Mr Li Keran, 1907 was born in Xuzhou, Jiangsu province on March 26th. /kloc-studied traditional landscape painting with his hometown teacher, Xian Qian Shi Zhi, at the age of 0/3./kloc-entered a private art school in Shanghai at the age of 0/6. 1929 He entered Hangzhou (International) West Lake Art College with excellent results, obtained a postgraduate degree, and studied western painting under Professor Lin Fengmian. 1943 was employed as a lecturer of Chongqing Institute of National Arts, engaged in the teaching, creation and work of Chinese painting. 1946 was hired by Xu Beihong as a professor of Chinese painting at the National Beiping Art College. At the same time, he studied under Qi Baishi and Huang and devoted himself to the research and creation of national traditional painting. After the founding of New China, he devoted himself to the innovation of Chinese painting. With the motto "What is valuable is courage, what you want is soul" and "Go in with the greatest skill and fight with the greatest courage", the ancient landscape painting art has gained new life. Mr. Keran's landscape is profound and profound, which promotes the evolution and sublimation of national traditional painting with distinctive spirit of the times and artistic personality. With Mr. Keran's self-contained educational thought, there appeared the "Li Keran School" which was active in painting circles. He is not only a master of painting who has worked hard for more than 70 years, but also made important contributions to the development of artistic concepts. His influence has already surpassed the art world and is highly praised by all parties.

1989 12.5, Li Keran, a great master who worked hard in China painting for nearly 70 years, died of a heart attack in his Beijing apartment.

Chronology of activities

1907, a native of Xuzhou, Jiangsu Province, the second child, formerly known as Yongshun. I have loved opera painting since I was a child, and I often draw opera characters on the ground with broken bowls, which won my neighbors' attention.

19 14 years to enter a private school. There was no good teacher in the poor lane, and there was no income for two years, but I often wrote and painted in class. The teacher loved me very much and didn't stop me.

19 16, like to practice calligraphy with big strokes. According to his memory, he imitated Miao Juwu, a calligrapher in Xuzhou, and wrote a big word "Changhuai" because of the title. In the past two or three years, there have been endless demands for writing Spring Festival couplets. At the same time, I like painting ink Zhong Kui.

19 17, 10 years old, started primary school. Wang, the painter, saw that he was clever and eager to learn, and praised him: "Ken can teach, but his quality can be dyed." So I named him Dye.

1920 During the summer vacation, I visited Xuzhou City Wall and overlooked Kuaizi Pavilion. I saw some old painters painting in the interior of Jiyi Calligraphy and Painting Club, and they have been eagerly looking out of the window for several days. From this, he became a teacher, worshipped Xuzhou painter Qian as a teacher, formally enlightened painting and calligraphy, and learned the landscape of Wang's ancient painting school.

1923 entered the normal department of Shanghai Academy of Fine Arts to study painting and handcraft for two years. Here, you can see the original Wu Changshuo. At a memorial service at school, I listened to Kang Youwei's speech, saying that he had traveled around the world for several years, which proved that China's painting in Tang and Song Dynasties was the peak of world art, which inspired him to devote himself to painting.

1925 graduation creation ranked first in nave, the meticulous landscape of Wang's ancient painting school. President Liu Haisu wrote an inscription for it. I returned to Xuzhou that year and taught in the Primary School Attached to the Seventh Normal School and the private Xuzhou Art College until the winter of 1928.

1929, aged 22, was admitted to the graduate school of West Lake National Art College by leaps and bounds and was appreciated by President Lin Fengmian. I entered school in the spring and studied under two professors, Lin Fengmian and French oil painter Andre Claouodot, specializing in sketching and oil painting. At the same time, I taught myself Chinese painting and studied art history. In the same year, the 18th Art Club was established, and Li Keran joined the 18th Art Club as the earliest member.

1930 Hangzhou "18th Art Society" exhibition was held in Hangzhou for the first time. In the same year, the West Lake National Art College was restructured, and the research department was revoked and merged into the National Hangzhou Art College. Li Keran works as an assistant in the professor's laboratory.

