展名 / Title: 李玉双同名个展
Li Yushuang Solo Exhibition
策展人 / Curator: 方志凌 Fang Zhiling
艺术家 / Artist: 李玉双 Li Yushuang
主办 / Organizer: 亚洲艺术中心 Asia Art Center协办 / Co-organizer: 李玉双工作室 Li Yushuang Studio
展览时间 / Duration: 2020.5.16 (Sat）- 7.5 (Sun)
开幕式 / Opening: 2020.5.16 (Sat) 3:00pm
展览地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
亚洲艺术中心荣幸地宣布将于2020年5月16日至7月5日举办“李玉双同名个展”，呈现艺术家李玉双先生最新作品以及早期代表作。本次展览由方志凌策划，全面梳理李玉双先生从艺迄今六十余年的艺术探索成果，展出涵盖油画、水彩、水墨、素描、手稿等形式在内数十余件作品。
作为八十五岁高龄的老一辈艺术家，李玉双先生是美术界鲜有的坚持以自然为题材、坚持在自然中创作的艺术家。他将写生视为生活的一部分，理工科的知识结构背景促使他在写生时融入自然科学的视角，从而形成一套独特的观察方法和绘画体系，李玉双称之为“光编码”画法。他以超脱于世俗之外的目光看世间千山万水，下笔色彩斑斓间，时间从他的画面掠过，而不留任何痕迹。他笔下的风景有着中国水墨的自然韵味，既有光影变幻的色彩，也有灵动洒脱的笔触，天真烂漫，自成一派。
李玉双与他的风景写生绘画
——节选自方志凌《一超直入，独晤自然》
李玉双是著名国画大师李可染的长子，自幼早就显示出良好的绘画天赋。到1948年，父亲将李玉双接到北京，他也经常去中央美术学院父亲的画室，接触到了学院派最典型的绘画风格。但李玉双最终却考入“国立高工”的工具制造专业，因为当时刚解放，学校宣传说，你们考这个学校，将来社会主义建设就靠你们……而且，学校管吃、管住、管零花钱……
Traditional Chinese painting master Li Keran 但绘画仍是李玉双的挚爱，早在50年代初期，他就开始了自己严格的素描训练。1956年，李玉双从北京分配到郑州机械制造学校后，这所学校以及周围的公园、村庄的景色，就成为他在郑州的十年里反复描绘的“写生”对象。因为没有走“艺术专业”这条路，父亲李可染就成为李玉双艺术道路上真正的导师与交流对象。但李玉双却没有选择中国画，他的“写生”主要还是“素描”、“水彩”之类属于“西画”的艺术方式。李玉双五、六十年代的写生绘画，更多受到欧洲18至19世纪的风景绘画的影响。他这一时期的“写生”绘画于阳光、质朴的时代气息之中，更有一份敏感动人的幽谧与柔和。 Sketchbook of Li Yushuang in the 1970s1965年，因为郑州机械制造学校停办，李玉双进入开封高压阀门厂。在开封，他的住处与农民的菜地挨着，到处是庄稼、大树，都是田园式的风景。这些地方，还有开封的龙亭、二僧亭、禹王台、甚至是开封的一些老街道，都成了李玉双新的写生地点。在这一时期，作为物理学家的李玉双开始研究宇宙和大脑，做了很多光和视觉的模型，又做了一些关于单眼视觉、双眼视觉的实验。他意识到，绘画所要表现的其实是“我眼中所看到的自然，而不是画物体本体”。 Manuscripts for eye vision experiments从这个时候起，他逐渐形成自己独特的观察方法：“第一个，我不把它看成具体的树、房子，我就把它看成一个平面的、自然界的密码，它里边乱七八糟的，包括色彩、包括线……另外就是整体观察，焦距也不调散焦，这样就比较模糊了……你要把那东西放在视网膜中间，就那个黄斑区，老是画那个地方，各个地方都清楚，所以我那个画很整体，把自然界看成一个整体”，“画的时候看不到树和河沟，只能看到乱七八糟的色彩和明暗。我认为这是绘画的基本原理”。李玉双将自己的新画法称之为“编码画法”。 Li Yushuang is sketching outdoors新画法将他从严谨的构图与形体中解放出来，而致力于光与色彩所传递的微妙信息。此后，李玉双就用毕生精力——从开封到鲁山再到北京，从水彩到油画再到后来的丙烯、水墨——来练习、完善这种方法。他的许多画从春天画到夏天，再画到秋天。今年没画完，明年再接着画。一张画要画好几年，每张画都有故事。到80年代，李可染看到他的一些写生作品的时候，非常吃惊地说，“如果把这些画放到印象派的画册里也毫不逊色”。 Li Yushuang is sketching outdoors Dense Forest in Summer (Beixiaohe) 纸本丙烯水墨 Acrylic and Ink on Xuan Paper Dense Forest in Summer (Beixiaohe) （Detail）然而，当李玉双开始实验他的“编码画法”的时候，印象派还因为其“资产阶级趣味”而遭禁锢，国内连印象派的画片都很难看到，更不用说“绘画原理”了。而且，虽然同样重视光与色，但李玉双却并不苛求“瞬间”的视觉氛围，为了把“信息量画足”，他经常会日复一日地画同一张画，因此，与印象派强调对自然“浮光掠影”式的敏锐而精微的视觉印象相比，他的绘画明显侧重于质朴而深沉地体悟“宇宙、自然与生命的化机”。 Beside the River (The Road Yanfang Walked Through) 纸本丙烯水墨 Acrylic and Ink on Xuan Paper
Beside the River (The Road Yanfang Walked Through) (Detail)李玉双1985年回北京，开始了自己作为“全职”写生画家的生涯。在持续不断的写生实践中，虽然同样在运用“编码画法”，但作品的意趣却往往变化多端：有的画面浑厚而繁密；有的画面似乎一挥而就；有的用笔则和缓雅正，画面有一种云淡风轻的美；有的则粗头乱服，自有一种率真质朴的美……总之，在这一时期，自然世界的美是与自己的主观感受以及绘画语言的自律是高度结合的。到2006年，年届七旬的李玉双建造了自己的画室，并取名为“观画堂”。而随着“观画堂”的建成，他的绘画艺术也进入了一个新阶段：在素描、水彩、油画之外，他开始更多地尝试丙烯、水墨、色粉、毛笔、宣纸等新绘画材料，“写生”的画幅也不断增大。伴随着新材料的运用，李玉双的写生绘画的面貌也逐渐发生了深刻的变化。▲ 李玉双在新西兰奥克兰写生
