自上次北京四合苑画廊展出李津的个展后,一晃已三年。这三年里,李津的水墨作品更广为人知,展览不停,香港、伦敦、洛杉矶、西雅图、上海,当然还有北京。时至今日,不论中国人,还是外国人,对于李氏标志式的自嘲、本色题材、打趣的题字和谦逊的笔法都更为熟悉。有着浓郁的文人画风格且以一种反讽的方式表现出来,李津对于现代中国水墨画的革新贡献良多。作为一名现代中国水墨画家,李津的力量在于他一方面保持着对传统中国文人画视觉语言和文化的忠诚,另一方面却能通过其别具一格的作品与不同的观众进行交流。尽管中国现时“后现代”、“全球化”、“多媒体”等诸多主义让人心醉神迷,但是 It has been three years since the last solo exhibition of Li Jin was exhibited at the Siheyuan Gallery in Beijing. In these three years, Li Jin’s ink works have become more widely known and exhibited. Hong Kong, London, Los Angeles, Seattle, Shanghai and, of course, Beijing. Today, neither Chinese nor foreigners are more familiar with Lee’s self-deprecating iconography, natural themes, quipped inscriptions and modesty. With a rich style of literati painting and an ironic way, Li Jin contributed a lot to the innovation of modern Chinese ink painting. As a modern Chinese ink painter, Li Jin’s strength is that while maintaining his loyalty to the visual language and culture of the traditional Chinese literati painting, he can, on the other hand, communicate with different audiences through his unique work. Although many of China’s current “postmodern”, “global”, “multimedia” and others are fascinating