193 1 In May, Hangzhou "Bayi Art Club" held an exhibition in Shanghai. Lu Xun wrote "Exhibition Introduction of Works of Bayi Art Society" for the exhibition, and dyeable works began to attract attention.

During the period of 1930- 1932, members of "18th Art Club" were forced to leave school one after another. Mr. Lin Fengmian of Li Keran secretly protected them and gave them money to leave the West Lake and return to Xuzhou.

1932, "Black and White Painting Society" was established. According to the manuscript of "Biography Outline" drafted by Li Keran in 1980, "It was the year when he created the Great Zhong Kui, and later he was selected for the second National Art Exhibition in Nanjing. The newspaper published a special article and received rave reviews. "

In the same year, he was invited to teach at the private Xuzhou Art Institute again and served as the artistic director of Xuzhou People's Education Center. Open an anti-Japanese war propaganda room with colleagues, create and display the history of Japanese aggression against China, and create a large number of anti-Japanese patriotic posters. He founded the lithograph Anti-Japanese Pictorial and actively engaged in patriotic propaganda activities.

1In the winter of 933, 26-year-old Li Keran held her first solo exhibition in Xuzhou.

During 1937, Xuzhou Art College led and organized students to create nearly 100 anti-Japanese war posters, which were painted on large bamboo festivals and exhibited on tour.

From 65438 to 0938, he participated in the Fine Arts Department of the Third Hall of the Political Department of the Military Commission of the National Government and was engaged in the creation of patriotic posters during the Anti-Japanese War.

1939, in order to express the hatred between the country and the family, the poster "Who destroyed your happy home?" 》

During 1940, Lai Jiaqiao, who lived at the foot of Jingangpo, shared a room with the theorist Cai Yi, learning from each other's artistic knowledge and discussing new artistic theories together. From anti-Japanese war propaganda activities to the creation and research of Chinese paintings.

194 1 year, Mr. Guo Moruo painted two poems for Li Keran, one with five rhythms and the other with seven rhythms.

1942, he began to paint in ink and wash, making pictures of cows, and entrusted his patriotic feelings. In his self-report, he said: "After 194 1 year, the work of the Cultural Affairs Commission came to an end, and I had more time to resume the study of Chinese painting. At that time, I lived in Xia Jiamin's home in Jingangpo, Chongqing, and the house was next to the cowshed. A big buffalo meets every day. I can hear it clearly when it goes out to farm, eat grass, breathe, chew hooves and tickle at night. I remember that Lu Xun once compared himself to a cow eating grass and milking, and Guo Moruo wrote "Buffalo Zan". Many contributing scientists and artists in the world compare themselves to cows. I think cows not only have the quality of hard work and dedication all their lives, but also have a lovely image. So I took my neighbor as a model and began to draw cows in ink? quot

That year, Mr. Xu Beihong came across a watercolor landscape painting in Li Keran. He appreciated it very much, so he wrote a letter as a gift with a handwritten ink painting "Cat Map" in exchange for a dyeable watercolor landscape painting, which was the beginning of the subscription of two painters.

In Chongqing, he participated in the joint exhibition of contemporary painters, and his exhibition work "The Shepherd Fingers Xinghua Village" was ordered by Mr. Xu Beihong. At the same time, classical freehand brushwork figures such as Qu Yuan, Wang Xizhi, Du Fu, and the landscape painting "Wind and Rain Returning to Pasture" came out and were well received.

1942 is also the beginning of the classical period of Li Keran landscape painting (1942- 1953).

65438-0943 was invited by Chen Zhifo, president of Chongqing Institute of National Arts, as a lecturer of Chinese painting until September 1946. During this period, I devoted myself to the teaching and research of Chinese painting, mainly studying landscapes, classical figures and herding cattle. Regarding the national tradition, the motto is "Fight with the greatest skill and fight with the greatest courage".

That year, I moved to the dormitory of National Art College. Young bamboos germinate in the bamboo forest behind the house and reach into the studio. Young leaves and green leaves brush past the case. The ancients said, "How can I live a day without this gentleman?" He called his studio "Youjuntang".

