Li Keran, 1907 was born in Xuzhou, Jiangsu Province on March 26th. /kloc-studied traditional landscape painting with Xianqian Shi Zhi in his hometown at the age of 0/3,/kloc-entered Shanghai private art school 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 65438+February 5, died in Beijing apartment at the age of 82.
a surname
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Mr. Li Keran used six Zhai names in his life, namely Tang Jun, Shi Shi Zhai, Shi Niu Tang, Zhi Geng Zhai, Tian Hai Lou and Tian Tian Ge. Among them are Tang Jun, Shi Niu Tang, Zhi Geng Zhai and Tian Hai Lou, but Shi Shi Zhai and skyscraper have no seals. There are Jun Hall, Shi Niu Hall, Zhi Que Hall and Tian Hai Lou with plaques.
"Youjuntang" Zhai Hao was first used and lasted the longest. Among the existing works, the earliest is Zhu's "Mrs. Fan Holding", written by 1943. 1945 court white print, 1947 Zhu yin drunk Weng map, 1948 especially printed nap map. The earliest work of "Traveling to Jun Tang" is 1943' s Bao Monk. At the same time, He Jingfu, Jiao Qin, Xunyang Pipa, Song poetry, returning in the twilight, etc. And gentle village is neither too hot nor too cold, and Zhong Kui, 1948. In short, most of the works created in Chongqing and Peiping in the 1940s, whether landscapes or figures, were either "visiting Jun Tang" or "visiting Jun Tang", and no other names were found.
In 1950s, Li Keran seldom used the name Zhai. First, because of the political atmosphere at that time, Zhai Hao was very feudal and conservative; Second, most of the works are sketched on the spot, not behind closed doors in the studio, and it is not appropriate to use the fasting number. In the 1960s, Li Keran did not use a new Zhai Hao, but still used the "Youjun Hall", but rarely signed or sealed his paintings. I only saw the "Youjuntang" signed on the map of Liuxi fishing boat at 1960, but it was like a glimpse, and then I didn't see you again. It was not until 1983 that the "Youjun Hall" was found in the "Spring Rain Jiangnan Map". In the same year, 1984' s "Cangyan Double Waterfalls" and "Huangshan Clouds" also paid for "Traveling to Jun Tang" and will not be used in the future. The total amount runs through 4 1 year.
1943, Chen Zhifo, then president of the National Art Institute, invited Li Keran, who was still worried about his future in the Cultural Affairs Commission, to be a lecturer in Chinese painting at the National Art Institute. He moved into a house in Panxi, south of Jialing River in the eastern suburb of Chongqing. Coincidentally, bamboo shoots actually appeared in the house, so he remembered the anecdote that Jin people could not live without this gentleman for a day, so he named it "Youjuntang". From this year on, Li Keran re-studied the history of art, trying to concentrate on what he thought was the best part of the tradition, and put forward the idea of "beating it with the greatest skill and courage". In the words he recalled 40 years later, "it's time to study the tradition, with a simple and elegant mind." "Although I use my pen casually, I didn't fall into the trap of my predecessors everywhere." According to him, during his stay in Chongqing and Peiping, he should be "the so-called person who tried to enter the past with his best ability." The "You Jun Tang" studio was named after Li Keran, who regarded China traditional painting, especially literati painting, as a gentleman. He praised the purity, elegance, backbone, aura and frankness of literati paintings, giving priority to simplicity and elegance and taking freedom and arbitrariness as the truth. Therefore, all works with the theme of "Traveling to Jun Tang" or "Traveling to Jun Tang" are generally secluded, and figure paintings are generally noble literati or ladies wearing ancient costumes. Moreover, the characteristics of pen and ink are also obvious, and the pen is rushing; When you are full of ink, you are playing with ink. Most of the questions are cursive, and there are few long questions. Most of them are poor in the word "dyeable", which may be because they are dissatisfied with their calligraphy level and are not confident. Characters tend to be caricatured, exaggerated and interesting; The pavilion of mountains and rivers is easy to brush and brush, not seeking the shape, but seeking the charm. The overall style is unkempt, with a strong style of Wei and Jin dynasties, and it also fits the cultural connotation and taste of "traveling in Jun Tang".
