我在東北呆這幾年，印象最深的是長白山的初春。地表的植物已復(fù)蘇萌動，呈淡淡的黃綠色，婀娜的樹木們沐浴著春風，遒勁而節(jié)奏的交織在一起，樹木直可高聳入云，彎則搖曳多姿。。。白山黑土這種奇特自然風貌不僅是對大自然的生命禮贊而且形成了她獨特的審美印記和文化符號。

我把生活記憶與心靈意象進行復(fù)現(xiàn)，并嘗試著將中國傳統(tǒng)文化中寫意的元素與油畫特性相融合，通過線的方式, 來描繪自然飽滿的生命張力及其神密的原始魅力。

在以線書寫描繪形體的同時注入自己的情感，來捕捉對象的意味。無論在造型狀物上還是在線的自身韻律上,都盡量地發(fā)揮著它的表現(xiàn)力，線條的激情書寫，流暢、遒勁，給人以爽快、果斷的感覺。此時線已不僅僅是造型的手段，更是一種符合主觀意象的審美體現(xiàn)，是形神相生的主觀生成傳感過程，具有獨立的審美價值,并承載著民族深深的情感與文化。

歷國軍

2011-11于山東

Spring in Changbai Mountain

The early spring of Changbai Mountain has left me deepest impression during my years in the northeast of China. The earth is renewed to yellowish green, and graceful trees bathe in the spring breeze, some towering into the clouds, and some shaking slightly in many carriages… The odd natural landscape of white mountain and black soil not only is a psalm of life, but also forms its unique aesthetic and cultural symbol.

I reproduced the images in my memories and mind, and tried to integrate the elements of freehand brushwork in traditional Chinese culture and the characteristics of oil painting, to depict the natural force of life and its mysterious primitive appeal with lines.

I put in emotions when I was portraying with lines, to capture the features of the objects. The expressive force of lines, which brings people a feeling of balminess and determination, were made full use of in shaping objects and in their own rhythm. Lines are no longer a means to shape, but also an aesthetic embodiment of subjective images, a process to unite body and the spirit. They contain unique aesthetic value and bear the weight of deep nation’s sentiment and culture.

Li Guojun

November 2011 in Shandong