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为推进世界各国文化艺术的交流与多元发展，践行中国政府“一带一路”和“构建人类命运共同体”的倡议，诚邀来自世界各国的众多艺术家，旨在弘扬中华民族优秀的文化艺术与世界各国的优秀文化艺术，为当代优秀艺术家与艺术爱好者以及世界各国的艺术机构架起一座沟通的友谊桥梁，现特邀华人艺术家李凭甲先生为广大读者献上一部辉煌的艺术盛典。
China's one belt, one road and the building of a community of human destiny are invited to invite the artists from all over the world to promote the excellent culture and art of the Chinese nation and the world's best performing arts and culture, and to contemporary outstanding artists and art lovers, as well as the world's Art institutions. We have set up a bridge of friendship for communication. Now, Mr. lipingjia, a Chinese artist, is invited to present a splendid art ceremony for the readers.
李凭甲，曾用名李平甲，笔名李典澄。五十年代出生于山东省宁津县，八十年代落户北京。中共党员、北京大学研究员、教授。现为中国人民大学商学院博士生导师，中国智慧工程研究会副会长，中国书画家协会艺术顾问，中国书画收藏家协会艺术顾问，中央机关书法家协会艺术顾问，中国科学与和平促进会艺术顾问，中国人民对外友好协会艺术顾问，中国榜书协会艺术顾问，中国砚文化发展研究会艺术顾问，全国市长研修学院艺术顾问，中国国际名人艺术家联合会会长，全国人大、全国政协特邀书画家，中视协电旅专委会顾问。
Li Pingjia was formerly known as Li Pingjia and his pen name was Li Diancheng. He was born in Ningjin County, Shandong Province in the 1950s and settled in Beijing in the 1980s. He is a member of the Communist Party of China, a researcher and professor of Peking University. He is now the doctoral supervisor of Business School of Renmin University of China, vice president of China Intelligent Engineering Research Association, art consultant of Chinese Calligraphers and Painters Association, art consultant of China painting and calligraphy collectors association, art consultant of Calligrapher Association of central government, art consultant of China Association for the promotion of science and peace, art consultant of China People's friendship with foreign countries, art consultant of China list book Association, and Chinese inkstone culture He is the art consultant of the Development Research Association, the art consultant of the national mayor's Research Institute, the president of the China International Federation of famous artists, the specially invited calligrapher of the National People's Congress and the CPPCC, and the consultant of the television travel special committee of China Television Association.
小时候因家里穷读不起书，拜邻村著名农民书画家邢福祥先生为师，学习魏碑和油画，后来又拜师山东作家协会副主席郭澄清为师，学习文学创作。从九岁起就为中国少年报投稿。
八十年代初期调入北京，九十年代中又到中央电视塔工作后，相继结识大批书画艺术家和文学家，如阿老、闫肃、李苦禅、刘炳森、娄师白、刘大为、米南阳、苏士澍、欧阳中石、李铎、田伯平、许国泰、于洋、谢铁骊、姜昆、蒋大为、莫言、高占祥、邵华泽等都给了他不少指导和帮助。他从初学行书、楷书、隶书、到创新魏碑，遍学百家，从中吸取中国书画之精华，扩大了视野。自担任中国国际名人艺术家联合会会长以后，以魏体书风活跃于国内外书坛和画坛。
As a child, his family was poor and could not afford to read books. He studied Wei Bei and oil painting under the guidance of Xing Fuxiang, a famous farmer painter and calligrapher in neighboring villages. Later, he studied literary creation with Guo Qingqing, vice chairman of Shandong Writers Association. He has contributed to China Youth Daily since he was nine years old.