Li Yushuang is sketching in Auckland, New Zealand
Viewing Hills From a Lotus Pond in the Botanical Garden 纸本丙烯水墨 Acrylic and Ink on Xuan Paper▲ 清漓江边（漓江）Alongside the Li River 纸本丙烯水墨 Acrylic and Ink on Xuan Paper最近几年，伴随着写生地点的不断拓展（京郊、桂林、美国、日本、新西兰……）他的视野与心胸也越来越开阔。虽然还是在运用他那套独特的观察方法，但随着画幅的增大和水性绘画材料的运用，种种奔放无羁而又自然而然的视觉肌理，也成了他更为宏大的“编码系统”重要的构成元素，他的“写生”进入了一种无拘无束、无法即有法的“化境”，而自然之美、绘画语言之美与人性之美的相互交融则使画面独具一种璀璨的“光华”，这“光华”不是外在的精致与华丽，而是画家与“自然”的心灵对话中所体悟到的一种“生命”与“美”的粲然光华。▲ 暖日植物园 Botanical Garden Under Warm Sunlight 纸本丙烯水墨 Acrylic and Ink on Xuan Paper Botanical Garden Under Warm Sunlight (Detail) Yangshuo Park (The Li River) 纸本丙烯水墨 Acrylic and Ink on Xuan Paper在某种意义上，李玉双这一代艺术家，可以说是中国最纯粹的“美”的追求者。但这一代艺术家的才华，却大都被埋没在无休止的政治运动中以及后来同样无休止的“新启蒙”之中。李玉双却有幸以其“业余”的身份避开了这种种漩涡，而在他几十年如一日持之以恒的“写生”中，他深刻地展现了他们这一代人特有的质朴、阳光、激情洋溢的“时代真美”。
Asia Art Center announced that "Li Yushuang Solo Exhibition" will be held from May 16th to July 5th 2020, presenting the latest works and early masterpieces of artist Li Yushuang. Curated by Fang Zhiling, this exhibition comprehensively combs the results of Li Yushuang's artistic exploration for more than 60 years, thus for this time it will display more than 30 works including oil painting, ink painting, sketch, manuscript and other forms.As an 85-year-old artist of the older generation, Li Yushuang is one of the few artists in the art world who regards sketching outdoors as a part of life and insists on taking nature as the subject. The background of science and engineering knowledge has prompted him to integrate perspectives of natural science while sketching, thereby forming a unique set of observation methods and painting systems, which is as Li Yushuang called "light coding method". With a sight of detached secularity, he observes at the mountains and rivers of the world. His landscape showcases a natural charm of Chinese ink painting, which seems innocent while self-contained, with both changing colors of light and shadow as well as flexible and dynamic brushstrokes. Entering the Realm of Transcendence with a Unique Grasp on Nature —— Li Yushuang's Landscape PaintingLi Yushuang, the eldest son of Li Keran, is a renowned master of traditional Chinese painting. In 1948, Li Keran brought him to live in Beijing. He was often at his father's studio at Central Academy of Fine Arts and was in turn exposed to the classical academic painting style there. Li Yushuang, however, eventually enrolled in a national vocational-technical school to study tool manufacturing. He spoke of his reasons: "first, it was just after the War of Liberation and everyone had a particularly progressive mindset, and the school claimed that the socialist infrastructure relied on us if we enrolled… second, the school was funded by the government so it provided