Since 1950s, Li Keran has stopped calling this number "Friendship Hall". In addition to political and creative reasons, there may be cultural and psychological reasons. He proposed that an important direction of transforming Chinese painting is to transform the old literati habits in Chinese painting, and he clearly knew that the literati interest pursued by "having a gentleman's hall" was precisely in the transformation: "Literati paintings and formalists in the Yuan, Ming and Qing Dynasties even snatched Chinese painting from the people and narrowed it down to a narrow circle of individualism, which in effect became a special' appreciation' product of a special class" (Li Keran, "Talking about Chinese painting because of this political consciousness, Li Keran asked the old man Qi Baishi to carve a long white seal "For the people", which was often printed in sketches in the 1950s. But sometimes, if you are not careful, the seal of "Youjuntang" will slip into the painting, like 1954' s sketch "Wuxi Huishan is the second spring in the world", but this may be an unintentional mistake. However, 1960' s "Liuxi Fishing Boat Map" is intentionally used to misappropriate "Jun Tang Tour".
The name of the last studio in Li Keran is "Mo Tian Pavilion". It should be 1988, and this fasting number is put on some works. The smoke from the kitchen in the dense forest (1988), the people by the water in Gao Yan (1988) and the sunset in the first rain (1988) are all in the "Mo Tian Pavilion". Li Keran's landscape paintings in his later years all have a dark sky. Of course, "Brother Mo Tian" doesn't mean "Mo Tian". There is a jargon in China drama circle to express professional ethics: "Drama is bigger than heaven". Then, should China ink painters also have the consciousness of "harmony between man and nature in ink painting"? Xiao Yi, Emperor Liang Yuan of the Southern Dynasties, initiated the theory of "Mo Miao meticulous brushwork" in "Turquoise Landscape Map". Since the Tang Dynasty, the status of ink painting has been pushed to a very lofty position by literati. At the beginning of Wang Wei's book "Landscape Tactics", he said: "Ink painting is the most important in painting. The nature of nature is the work of nature. " In Qing Dynasty, Shi Tao said to "stand firm in the ink sea", and there was a poem: "There are black groups in the ink group, and the world is wide in the black ink group." Huang also said that he would strive for the best in ink painting. His "seven ink" theory can be said to be a wonderful summary of ink painting in theory. Li Keran was born with a genius-like sensitivity to Mo Yun. In fact, he lived in the "ink play" all his life. Mi Fei, Dong Qichang, Gong Xian, Badashanren, Huang, etc. In his later years, he firmly believed that if China's paintings wanted to be unique in the world art, they could only be realized by the mysterious ink painting method showing the oriental charm. 1987, Li Keran wrote: "Chinese painting is based on the use of ink, and craftsmen of all ages have worked hard, and the ink color is ever-changing. Du Fu said,' The vitality is dripping, and the obstacles are still wet, so the God of complaint should cry.' Monk Shi Tao wrote a sentence:' There is a black ball in the ink ball, and the world is wide in the black ball.' Exaggerated the beauty of Mo Yun. It is not easy for outsiders to know about this hall. "This passage is probably the best footnote for" Brother Mo Tian "studio. The Mohist school in China is as clear as the sky, as high as the sky and as deep as the sky. Standing on the shelf of his studio, Li Keran saw a vast expanse of ink ... Li Keran, 1907 was born in Xuzhou, Jiangsu Province on March 26th. 13 years old studied traditional landscape painting with Shi Zhi, a country fairy, and 16 years old entered Shanghai private art college. 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 65438+February 5, died in Beijing apartment at the age of 82.
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More specifically:
Li Keran, 1907 (thirty-three years of Guangxu reign in Qing dynasty), was born in a common family in Xuzhou, Jiangsu province. My father, a poor farmer, fled to Xuzhou. He first made a living by fishing, and later became a cook. Mother is an urban poor. Neither parent can read.
First, listening.
Li Keran's artistic world is full of sounds of nature, and this silent world has penetrated into his impressionable mind in his childhood.
When I was a child, the first sound that deeply attracted him was the sad piano music played by a blind pianist who was busking and begging along the street. From then on, whenever he heard that long, sad tune, he almost cried with heartache. He often secretly followed the pianist, listened to him play the piano and recite chords, and didn't come back until late at night. 1 1 year-old Keran, since then, has learned a lot of folk tunes and made a small huqin, which is very good.