He was transferred to Beijing in the early 1980s and worked in CCTV Tower in the mid-1990s. After that, he met a large number of painting and calligraphy artists and writers, such as a Lao, Yan Su, Li kuchan, Liu Bingsen, Lou Shibai, Liu Dawei, MI Nanyang, Su Shishu, Ouyang Zhongshi, Li duo, Tian Boping, Xu Guotai, Yu Yang, Xie Tieli, Jiang Kun, Jiang Dawei, Mo Yan, Gao Zhanxiang, Shao Huaze, etc He was given a lot of guidance and help. He learned China's calligraphy and painting from the beginning of running script, regular script, official script, to the innovation of Weibei, and learned the essence of Chinese painting and calligraphy. Since he was the president of China International Federation of famous artists, Wei style calligraphy has been active in the world of calligraphy and painting at home and abroad.
李凭甲画的大海、黄河，大气有韵，形象逼真，动中有静，静中有动之美感，澎湃有力，繁而不杂，远近分明，色调恰到好处，笔法轻重有度，很有独到之处，突出了大海、黄河浑厚博大的气势。观其图，充满活力，生命跃然其中，如同身临其境，具有迎面扑来之感;观其势，听其涛声的韵律，心旷神怡。加之本人对作品精益求精的敬业精神和虚心倾听各界不同的见解，博众家之长，其人品和艺品更显高于一切的精神境界。据北京大学著名经济学家、博士生导师雎国余教授讲，李凭甲是一位当代具有学术价值与市场潜力的书画家。
2007年后，他多次参与国内外各类书画大赛，屡次获奖。其作品被国内外知名人士收藏。中国新华社、人民日报、解放军报、人民政协报、中国改革报、光明日报、科技日报、法律与生活、中国监察等三十多家报刊杂志和六十多家网站给予了报道，出书多部。
The sea and Yellow River painted by Li Yinjia have rhyme in atmosphere, vivid in image, quiet in movement and aesthetic feeling in movement. They are powerful, complex and not miscellaneous, with clear distance and near, proper color tone, and unique writing style, highlighting the vigorous and broad momentum of the sea and the Yellow River. When you look at the picture, you will be full of vitality, and your life will jump into it as if you were in the scene. You will feel relaxed and happy when you look at the potential and listen to the rhythm of the waves. In addition, I am dedicated to the work of excellence and open-minded to listen to different opinions from all walks of life, the strengths of the erudite family, his character and artistic quality are more than all the spiritual realm. According to Professor Ju Guoyu, a famous economist and doctoral supervisor of Peking University, Li Pingjia is a contemporary calligrapher and painter with academic value and market potential.
Since 2007, he has participated in various calligraphy and painting competitions at home and abroad and won many awards. His works are collected by well-known people at home and abroad. More than 30 newspapers and magazines, including China Xinhua news agency, people's daily, PLA Daily, CPPCC news, China reform news, Guangming Daily, science and technology daily, law and life, and China supervision, as well as more than 60 websites, reported and published many books.
2011年后，连续四年搞的文化下乡活动在全国省市级单位影响很大，活动主题是“让书画名家作品走进中国平民百姓家”，他被誉为“中国厅堂山水大画画家”称号，“中国慈善书画家”和“人民喜爱的书画家”称号。李凭甲名字被编入《新中国美术家大典》被列为华夏艺坛领军人物，《一代美术大师》，《现代书画巨匠》，《中国艺术传承人物》等书刊杂志也对他进行了宣传介绍。
After 2011, the activities of cultural going to the countryside for four consecutive years have a great impact on provincial and municipal units across the country. The theme of the activity is "let the works of famous calligraphers and painters enter the homes of Chinese common people". He is known as the title of "Chinese hall landscape painter", "Chinese charity calligrapher and painter" and "people's favorite calligrapher and painter". Li Pingjia's name was included in the new China Artists' canon, and was listed as a leading figure in Chinese art circles. He was also publicized and introduced by books and magazines such as a generation of art masters, modern calligraphy and painting masters, and Chinese art inheritors.
