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《音乐时代》
梁力强在圣彼得堡留学期间是音乐会的常客。在金碧辉煌的剧院内心灵被音符触动,他常按捺不住自己,在节目单上速写音乐家们的神态。回到画室后曾将不少速写发展成油画。我们在2002年出版的“梁力强油画集”中的“大提琴手”是其中之一。
近年力强只身居北京。每日里只有画笔,颜料作伴。另一重要伴侣便是音乐。力强用的是很简单的音响设备。他着重音乐本身的质量。他的许多小幅油画是在听音乐的时候弄出来的:乐声在画室飘荡;笔在画布上从容来去;此时他不拘泥于传统油画的精确性,画面上的乐师们像跌宕的音符,一篇篇有色彩的乐章由画家谱写在画布上。
力强对音乐家的劳动深怀感谢,他把视觉伸入乐队之中近距离描绘乐师们的演奏,画面更有张力。这是另一组较大尺寸作品的特色。
力强兄热衷于听Canon曲。那是一种规格严格,逻辑性强的音乐形式。乐曲把力强带回到传统油画家的位置上,透视,光暗,人物与乐器的描绘样样不能马虎。他的大幅作品是正面表现在音乐殿堂内演奏的交响乐队对他的冲击。
还有一些作品,如“匈牙利狂想曲”是出于对作曲家的认同而作。画家认为李斯特的作品富绘画性,有咄咄逼人之势,取其势而体至,遂成画。
力强说与音乐亲近像是与情人在一起,种瓜得瓜,与音乐结缘少不了结果,两年下来成就了近七十件作品。
方毓仁
二零零五年秋
"The Song of Music"
When Liang Liqiang was studying in St.
Petersburg in Russia he used to enjoy going to concerts. While sitting in
those magnificent theatres he was so moved by the music that he couldn’t
help making sketches of some of the musicians on his concert programme.
After the concert he would go back to his studio and turn his sketches into
oil paintings. The Cellist in the catalogue Oil Paintings by Liang Liqiang,
published by Yan Gallery in 2002, is one of them.
In recent years Liang Liqiang has been
living alone in Beijing. He paints every day; his only companions are his
oils, his canvases, and his palette. Another important companion is music.
Liang Liqiang uses a very simple hifi system, because he believes the music
itself is more important than the equipment. Many of his small sized
paintings are produced while listening to music. As the music fills his
studio, his brushes glide effortlessly across the canvas as he abandons the
strict techniques of oil painting for a more casual, freer style. The
musicians in his paintings appear like musical notes on a score sheet, one
after the other the artist creates pieces of music with his paints.
Liang Liqiang is grateful to the musicians
for leading him into the world of music. In his medium sized works he draws
us into the orchestra, zooming into each section to depict the different
types of musicians.
Liang Liqiang particularly likes listening
to monastic chanting, which suits his logical mind. When listening to this
kind of music, Liang becomes the strict realist. He focuses on perspective,
on light, on the small intricate details of the musicians and their
instruments. Everything must be precise and accurate. His largest works
depict impressive theatres with grand orchestras, conveying the strong
emotions he feels while at a concert.
Other works such as Hungarian Rhapsody
were produced because the artist admires certain composers. Liang feels
that this piece by Liszt is just like a painting. He powerfully converts
the music into art.
Liang says that getting along with music
is like having a lover. The fruit of this love affair can be seen in this
catalogue.
Fong Yuk Yan
October 2005
《
梁力强油画集》
山西在明、清时代曾经繁荣。盐商、钱庄创造了惊人的财富并留下了一幢幢慑人心弦的深宅大院。电影“大红灯笼高高挂”便在山西取景拍摄。
我们在灯笼下找到画家梁力强和他的一批小油画。其中几件是他留学前苏联所作的俄罗斯风景画,其馀二十余件是取材於当地大院的人物画。
廊幽深,出落几进的屋院是实在的;人物及人物所处的时空却久远及模糊。实与虚给画家提供了想像的空间,完成后的作品是一首首荡气肠的怨曲;古老的被美化了的房子代表财富、权力;没有男性出现但他却无处不在;他规范着画中人的道德、约束着她们的欲望。画面是否太过甜美!画家答曰:那是故意的,为了更易被人注意。但是他要讲的却是百年来进步不大的家乡女人的故事。
方毓仁
二零零一年初夏
"The Red Lantern"
Shanxi Province prospered immensely under
the Ming and Qing Dynasties, Large banking businesses and salt companies
created enormous prosperity throughout the province, and rich families built
themselves grand mansions, many of which remain standing to this day. The
film “The Red Lantern” was shot in Shanxi to take advantage of these
remnants of its former glory.
On a recent visit to Shanxi, I came
across the artist Liang Li Qiang, who showed me his paintings. Among these
were several landscape scenes that he had painted while studying in Russia.
For the most part, however, they consisted of images evoking Shanxi’s
wealthy past - magnificent mansions, peopled with female figures.
The inspiration for this collection is
twofold; while the interiors depicted in the paintings are based on Shanxi’s
dark and enigmatic mansions with which the artist is so familiar, the women
that Liang Li Qiang portrays are creatures of his imagination, summoned back
from a bygone era.
Reality and fantasy are therefore
woven together in the paintings, each spinning out a melancholy tale. The
houses have been embellished with sumptuous furnishings, giving the
impression of wealthy and powerful occupants; no male figures appear in the
paintings but their presence is felt, dictating the standards of the
household and controlling the desires of the female members.
At first sight these paintings may
seem too picturesque, But in presenting these beautiful and apparently
carefree images, the artist has sought first to catch the eye, before
drawing attention to the darker underlying realities - the sad plight of Shanxi’s women, suppressed and powerless, imprisoned like beautiful
songbirds in their gilded cages.
Fong Yuk Yan
June2001
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