At the age of 42, Li Keran painted a realistic and freehand figure painting "Singing Picture". This painting is especially special in his series of classical figure paintings. "The bright moon shines on Jiuzhou, and several families are happy and worried." The blind pianist who accompanied the girl stroked the strings with trembling fingers, which seemed to be the sound of a piano, constantly crying and extremely sad. That kind of true feelings, when the painter rubbed into his childhood hidden heart sounds for a long time.
Second, enlightenment.
/kloc-When I was 0/3 years old, my primary school had a summer vacation and I could play on the city wall. There is a garden building near the city wall called "Kuaizai Pavilion", and several literati elders are painting in the back room. He slipped through the gap in the city wall and fell from the window to watch. Since then, I have been waiting outside the window for several days, and I am reluctant to go. An elder saw him so obsessed with painting and sighed, "The afterlife is terrible!" The painters called him in to look at the paintings, and since then he has become the "grinding boy" of the old painters. Early in the morning, he went to the well with a small bucket to grind ink, waiting for his elders to paint. After returning home, he was able to recite all the scenery he saw, which surprised the painters and urged the children to worship the landscape painter Qian as their teacher. It turns out that this is the activity place of Jiyi calligraphy and painting club.
After Li Keran became a formal apprentice, Qian painted a landscape with a big picture frame for this little apprentice and wrote dozens of postscript lines. The attached poem says: "Childhood can be used as ink, but the sensitive world should be rare." "You caught it yourself, and I am embarrassed to fly back." Qian had a hunch that the boy who made ink would spread his wings like Dapeng, while he was like a stork flying upside down.
Third, the inscription
1929 is an extraordinary year for Li Keran, 22. That year, he went beyond seven years' education and applied for the first oil painting graduate student of West Lake National Art College. Because of his huge human oil paintings made on the spot, the painting style is vigorous and bold, and it is accepted by President Lin Fengmian, who has a discerning eye. In fact, it was the first time he took an oil pen, and it was also taught to him by Zhang Tiao, a young man from Shandong who came to apply at the same time.
However, in class, he was a little dumbfounded. He picked up a charcoal stick that he had never taken before and prepared to sketch, but he didn't know where to start. He was ashamed of his clumsiness in drawing, and kept holding the drawing board until the professor came to the classroom for guidance. There is a word "Wang" written on the corner of the drawing board. It turned out to be the password hint of the word "Wu", implying yourself. If you don't draw well, you should die
Fourth, brother
Li Keran, a young man during the 18th Art Club. 1929 was taken in front of "Fu Shan Temple" in Hangzhou West Lake. On the left is Zhang Tiao, a close friend, on the right is Li Keran, and in the middle is Chen Weizen.
Li Keran's troubled brother is Zhang Tiao, the young man who taught him oil painting when he got cold feet. Zhang Tiaochang was five years old and was admitted to the Research Department of West Lake National Art College. Because they are both tall, wearing long gowns and long hair; Because they are all poor students, they live in dilapidated buildings and have the lowest monthly rent; It is also because we are inseparable and close to each other; It is also because they are the earliest members of the progressive art group "Eighteen Arts Society", and people call them "two brothers by the West Lake".
The two brothers not only study hard, but also study hard. The dangerous building where they live is just above the Fushan Temple in buddhist nun. There lived an old nun in her seventies in the temple. She got up before dawn to recite the scriptures. Whenever the sound of wooden fish and incense rises, the two brothers get up and read in the morning. Arrange morning classes for two hours, have breakfast, and then go to school.
Zhang loves reading western philosophy and literary theory, and reading China's ancient books and painting history can be influenced. Under the influence of Zhang tiao, Keran read many world literary masterpieces. At that time, both Keran and Zhang Tiao studied oil painting, and the dominant trend of thought of West Lake Chinese Painting Academy was post-impressionism. They have been influenced by Cezanne and Gauguin in painting style, but they always feel that there are still some shortcomings. Zhang tiao's keen thinking and comments on the past and present can be traced back to his study of Chinese painting from a teacher when he was young. I never knew how to draw sketches and oil paintings, and later I became famous in the whole school. In this way, the two brothers have their own nicknames: one is Zhang Lun and the other is Li Shu.