food, accommodation, and allowance money".Painting, however, remained Li Yushuang's sole passion and love. Li Yushuang began his own sketching practice since the early 50s. In 1956, Li Yushuang was assigned to a mechanical manufacturing school in Zhengzhou. The school and its surrounding parks and villages became the subject revisited again and again in his 10-year "landscape painting" practice in Zhengzhou. Since Li Yushuang did not choose the path of "art as a profession", his father Li Keran became his true mentor and peer in art. Nonetheless, Li Yushuang did not choose to practice Chinese painting but instead opted for "sketching", "watercolor" and other "Western" art media. Li Yushuang's landscape painting in the 50s and 60s were profoundly influenced by 18th and 19th century European landscape painting. Li Yushuang's "landscape" paintings have a movingly serene and delicate nature to them in addition to the bright and passionate quality. Li Yushuang is sketching outdoors▲ 北小河畔逆光树林 Backlit Forest Alongside Beixiaohe 丙烯、 水墨、纸本 Acrylic and Ink on Xuan PaperThe school in Zhengzhou closed down in 1965, Li Yushuang along with his family moved to Kaifeng. There, he began his work as a grinder at the high pressure valve factory. He lived in the living quarters in the factory right next to the crop fields. There were crop fields and trees right outside doors, and they were surrounded by rural landscape. These places, along with the Longting Park, Erseng Temple, Yuwangtai and even old streets in Kaifeng became new landscape painting spots for Li Yushuang. In Kaifeng, Li, a physicist, began studying the universe and human brain, making many models of light and vision as well as conducting experiments on monocular and binocular vision. Through these experiments, he realized that painting is meant to portray "nature as I view it and not as the objects themselves".▲ 冬日暖阳（北小河）Winter Warm Sun (Beixiaohe) 纸本丙烯水墨 Acrylic and Ink on Xuan PaperDuring this time, he began to generate his unique observational techniques in "life painting". As Li said, "First, I never view them as a tangible tree or a house, I see them all as two-dimensional codes existing in nature. It can be utterly muddled inside, including its colors and lines… Overall observation is key without focusing on any particular aspect to blur out everything… Once you place the object in the center of your field of vision, right in the most sensitive spot, it then all becomes clear; my paintings are cohesive as I view nature as a whole. I believe the fundamental principles of paintings are when paintings only reveal a disarray of colors and shading without clear distinctions of trees or rivers". In this regard, Li Yushuang calls his new technique "coding method".