He painted ICBC Waterfall, a lady with a fan, a man of eight mountains, imitating Shi Tao.

1944, Li Keran ink painting exhibition was held in Chongqing, Xu Beihong prefaced it, and Lao She wrote the article "Look at the Picture", which received rave reviews. Mr. Lao She wrote in his article: "About five years ago, the paintings and calligraphy of the members of the Writers and Artists Association were sold for charity, but the Ran brothers painted a buffalo and gave me a landscape painting. I bought these two myself, and the buffalo is still hanging in my study, living room and bedroom today. I love those painted cows! " It can be seen that Li Keran is good at landscapes and likes to make ink paintings of cows, which began to appear in the 1930s. According to the old classmates of Xuzhou Art College, Mr. Ran had learned this method as early as his hometown in Xuzhou.

1945 Lin Fengmian, Ding, Ni Yide, Modern Art Exhibition.

Li Keran freehand brushwork painting exhibition was held in Kunming.

He painted Crane Pavilion and Old Man under Brown.

1946, at the invitation of Xu Beihong, became an associate professor of Chinese painting in Beiping National Art College. It was also Mr. Xu Beihong who introduced me to Qi Baishi, a master of Chinese painting.

1947 Held the ceremony of accepting disciples in Qi Baishi. After learning from the teacher, the old man Baishi wrote a picture of five crabs. The inscription is: "In the past, Sima Xiangru's articles ran rampant all over the world, but now calligraphy and painting can run rampant."

1947 The inscription of the old man Baishi in Li Keran's "Raking Grass to Xieniu" is: "I am a successful master since Jiajian."

In Li Keran's Cowherd and Cowboy, the old man Baishi wrote another sentence? Quot The descendants of traditional Chinese painting are taller than those in ancient times, and there are not many backward masters between Ganjia and Jiaqing. Want the same light, only Zhao? Uncle, after that, only Wu is left. About twenty years later, he went to Luo Lu. He painted like a scale, followed by Li Keran. There are many pictures that can be dyed now, because there are many things. "

1954, when Li Keran exhibited his remote sketches for the first time, an old man in his 90s, Baishi, looked at the paintings in the exhibition hall with a stick and praised him.

The old man Baishi's love and appreciation of Li Keran can be seen.

In the spring of the same year, he studied under Huang. Huang praised Zhong You's ink painting and presented a six-foot "Ghost Map of Zhong You" as a gift, but he did not accept it because of reciprocity.

In the same year, the first solo exhibition was held in Beiping. Xu Beihong wrote "Preface to Mr. Li Keran's Exhibition", and the evaluation of this painting is "original and full of new rhyme", "fantastic ideas, wild and unrestrained, pen and ink dancing, so it is unprecedented."

1948, the second solo exhibition was held in Beiping. Xu Beihong now collects nearly 10 freehand figure paintings such as Painting Ruan and Huai Su Book Exchange in Xu Beihong Memorial Hall.

65438-0950, Associate Professor of Chinese Painting, Central Academy of Fine Arts.

In the same year, he wrote an article about the transformation of Chinese painting for the first issue of People's Fine Arts, pointing out the prospect of developing Chinese painting. In the fifth issue of People's Fine Arts, the article Impression of Yungang Stone Carvings written by him after inspecting Yungang Grottoes in Datong was published.

195 1 participated in the land reform with all the teachers and students of the Central Academy of Fine Arts and created the New Year picture "Beihai Garden Workers and Peasants Model Festival" and other works.

1952, I visited Yungang Grottoes again. He also participated in the Bingling Temple Grottoes Investigation Group organized by the Central Ministry of Culture to visit Bingling Temple, and visited Longmen Grottoes, Xi 'an Stele Forest and other large stone carvings along the way, which was shocked by the heroic spirit of Han Dynasty art.

1954, in order to change Chinese painting, two seals were carved: "the courage of the valuable" and "the soul of the desirer". The first long-distance sketch in the first half of the year lasted more than three months. Zhang Ding and Luo Ming, both painters. On September 19, 2009, a joint exhibition of ink and wash sketches by three painters was held in Beihai Xinyue Hall, which aroused strong response.

