在河北承德丘陵地带有关，从小就在到山岗、坡地、青纱帐、向日葵花中玩耍。这高低不平的坑坑洼洼的田野可是她童年的天堂，承载着她成长的记忆。丘陵地貌，是她的故乡情结，也成就了她风景画最主要的特色。在她画中的丘陵地貌，既是实景又非真景，是她心中的风景，是生命精神的象征。

　　李江峰的画，不管是风景，还是静物，似乎都基于写生，但又与客体相差甚远。她摆脱了学院派的束缚，在写生过程中注重感性经验的发挥，一任自己的心性去抒怀，进行感发式的书写。她能把近景的葵花，画得那样的简约自在，那样地潇洒自如，那样地气象万千。此中带有东方式的神秘主义智慧的创造。她的田野风景画，分明在追求中国传统绘画“形神兼备”甚而“神似胜于形似”的审美境界。在她的画中看到了放飞的自由精神，然而也不难看出她在画面上运畴的周密和奇特，总会给人带来一种新奇的感觉。近年，她画了一批又一批的田野风景，从北方葵花、茅草到南方的油菜花，都以她特有的风姿而耐人寻味。艺术贵于独创，她以自己独特的生活感受，找到了自己独特的绘画语言，建立起了李江峰作品独特的审美价值。

2011.12.26.名佳花园

　　I still clearly remember Jiang Feng’s flower series in the 1990s. Are these arrogant, calm and elegant “flowers” flowers? No, they are lives with dignity. Later, we see her flower vases. She simplified flowers into a round-shape or drew angle-shaped flowers with personalized characters. She created the Earthenware Family with all sorts of shapes and drew all kinds of colorful shapes on the uneven pottery surface under light. These potteries form a lovely and vivid performance stage. In her Anhui village paintings, she ignored the beauty of small bridges and water streams. Instead, she remained the watery atmosphere of houses and streets. She depicted both traditional and foreign streets, but ignored their appearance, and paid special attention to the exotic mixing with shades and sunlight. Ten years later, I happened to see her “Great Scenery”, and was shocked, as if she pushed me to the summit and overlooked the vast land afar, a gorgeous and vast homeland!

　　In my memory, Li Jiangfeng is a little girl drawing dried flowerers and potteries. In her pictures, her focuses are different and transcendent. However, when do her paintings demonstrate such powerful vision and great courage?

　　Despite from North of China, Li Jiangfeng is tender and meticulous. She pursues the quality of life. She is also determined. She is womanly sometimes, while rough occasionally. Such tenderness and roughness can be found everywhere in her paintings.

　　Sketching and sculpting drawing styles: People are touched by her lively and exquisite drawings. She keens on close-up and a freehand style. She shows you shy and happy sunflowers, enchanting charm, mid-day sunshine, harvest happiness and harsh winter…Her paintings are free and relaxing. Her works combine the nature with her personality, showing the harmonious relationship between men and nature. Audiences feel an eternal spirit. In her paintings, terraced fields give people a warm feeling. Her paintings are well-designed and exquisite, full of free and elegant style.

　　Unique angles: In her painting, she gives up the concept of cavalier and focus perspectives in traditional landscape paintings. Instead, she freely combines close and long sceneries. The vast crisscross lands depicting the wide-screen View Under the Bridge, consisting of a lovely and harmonious pastoral symphony. Her bridge does not run through the frame by using the hard lines. Instead, the shade of bridge lies on the land. If the bridge is inserted, the harmonious picture will be broken and the space will be squeezed. The shade is projected on the land. The two-dimensional picture becomes stereoscopic. Shades are soft and virtual. She creates the integration of land and color. The painting is novel because of adding bridge shades. Overlooking the picture, the High as Heaven, Deep as Earth is soul-stirring. The layered and shade-off landscape is stretched out to the far distance. The picture frame is broad, including black, yellow and green colors at the close shot, a warm tone at the mid-shot, and black blue color at the long-range shot. This cold tone gives audiences strong vision impacts and psychological feelings of danger. The abnormal color configuration places audiences to a mysterious space with respect for nature.

　　Moving scenery: Landscape paintings normally focus on remote sceneries stretching out from near to far. She uses either inclined horizontal line or waved horizontal line, even a swirl of mountain shapes. Inclined horizontal lines in Early Spring on Earth and Late Autumn on Earth and the rhythm of fields and bushes make audience feel that the land is moving. The rhythm of grass and field in Wind and Grass catch the life pulsation. Her rhythm and spatial structure sounds performing a pastoral symphony. I always wonder why she can depict such lively sceneries by using normal drawing frames. Later, I find that this is because she comes from Chengde, Hebei, a place full of hills, slopes, tall crops and sunflowers. The uneven fields are her childhood heaven with her growth memories. With this complex homeland love, hill landscape becomes the main features of her painting. Hill landscape in her painting is neither real nor virtual sceneries. It’s a landscape rooted in her mind and life.

　　Both Li Jiangfeng’s landscape paintings and still life paintings are based on sketch, however, her paintings are largely different from the real landscape. She is not constrained by the academism. In her sketches, she pays attention to sensational expressions with a free style, such as her free and simple sunflower paintings. This is a kind of mysterious oriental-style creativity. Her field landscape pursues a conceptual aesthetic state. In her paintings, we see a free spirit and feel a sense of novelty from her abnormal picture structure. In recent years, she has drawn batches of field paintings from northern sunflower and thatch to southern rape flowers. Each painting demonstrates her unique style and offers food for thoughts. Originality is important for artistic creation. She successfully establishes unique Li Jiangfeng’s style aesthetics through her unique painting languages and understanding of life.

Mingjia Park

Dec. 26th. 2011