▲ 积线法（北小河） Stacking Line (Beixiaohe) 纸本丙烯水墨 Acrylic and Ink on Xuan PaperThe new painting method freed him from rigorous composition and shapes, Li then turned to focus on the intricate messages conveyed through light and color. Since then, Li Yushuang has spent his life – from Kaifeng to Lushan then finally Beijing, from watercolor to oil painting then eventually acrylics and ink – to practice and perfect this method. Many of his paintings began in Spring and continued to Summer or even Fall. If it is not completed this year, it shall be continued the following year. A painting may take years to finish since there's a story behind each. In the 80s, Li Keran was even astonished to see his own landscape paintings and exclaimed "these paintings rival any of the Impressionist paintings". Nevertheless, when Li Yushuang first started experimenting with "coding method" in the early 70s, Impressionism was still deemed as "bourgeois taste" and banned. It was difficult to come across Impressionist images in the country, let alone the "principles" behind their paintings. Though both Li Yushuang and the Impressionists emphasized light and colors, Li did not care for the visual qualities that induced a sense of "the fleeting". In an effort to "enrich the information" in his work, he would often work on the same painting day after day; in comparison with the sensitive and subtle "impressionistic" visual processing that the Impressionists emphasized, Li Yushuang's paintings clearly accentuated the in-depth and humble understandings of "the universe, nature, and machine of life".▲ 花莲观海（台湾）Sea View of Hualien (Taiwan) 纸本丙烯水墨 Acrylic and Ink on Xuan PaperLi Yushuang worked as a professional painter since he returned to Beijing after 1985. Though his continuous landscape painting practice utilized the same "coding method", there is unique intrigue within each individual work: some images seem solid and dense with a profound yet solemn beauty; some were completed in one stroke such as clouds tell a beauty of tranquil delight; some evoke a subtly delicate elegance; some reveal a genuine charm. During this period, the beauty of the natural world was highly integrated with Li's subjective feelings and the self-discipline of painting language.
As Li Yushuang reached 70 years of age in 2006, he had his own art studio and named it "Art Observation Room". When his studio was founded, his art entered a new stage: on top of sketches, watercolor and oil paintings, he began more experiments using acrylics, ink, color powder, calligraphy brushes, xuan paper and more – the realm of "landscape painting" thus widened. Li Yushuang's paintings are gradually changing as he started utilizing more media. Li Yushuang is sketching alongside the Piha Beach, In recent years, with the continuous expansion of sketching locations (Beijing Suburbs, Guilin, the United States, Japan, New Zealand... ), his vision and mind have also become more and more open. Although he is still using his unique method of observation, with the increase of the frame and the use of water-based painting materials, various unrestrained and natural visual textures have become significant forhis more ambitious "coding system". As a constituent element, his "painting" has entered a "free state" that is unrestrained and unreachable, and the blending of the beauty of nature, painting language and human nature makes the picture a unique "brightness" which is not the outward exquisiteness and magnificence, but the "brightness" of "life" and "beauty" realized in the spiritual dialogue between the artist and "nature". ▲ 焦墨风景 Coke Ink Landscape 纸本丙烯水墨 Acrylic and Ink on Xuan PaperCoke Ink Landscape (Detail)In a sense, artists from the generation of Li Yushuang are regarded as purest "beauty" pursuer in China. Nevertheless, the talents of this generation of artists are mostly buried in endless political movements and later endless "new enlightenments". Li Yushuang was fortunate to avoid this kind of vortex with his "amateur" status, and in his "landscape" paintings that he persisted for decades, he profoundly showed the simplicity, sunshine, passion of his generation, and "the genuine beauty of the times".▲ 冬天的植物园 Botanical Garden in Winter
纸本丙烯水墨 Acrylic and Ink on Xuan Paper
98x196cm 2018
写生照片拍摄：李新天
Sketch Photo Source: Li Xintian
作品素材来源：李玉双工作室
Artwork Picture Source: Li Yushuang Studio
关于策展人
About Curator
方志凌，1970年出生于湖北，副教授，湖北美术学院学士、武汉理工大学硕士、中央美术学院访问学者。 2007年以后介入当代艺术批评以来，在《美术》、《世界美术》、《当代艺术》、《国家美术》等各类专业杂志、书籍上发表艺术批评文章50余篇；并于威尼斯、曼谷、香港、北京、杭州、厦门等地主办过一系列展览。 重要策展项目：“疏离之境 - 尹朝辉、尹朝宇作品展” （亚洲艺术中心，北京，2018）、“群贤·白露文慧 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“群贤·狮山夏至 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“另一个阿莱夫 - 中德当代艺术对话展暨德美术馆开幕展”（德·美术馆，厦门，2018）、“诗性的共同体 - 厦门自贸区成立一周年国际当代艺术展”（厦门国际邮轮城博乐德艺术空间，厦门，2016）、“不一不异 - 中国青年艺术家试验展”（中国美术学院美术馆，杭州，2013）、“风物纪 - 中意青年艺术家对话展”（威内托科技艺术馆，威尼斯，2011）、“70后艺术的十个个案”（香港展览中心，香港，2010）等。 重要编辑出版画册：《纸象 - 尹朝阳的纸上绘画》（四川美术出版社，2015）、《王劼音》（安徽美术出版社，2014）、《木兰溪》（中国美术学院出版社，2012）、《70后艺术的十个个案》（中国经济出版社，2010）等当代艺术画册。
Fang Zhiling was born in 1970, associate professor, bachelor of arts in Hubei Institute of Fine Arts, master of arts in Wuhan University of Technology, he is also the visiting scholar of Central Academy of Fine Arts. When he involved in contemporary art criticism since 2007, he has published more than 50 art criticism articles in various academical journals and books such as Art, World Art, Contemporary Art and National Arts. As a curator, he has curated a series of exhibitions in Venice, Bangkok, Hong Kong, Beijing, Hangzhou, Xiamen and other places.