That summer, on the way to sketch in the south of the Yangtze River, I stayed in the Huang family for six days by the West Lake, watched Huang's paintings and asked him for advice. He also visited Gai Jiaotian, a Peking Opera artist, to exchange his artistic experience.

This year is also the beginning of the transformation of landscape painting in Li Keran (1954- 1965).

1956, he sketched for a long time again, which lasted for eight months and traveled tens of thousands of miles, drawing nearly 200 paintings. From "sketching" to "creating". His representative works include Shaoxing City, Lu Xun's Hometown, Wanxian County, Morning Fog in Jiangcheng, Jiading Giant Buddha, Autumn in Emei Mountain, Hundred Steps of Martial Arts and so on. After my return, I held a three-day exhibition of Li Keran's ink and wash landscape sketches in the auditorium of the Central Academy of Fine Arts, which had a far-reaching influence in the art world.

From 65438 to 0957, he visited the German Democratic Republic with the painter Guan Liang, which lasted for four months. Berlin Art Institute held a joint exhibition for two painters. Dresden printed several volumes of large-format Li Keran landscape paintings.

From 65438 to 0958, he observed the exhibition of Qi Baishi's posthumous works and published On Teacher Qi Baishi and His Paintings.

1959, go to Guilin to sketch.

From September to June, 65438+10, China Artists Association hosted an exhibition of Li Keran's ink and wash landscapes in Beijing, which was successively exhibited in eight cities including Shanghai, Tianjin, Nanjing, Wuhan, Guangzhou, Chongqing and Xi 'an to commemorate the 40th anniversary of the founding of People's Republic of China (PRC).

In the same year, Czechoslovakia held the Li Keran Art Exhibition in Prague, and published two hardcover dyeable paintings in Czech and English.

1960, Li Keran put forward the idea of "taking one but refining ten". In other words, mining is hard, smelting requires hundreds of times of labor, and real artistic creation must have both the hardships and diligence of miners and smelters.

196 1 year, Li Keran landscape painting studio was established, the teaching system of landscape painting gradually formed, and the art of Chinese painting in Li Keran matured. In the next three years, I went to Conghua, Guangdong in winter and worked in Beidaihe in summer. Many famous works, such as Shaoxing City, Lu Xun's Hometown, Yellow Sea Haze, Dinghu Waterfall, Twilight City Map and Zhong Kui's Married Sister Map, were completed during this period.

1962 wrote the rime of Huangshan Mountain, Lijiang River, Wanshan Red Mountain (Part I) and Wuniu Map.

1964 wrote a beautiful scene on earth, Hongshan (II), Lijiang River, Cloud Map of Wushan Mountain, Paddy Field under the Mountain, etc.

1966, when the Cultural Revolution began, he was forced to stop writing. Through calligraphy to hone basic skills, purify people's greed. Thanks for your hard work.

During this period, I accumulated strong and diligent creativity for the immortal period of Li Keran's landscape painting (1979- 1989).

1969 Danjiangkou Cadre School in Hubei Province was decentralized for two years.

1972, under the command of Zhou Enlai, he returned to Beijing, re-engaged in the creation of Chinese paintings, and made a large Lijiang River for the State Guesthouse.

1973, he made a huge 6-meter "Lijiang River Landscape Map", which took three months to complete. He also wrote A Hundred Springs at the Top of a Tree as a national gift to friendly heads of state.

From 1974 to 1975, the Gang of Four launched a movement of "criticizing black painting and countering the resurgence of the bourgeois black line". Li Keran's masterpiece "Scenery Map of Yangshuo" was called "black painting" and was criticized. Li Keran's masterpieces originally exhibited in public places are forbidden to be exhibited.

Li Keran was persecuted, but he still insisted on learning Chinese characters, creating his own "sauce as the body", and his brushwork pattern was as heavy as a monument.

1976, the "Cultural Revolution" ended. In the same year, he made a big picture of Lijiang River and Jinggangshan for the Federation of Overseas Chinese in Japan.