"Two brothers", as students of President Lin Fengmian's personal examiner, had a lot of help to coach his oil paintings before Li Keran's exam, but they were unexpectedly successful and were admitted. Zhang Tiao failed in the list and was admitted to the school after repeated complaints. They encouraged each other and made rapid progress in their studies.
In the early 1930s, both of them participated in the progressive art activities of the 18th Art Society, which attracted the attention and prevention of the authorities. One day, Keran returned to the living room from the library, the door was wide open, books, periodicals and pictures were scattered all over the floor, and the bed quilt and mattress were turned upside down. When Li Keran saw it, he even stole the notebook. Zhang Tiao has been detained in the army prison.
Can dye many visits to prison. Send toothbrush, towel, soap and other daily necessities for the first time, and then send clothes. When Keran visited the prison for the last time, he saw that Zhang Tiao had lost weight. However, Zhang Tiao was optimistic and whispered through the railing: "Don't worry, I squeeze my shoulders and bump my arms with my cellmate every day to exercise, and I also learn Russian from a cellmate ..."
Keran turned to Mr. Lin Fengmian for help, and Mr. Lin stepped forward as a guarantor. Zhang Tiao was finally released from prison, but he didn't show up at school, but went to Shanghai. Later, he and Tian Han were both left-wing literary movements. He went to the Soviet area and served as the Minister of Education of the Soviet Union. Unfortunately, he was killed under the left-leaning route. When Keran learned about this situation, it was already a tragic past half a century ago.
Keran in the 1980s still deeply misses Zhang tiao, a "brother by the West Lake". He said: "Under the influence of Comrade Zhang Tiao's education, I have a preliminary understanding of China society and its future, and a preliminary understanding of the correct literary road ... which has played a great role in my life and I will never forget it."
Verb (abbreviation for verb) Anti-Japanese War
1938, at the beginning of the Anti-Japanese War, Li Keran was in Wuhan with a palette.
1In the autumn of 932, the progressive art activities of the 18th Art Society in Hangzhou were banned, but under the care of President Lin Fengmian, she quietly left the West Lake and returned to her hometown. The September 18th Incident aroused the blood of patriotic youth. At this time, the Xuzhou People's Education Museum, where Keran was located, and the Xuzhou Private Art College, where he also taught, became the center of the anti-Japanese war propaganda activities.
Li Keran founded the Anti-Japanese War Propaganda Room in the Folk Education Museum; At the same time, the anti-Japanese pictorial of black and green lithographs was founded, which evolved the activities of the anti-Japanese war propaganda room into a more vivid and popular form and spread it to the broad audience, planting a fire in people's hearts to save the nation and survive.
Li Keran's anti-Japanese war posters began after September 18th and before the July 7th Incident. From 65438 to 0938, it was a turning point for him to join the cultural army gathered in Wuhan. At that time, he fought alone and joined the tide of leading and organizing anti-Japanese war propaganda activities. It was not until around 1942 that he resumed the creation and research of Chinese painting. This master of contemporary landscape painting, who later became famous at home and abroad, devoted himself so passionately to the creation of anti-Japanese war posters in his youth, painting selflessly for 10 years on a large scale. It is difficult to accurately count the murals, canvas posters and various forms of posters he has completed, and there are at least 200. This is a rare and special cultural phenomenon in the world art history, from which we can see what a warm China heart he has as a patriotic artist.
In the early years, the propaganda paintings displayed in Xuzhou Folk Education Museum included oil painting, watercolor painting, ink painting, charcoal painting, etc ... all kinds of tools, forms, themes and categories. What is striking is "The Sino-Japanese War of 1894-1898, History of Japanese Aggression against China", which takes historical photos and pictures as the main line, and is accompanied by cartoons and posters to expose the long-planned ambitions and crimes of Japanese militarists in invading China.
After "August 13th", Xuzhou Folk Education Museum took its fixed anti-Japanese war propaganda room as its activity center, and evolved into two new branches, namely "Anti-Japanese War Literature Propaganda Team" and "Anti-Japanese War Posters Traveling Exhibition". Li Keran initiated, organized and led students from Xuzhou Private Art College, and invited friends from the art, drama and music circles to join in the street. At that time, the whole country was boiling with the torrent of resisting Japan and saving the nation.