Significant Curatorial Programs: "The Distant Landscape - Exhibition of Yin Zhaohui & Yin Zhaoyu" (Asia Art Center, Beijing, 2018), "Gathering of Masters · South Lake · The White Dew - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Gathering of Masters · Lion Hill · Summer Solstice - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Another Aleph - Chinese and German Contemporary Art Exhibition & DE Gallery Opening Exhibition" (DE Gallery, Xiamen, 2018), "The Poetic Community – First Anniversary of Xiamen Pilot Free Trade Zone International Contemporary Art Exhibition of Xiamen" (Blanc Art Space of Xiamen International Cruise Center, Xiamen, 2016), "Bu yi Bu yi - Experimental Exhibition of Young Chinese Artists" (Art Museum of China Academy of Fine Art, Hangzhou, 2013), "Fengwu Ji - An Exhibition of Dialogue between Chinese and Italian Young Artists" (The Veneto Museum of Technology, Venice, 2011), "Ten Cases Studies of Post-70s Artist" (Hong Kong Exhibition Center, Hong Kong, 2010). Significant Edited and Published Catalogues: Images on Paper - Yin Zhaoyang's Works on Paper (Sichuan Fine Arts Publishing, 2015), Wang Jieyin (Anhui Fine Arts Publishing, 2014), Mulan River (China Academy of Art Press, 2012), Ten Cases Studies of Post-70s Art (China Economic Publishing House, 2010) and other contemporary arts catalogues.
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关于艺术家 About Artist
李玉双，1935年出生于江苏徐州，是国画大师李可染的长子，母亲苏娥为沪上戏曲名家苏少卿长女，少年在家学熏陶下开始了创作之路。1956年，毕业于北京机械制造学校的李玉双赴上海交通大学造船学院进修，之后分配到郑州机器制造学校教授工程力学，在工作之余坚持艺术创作，这一时期以水彩画创作为主，多为描绘学校及周边村庄的景色，创作了大量以自然风景为题材的水彩画和速写作品。1969年，开始常赴河南鲁山、平顶山等地写生。1971年，李玉双开始研究人类视觉与艺术的关系，制作相关模型并尝试视觉试验，逐步形成一套独特的观察方法和绘画体系。李玉双称之为“光编码”画法。1986年返回北京，逐渐开始探索水墨、丙烯等综合材料的运用，探索中国材料对色彩的表现力，并坚持写生创作从未间断。2010年，工作室建好，不过所有写生依然在室外完成。他开始大幅面的作品创作，使用综合材料，尝试西方材料与中国传统纸张的结合。2015年，今日美术馆举办六十年艺术个展，共展出作品60余幅。2017年，前往日本、台湾、新西兰等地写生；2018年5月，中国国家大剧院举办个人绘画展，被专家誉为 “东方的莫奈”。 艺术理念：李玉双先生认为绘画系统与认知系统是同一个系统，作画的过程就是对世界，对生活的认知，而他的画就是他的生活本身。六十余年埋首于科学研究与绘画艺术，并近于朝圣般地热爱着自然。李玉双先生六十余年如一日以自然为唯一主题进行写生创作和独立研究。在李玉双看来，“光编码”是上帝传递给人类的最初信息，他只是忠实地将这些信息呈现出来，并无丝毫增减。而他能看到“光编码”，则是他基于视觉研究、长期不懈的观察训练的结果。他的绘画既非机械的“画物本体”，也非主观的“画心像”。他的眼光已经超越了绘画的光影色彩，而触及到宇宙自然、天地万物的本质。在探索“光编码”奥秘的艺术之旅中，李玉双看到的是一个无穷尽的世界。作为一位八十五岁高龄的中国当代艺术家，他是中国艺术领域罕有的坚持以自然为题材、坚持在自然中创作的艺术家；他有工程学背景和科学知识背景，以系统化的科学方法进行艺术创作，又在科学之眼的帮助下，用艺术表达他对宇宙和自然的理解。
重要展览：“玉双的写生 - 2018年越洋行走写生展”（白盒子之家，北京，2018）、“田野的色彩 - 李玉双艺术巡回展美国站”（世界粮食奖总部，艾奥瓦州得梅因，2018）、“画我眼中所见 - 李玉双绘画艺术展”（国家大剧院，北京，2018）、“自然 - 李玉双艺术·展览·雅集”（圣之空间，北京，2018）、“自然而来：光编码观照下的风景 - 李玉双写生创作六十年艺术展”（今日美术馆，北京，2015）等。
Li Yushuang, born in Xuzhou, Jiangsu in 1935, is the eldest son of Chinese painting master Li Keran. His mother, Su'e, was the eldest daughter of the Shanghai opera master Su Shaoqing. The specific artistic atmosphere started to impress Li Yushuang since his childhood. In 1956, Li Yushuang, who graduated from Beijing Mechanical Manufacturing School, went to the Shipbuilding Institute of Shanghai Jiao Tong University for further studies. Afterwards, he was assigned to Zhengzhou Machine Manufacturing School to teach engineering mechanics, meanwhile he insisted on artistic creation during his spare time. At this period, he mainly focused on watercolor painting, mostly depicted the scenery of schools and surrounding villages, and created a large number of watercolor paintings and sketches based on the subject of natural