以碑立骨大气象 赋彩流丽醉气韵——记著名书画家李凭甲
书画同源，功在同修。当代著名书画家李凭甲前辈，就是一位深谙书画同源之论，深琢书画同修的大手笔。他把书法与绘画两门法度统一在一起，见证明书画文化原本一体，不可分流的正大气象，所以在当代艺坛，可称书画大贤。
他的书法诸书皆修，功显魏碑。魏碑是隶书楷化进程中的重要承启关接，在书法源变史上的地位相当重要，所以能成书法大功者，必然要对魏碑精琢深修。也正是基于这种认识，清代兴起了碑学之风，成为与帖学并立垢书法修养路径。只是当代书坛魏碑因其难以习成，笔法筋骨化无穷，很难有人能像李凭甲前辈这样，有才华并且有定力深师碑学，修得魏碑得筋立骨的正大气象。
他的魏碑书法，第一印象便是原碑原质，笔劲雄浑，笔画如削，所以如旧碑拓写的质感，这就是魏碑得其形的原因。再看，他的书法与原碑进一步对照，又有许多值得审美琢磨的新意象。碑字刻成，虽然雄劲，得是滞是难免。李凭甲写魏碑，大处着手谨尊其形，但是细处之法多生变化，笔法以方整为显像，再以圆润为潜意，所以魏碑的书写性得到非常好的提质强化，书法的笔墨意味更加鲜明，气韵生动，这便是书写而生的性灵，并不是照碑描碑的生硬。这样的魏碑是正典雅观的书法品位。这说明先生写魏碑，不但精通其原碑形态的塑造，也精通笔墨神韵的表现。
形韵相和，便是圆与浑照见同在的新面目。笔墨圆通，书风为厚，笔墨圆融，书品显活，在方笔的基础上，有意识的构进圆笔形态，不失雄浑，再见神采，通过以圆济方，方圆中相通的非凡驾驭，让他的魏碑走上了既能立骨，亦能传神的新高度，书法的装饰美感不必多言，书法的艺术气息更是超凡脱俗！特别是他师碑而不拘，在魏碑的结构上法有独创，改变了魏碑结体显紧缩适石刻的旧有体貌，而是把魏碑的结体推向了疏阔卓梳，用笔飞动，带有行楷形断意连的脉络感，所以笔墨不压抑，气韵四达，在雄迈的基础上，再显雅致的性灵。中书协主席苏士澍识其魏碑传承与创新的功力，称之为新魏碑。他不对原碑进行简单的刻意复制，而是融入个人对魏碑文化的独特理解，笔风厚峻，气韵生动，这就是魏碑创作难能可贵的开拓成就！与古为新，大功告成。
以碑立骨大气象，赋彩流丽醉气韵。前辈磨砺书法春秋不辍，以书入画也是情趣盎然。善画山水流丽醉美。一幅鸿运当头，用笔墨彩的表现力，寄寓山水渡文化的审美内涵，观之悦目，享之卧游。他画山水，师法宋元之法，善积墨写意山水刚打铁铸的精神体貌，所以皴笔能刮铁。再赋青绿成生机，山水便在高远屠云的空间里，生成云烟浩荡，叠翠清凉的唯美意象。再写意进飞瀑落深渊盈的形象，构造出四面青山聚宝盆的美1情景，果然是色不碍墨，墨不碍色的意象吉祥。这就让他的山水作品能达成雅俗共赏的境界。能执笔墨悦大众，绝对是文化修九层！高人画山水，妙在动人心！
著名书画评论家 史峰 2019年11月28日
Li Pingjia, a famous calligrapher and painter
Calligraphy and painting are of the same origin, and the merit lies in the same practice. Li Pingjia, a famous contemporary calligrapher and painter, is a great master of the theory that calligraphy and painting share the same origin, and have a deep understanding of calligraphy and painting. He unified the two laws of calligraphy and painting, which proved that calligraphy and painting culture were originally integrated and could not be separated. Therefore, he can be called a great master of calligraphy and painting in the contemporary art world.