From 65438 to 0977, he wrote Jinggangshan, Jinjiang Pavilion and Li Qing Scenery Map.

1978 wrote "Huangshan herringbone waterfall" and "Twilight in Maple Grove". In June and July, he taught in Donghu, Wuhan for Hubei artists and landscape painting classes of Light Industry Bureau.

1 In the spring of 979, the No.11issue of Art Research published Talking about Learning Landscape Painting, which was based on the summary of Li Keran's lecture in Wuhan. This is a systematic and comprehensive theoretical summary of Li Keran's landscape painting creation practice.

In the same year, he wrote "Lijiang River" and "Lanting Map".

This year is the beginning of the monument period of Li Keran's landscape painting (1979- 1989).

198 1 year1kloc-0/month, as the president of the newly established Chinese painting research institute.

1983 10, visited Japan, held "Li Keran China Art Exhibition" in Tokyo and Osaka, exhibited 82 representative works since1940s, and published an exhibition catalogue (Japanese version). Wu Zuoren prefaced the exhibition and commented on Li Keran's paintings: "The art world is vast, but it is unique in the landscape. The peaks are deep in love, and the clouds are suffocating, which is beyond the grasp of the ancients. " Blue shadows shine on trees, and ink painting wins colors, creating a realm to promote old age. "

1984 Endless Map of Jiangshan won the honorary award of the 6th National Art Exhibition.

1985 10, Xuzhou City, Jiangsu Province restored Li Keran's former residence, and Li Keran donated 40 pieces of Mo Bao, his own paintings and calligraphy over the years, together with paintings donated by Li Keran students and painters, for long-term display for research and appreciation.

That year, I wrote Praise for Buffalo, and the postscript said, "I recalled that Lao Guo and I lived together at the foot of Jingangpo in the suburb of Chongqing, and I began to draw cows. Lao Guo wrote this poem, a total of 36 lines, praising the virtues of cattle and calling it the national beast, which increased my interest in painting cattle. " The postscript traces the new starting point of "I began to draw cows".

After a series of spiritual shocks and inner reflections, he conceived the most important seal in his life, which belongs to the future "Oriental White" and predicted the prospect of modern Chinese painting becoming the forest of world art.

1986 In May, "Li Keran China Art Exhibition" was held in China Art Museum, with unprecedented pomp. This is the last exhibition of Li Keran's pen farming career in recent 70 years, with 202 works on display. The exhibition fully reflects the arduous mileage of Li Keran's Chinese painting innovation in the past 40 years, and embodies the artistic attainments, style evolution and pioneering contributions in different stages of early, middle and recent.

Li Keran summed up his artistic career and said, "If my works are successful, it is the result of my in-depth study of tradition, in-depth observation and description of objects, in-depth thinking and in-depth practice. Without nature and tradition, people can't create anything. "

"I don't rely on any genius. I know it from a trap. I study hard."

He added: "Now I am nearly eighty years old, but I have never been satisfied with my work. I often think that if I can live to be a hundred years old, I may have finished painting, but I think, if I live to be two hundred years old, I can't do it, I can only be a little better than now. There is no end to wisdom, the development of things is endless, there is no end, and absolute perfection never exists. " (Foreword of Li Keran China Art Exhibition, my words)

1987 He wrote the Preface of Painful School for the Japanese Joint Exhibition of Huang Runhua, Zhang Ping and Li Xingjian, and put forward the formation and development of this school.

In July, the Art Institute of the German Democratic Republic awarded Li Keran the honorary title of Academician of Communication.

1988 donated the work "Rain Over Waterfalls" with the proceeds of the charity sale of $40,000 to the International Committee for Repairing the Great Wall and Saving Venice.

1989 On May 12, the Ministry of Culture held a donation ceremony for Mr. Li Keran, a famous master of Chinese painting, to the China Arts Festival Foundation in recognition of the painter's donation of 654.38+million US dollars to promote the artistic development in China.

65438+February 5th 10: 50, he had a heart attack and died suddenly at the age of 82.