scenery. In 1969, he went to Lushan, Pingdingshan in Henan Province and other places for outdoors sketch, and began to paint mountain scenery, river beaches and folk customs with xuan paper and ink. In 1971, Li Yushuang started researching the relationship between art and visual sight. He operated relative models and visual experiments, and gradually formed a unique set of observation methods and painting systems, which is so called as "light coding method". Li Yushuang returned to Beijing in 1986, afterwards he gradually began to explore the comprehensive use of ink, acrylic and other materials, persisting in the creation of sketches. His studio was built in 2010, however since then all the sketching was still finished outdoors. He began to create large-scale works, using comprehensive materials, intending to combine Western materials with the traditional materials of Chinese paper. In 2015, Today Art Museum held Li Yushuang's solo exhibition, displaying more than 60 artworks. In 2017, he visited Japan, Taiwan, New Zealand and other places for sketching. In May 2018, National Centre for the Performing Arts of China held a solo art exhibition for Li Yushuang, which was praised by experts as "Monet of the East".
Artistic Theory: Li Yushuang believes that the painting system and the cognitive system are comparable. He regards the process of painting as the recognition towards the world and life, thus his painting faithfully represents his life. He has been immersed in scientific research and art creations for more than 60 years, pursuing nature almost like a pilgrimage. Li Yushuang believes that "light coding" is the first message God sent to mankind, thus he faithfully presented these messages without any increase or decrease. The system of "light coding" triggers his presentation of long-term tireless observation training based on visual research. His paintings neither depicted mechanical "artificial objects" nor subjective "painting images". His vision has surpassed the color of light and shadow in painting, touching the nature of the universe which consists of all mundane objects in the world. In this regard, through the artistic journey of exploring the mystery of "light coding", Li Yushuang witnessed an endless world. As an 85-year-old Chinese contemporary artist, Li Yushuang insists in drawing from nature and creating in nature, which is quite rare in Chinese art field; with a science and engineering background, he creates art in a systematic and scientific way and expresses his understanding of the universe and nature through his "science eyes". Significant Exhibitions: "Yushuang's Sketches - 2018 Transoceanic Travelling Sketches Exhibition" (Whitebox Choice, Beijing, 2018), "Colors in the Field - Solo Exhibition of Li Yushuang" (World Food Prize Hall of Laureates, Des Moines, Lowa, 2018), "Draw what I see - Li Yushuang Painting Solo Exhibitions" (National Centre for the Performing Arts, Beijing, 2018), "The Nature Showed by my eyes Li Yushuang " (SZ Art Center, Beijing, 2018), "From and For Nature: Landscape in the perspective of Light-Code Art Exhibition of Li Yushuang's six decades on sketches and paintings" (Today Art Museum, Beijing, 2015).
正在展出 Current Exhibitions
亚洲艺术中心（北京） 《青烟 - 李真新作展》
亚洲艺术中心（台北二馆）《如山之想六十年 - 庄喆个展》
即将展出 Upcoming Exhibitions
亚洲艺术中心（台北） 《战后的台湾色彩 - 马白水》