All his calligraphy works have been completed, and his contributions to the steles of Wei Dynasty have been revealed. Wei stele is an important link in the process of official script and regular script. It plays a very important role in the history of calligraphy source change. Therefore, those who can make great achievements in calligraphy must refine the Wei stele. It is also based on this understanding, the rise of the Qing Dynasty tablet study wind, as well as calligraphy and calligraphy culture path. However, it is difficult to learn Wei stele in the contemporary calligraphy world because it is difficult to learn, and the writing techniques are endless. It is very difficult for anyone to be as talented and determined as Li Pingjia's predecessors to learn from the stele deeply, and to cultivate the great atmosphere of strengthening and strengthening the bones of Wei stele.
The first impression of his Weibei calligraphy is that the original stele is original, the strokes are vigorous, the strokes are like cutting, so it is like the texture of the old stele, which is the reason why the Wei stele got its shape. Moreover, his calligraphy is further compared with the original stele, and there are many new images worthy of aesthetic consideration. Although the inscriptions on the stele are majestic, it is inevitable to be stagnant. When Li Pingjia wrote Wei steles, he paid great attention to the shape of the steles. However, there were many changes in the details. The writing style of the Wei steles was characterized by square strokes, and then by roundness. Therefore, the writing quality of the Wei steles was greatly improved. The ink and brush meaning of the calligraphy was more vivid and vivid. This is the spirit of writing, not the rigidity of describing the stele according to the stele. This kind of stele is the calligraphy taste of classical elegance. This shows that Mr. Wei is not only proficient in the shape of the original stele, but also proficient in the expression of the charm of the brush and ink.
The harmony of form and rhyme is the new face of the coexistence of round and turbid light. The brush and ink are round, the style of calligraphy is thick, the ink is mellow, and the calligraphy is vivid. On the basis of the square pen, he consciously constructs the round pen form, without losing the vigor and vitality. Through the extraordinary control of the round economy and the communication in the square circle, his Wei stele has stepped onto a new height that can not only build bones, but also convey the spirit. The decorative aesthetic feeling of calligraphy need not be said much, and the artistic flavor of calligraphy is extraordinary and refined! In particular, he learned from the stele and was original in the structure of the stele, which changed the old appearance of the tight and suitable stone carvings. Instead, he pushed the structure of the Wei stele to be broad and well combed, and the pen was flying, with a sense of continuity of lines and regular script. Therefore, the ink was not depressed, and the spirit of elegance was displayed on the basis of Xiong Mai. Su Shishu, chairman of the Chinese Calligraphy Association, recognized the inheritance and innovation of the Wei stele, and called it the new Wei stele. He did not simply copy the original stele, but integrated into his unique understanding of the culture of the Wei stele. His writing style is thick and vigorous, and the charm is vivid. This is a valuable pioneering achievement in the creation of Wei stele! And the old for the new, completed.
With the stele to establish the general atmosphere, colorful intoxication charm. Older generations have honed calligraphy in spring and autumn, and painting with calligraphy is also full of interest. He is good at painting the beautiful scenery. A piece of good fortune, with the expressive power of ink and color, embodies the aesthetic connotation of the landscape crossing culture, which is pleasing to the eyes and enjoying the sleepwalking. He painted mountains and rivers, learning from the song and Yuan Dynasties, and was good at accumulating ink and freehand brushwork. He had just forged the spirit and appearance of mountains and rivers, so his textured brush could scrape iron. If you add green to life, the landscape will be in the space of Tu Yun, creating the beautiful image of clouds and smoke, emerald and cool. The image of freehand brushwork entering the waterfall and falling into the abyss creates a beautiful scene of treasure pots surrounded by green mountains. It is really a lucky image that color does not hinder ink and ink does not hinder color. This enables his landscape works to reach the realm of both refined and popular tastes. Can write ink to please the public, absolutely is the culture builds nine levels! The beauty of painting mountains and rivers is to move people's hearts!
Famous calligraphy and painting critic Shi Feng November 28, 2019
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