With a certificate of authenticity of Mr. Li Chun-Shan\\\\\\\'s Works
Identification of the signatory：
Su Juiping, Hsiao Chin ,Wu Hao and other artists.
Provenance：
Illustrated：ILLUSTRATED：
\\\\\\\'\\\\\\\'Li Chun-Shan\\\\\\\'\\\\\\\', Boya Publishing Co., Ltd, 1991, Page 196
Exhibition：
Exposition：
After one century’s development and renovation, Chinese traditional paintings have undergone a tremendous modernization. The masterpieces of some senior painters can be used to trace the whole process of modernization. Among these senior painters, Lee, painter, art critic and painting educator, is undoubtedly, one of the brightest shining stars.
Let’s start from this point of view to reviews his works. Generally speaking, Lee’s works can be classified into different stages: The first stage is his period of enlightenment starting from his time as a student in Japan and shortly thereafter. Most of the works in this period directly inherit the new art concept from the western world and are inspired by the thinking of the avant-garde to create an original consciousness of “anti-tradition” on artistic expressions.
Around the 1970’s and after. The major difference in paintings in this stage lies in the dialogues of elements on the canvas. The artistic expression can be shown simply by the thinking of how to use painting material and add environmental elements to the paintings. What are environmental elements？ Besides the painter’s mental condition, he can make use of the objects around him. In Lee’s works created after the 1970’s, we can see that he very often employs non-traditional painting methods like scratching and stamping. According to his own articles, Lee started to use non-painting material like glass which can make cutting lines and paper since the 1970’s. He intends to develop a dialogue between another kind of painting method and non-painting material. The work “No.103”is a representative of this period. Based on the sophisticated foundation of abstract forms and the tranquil eastern concepts developed in the 1960’s, Lee uses the remaining traces left by non-painting material on the canvas to create “the emptiness of lines.” A piece of glass is given the function of a painting brush to show the radically changing cliffs, the huge flying white clouds, the numberless piles of clouds in red, yellow and blue colors. Lee makes use of these different painting and non-painting methods to present the painter’s mood when he is facing his canvas. Adding these kinds of environmental elements into paintings can often enliven the tensions inside the paintings. If the abstraction in the 1960’s can be called a relief style of “addition,” then we can say the works after the 1970’s are given the concept of “subtraction.” On the canvas where the additions and subtractions are interacting with each other, Lee has bestowed more individuality on the material and at the same time, he also combines his own fare with the environment together. That is to say he mixes his feeling at that specific moment with environmental elements and the painting material into one unity. With this concept, Lee creates a mental space with rich feelings and imaginations in his paintings.
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