Anti-Japanese War posters inspired the creative vitality of young Li Keran. He has a keen conception and writes boldly and quickly. He wrote his own manuscript, and at the same time, seven students followed closely, painting and writing artistic titles. In this way, hundreds of posters painted on large white bamboo cloth have been completed, and young students have held demonstrations to cooperate with the Anti-Japanese War literature and art propaganda team to perform in urban and rural areas. Two horses: one is singing and dancing, performing street drama, and the other is holding an anti-Japanese war propaganda exhibition in a nearby venue. Wherever the literary and art propaganda team performs, the roving exhibition will appear, which will complement each other and complement each other. It caused a sensation in the town, attracted a flood of tourists, received excellent publicity effect, and became a loud horn to arouse people's hearts and Qi Xin's anti-Japanese war.
This spontaneous and self-made propaganda activity continued until 1937 July 7 incident. At that time, the military stronghold of Xuzhou was already filled with smoke, and the north-south road was cut off. Keran sought opportunities, engaged in anti-Japanese war propaganda for a long time, bypassed Xi 'an and transferred to Wuhan.
On the way from Wuhan to Changsha, Guilin and Chongqing, art is often the pioneer, and Dai Naidie is one of the most handy painters. Posters appeared on the walls of urban and rural areas, and then drama performance teams and singing teams appeared on the streets. Accusing the Japanese invaders of destroying their peaceful homeland, calling for cotton-padded clothes to be sent to the front, calling for assistance to the hungry and cold refugee compatriots, opposing compromise and surrender, obeying the people, being traitors, and praising the heroes of the Anti-Japanese War became the main theme of the poster. One of them is "The enemy was badly beaten! In Li Keran's works, the appearance of ghost soldiers became a typical image of the defeated Japanese army. Many street drama teams, disguised as ghost soldiers, are all based on the image in this painting, and their distinctive modeling characteristics and great influence can be imagined.
Sixth, learn from teachers.
1950, Li Keran and his tutor Qi Baishi took a group photo in Qizhai, Beijing.
1947, on the recommendation of Mr. Xu Beihong, Li Keran finally had the honor to learn from Qi Baishi.
Qi Baishi is a master of modern freehand brushwork flowers and birds, and also a master of stone carving art, but at that time, his innovative ideas were repeatedly opposed by conservative forces and he embarked on his lonely road. The first time he saw the dyeable freehand brushwork, he appreciated it and admired it. Later, he wrote postscript on dyeable paintings many times and spoke highly of dyeable creative spirit. The old man Baishi once wrote an inscription for Li's "Raking Grass to Stop Cattle". The old man wrote: "It is worthwhile to succeed as a master after doing it." The biggest feature of dyeable art is not only diligence, but also profound thinking.
Li Keran spent 65,438+00 years by Qi Shi's side, grinding ink and sorting paper for the elderly every day, and the teacher painted. He has never painted the flowers of the old man Baishi, but he has carefully studied Qi Baishi's painting attitude, the method of using pen to transport ink, wonderful ideas and bold and unique spirit.
Qi Baishi and Zeng Zeng can dye a cleverly designed seal "The boy under the tree", that is, a person under the tree. When the old man Baishi gave the seal, he said two old sayings to Keran: "Li has no crown, so don't accept it." The seal takes its meaning of "no need for a full crown" and takes honesty as the essence of being a man.
1957 During Keran's visit to Germany, 97-year-old Baishi died suddenly. Crane's failure to get back to his funeral in time and make friends with his disciples became a lifelong regret.
Li Keran worshipped Qi Baishi as his teacher and asked Huang for advice.
When he first asked Huang for advice, he brought about 20 of his own works. Huang was very excited when he saw Zhong Kui's ink painting with thick temperament and muddy pen and ink, and immediately wanted to dye his Yuan Dynasty treasure Ghost Map of Zhong Kui. It can be dyed because the gift is too thick and no tribute is accepted. Teachers and students fell in love at first sight.
Huang is good at painting history and appreciating. In his evaluation of artistic style, the important artistic standard is "pure inner beauty", and he opposes frivolity. After 70 years old, Huang made great achievements in landscape art, and finally formed his unparalleled painting style. This promotes the rapid formation of dyeable aesthetics with "massiness" as the core.
1954, Li Keran went to Jiangnan to sketch. On that occasion, he went to Huangshi's house and stayed for six or seven days. Huangshi hung up his Tibetan paintings one by one with a small pulley mounted on the wall, commented one by one, and watched them for two days. As you can see, Master Huang is still groping for paintings because he has cataracts in his eyes and wears sunglasses. He checks landscape paintings every day and piles them up. One evening, Master Huang hooked the 78 Zhang Shan Waterwheel Guo in one breath under the lamp, which made Dye very emotional and sighed: "The diligence of our predecessors is really beyond our junior generation. "
Huang's diligence in painting is comparable to Qi's, and Huang's love for dyeability is also comparable to Qi's. This time around Huangshi, Huangshi chose a painting of that day and gave it to him every day. You can dye it to say goodbye before you leave, or you can dye it to be delivered by Huang himself. After a long journey, I also took the self-written couplets as a souvenir. Who knows this is actually the last lesson taught by Master Huang. The following year, Huangshi died.
Seven, sketch
1956 In the summer, on the way of sketching in Yandang Mountain, I was in the deep mountain with the farmers collecting herbs. The man wearing a straw hat in the back row on the right is Mr Li Keran.
The grotesque and steep Shu Road, the morning fog in Jiangcheng, the Leshan Giant Buddha in Jiading, the mountain city in Chongqing at sunset, and the bridge in Wanxian are the key landscapes of Li Keran's long-distance sketch in 1956. This sketch lasted for 8 months, starting from Beijing in spring and returning in winter.
Keran has lived in a mountain city for a long time and has many friends in Chongqing's art circle. As long as you say hello, there will be a warm reception along the way in Sichuan Province. However, since we are sincerely sketching, the most important thing is to concentrate, avoid social distractions, and try not to disturb friends so as not to interfere with their work plans. This trip, together with graduate student Huang Runhua, always used footsteps instead of cars to paint along the way. Travel to the river and sleep on the deck of a wooden boat; On the journey to the mountain road, I squeezed into mule shops and inns. Accommodation is simple and the journey is hard. Although sketching and painting can't be "successful every time", there are also situations where there is no time to run and no scenery, but you can still gain a lot by focusing on one thing every day.
One day, after sketching, Li Keran, who was nearly half a century old, and Huang Runhua, who was in his twenties, were exhausted and sleepy, so they had to spend the night at the Xipeng Inn on the roadside. Mr. Wang couldn't sleep. He finally fell asleep. A burst of gongs and drums beat louder and louder, and sleepiness drove him away at once. The sound of gongs and drums was earth-shattering, and young Huang Runhua couldn't help it any longer. Thinking about the hard work in the middle of the night and getting up to paint before dawn, Mr. Wang agreed to call the Sichuan Artists Association. The famous printmaker Wu Fan picked up two teachers and students in the middle of the night. What an extraordinary reception! At that time, Mr. Keran was teaching at Chongqing National Art College, and the young Wu Fan was still a student. Knowing that the dyer is a man of quality, he gently scolded the teacher. He should have been informed of his trip to Sichuan long ago to avoid the pain of beating gongs and drums. Since then, every time the dyer sees Wu Fan, he will always mention the power of Sichuan gongs and drums and laugh at himself.
However, this kind of fatigue on the pommel horse does not affect Li Keran's persistent pursuit of art. In the innovative exploration of Chinese painting in the second half of nearly half a century, he has made 10 sketches all over the motherland, practicing his creative creed of "walking into life and into the magnificent mountains and rivers of the motherland". Wherever he goes, he will observe and explore the wonders of natural scenery changing day and night, and complete hundreds of landscape sketches. Taking this as a symbol, his landscape paintings are unique with their rich flavor of life and fresh artistic conception of pen and ink, which has exerted great influence at home and abroad.
Eight, Cheng Huai Road
1979 Spring, Li Keran painted in the studio.
1984, Dai inscribed the words "Viewing Tao with a clear heart" as a summary and pursuit of his own aesthetic thoughts. "Looking at Tao with a pure heart" borrowed a sentence from Zong Bing, a landscape painter of the Six Dynasties, and gave it a new meaning. Zong Bing lived in the mountains and drank in the valley for more than 30 years. He loves mountains and rivers and travels far and wide. When you come back, draw what you see and hear on the wall, lie down and swim, which is called "observing the Tao with a clear heart". He praised his beauty and happiness and said, "Playing the piano makes all the mountains ring."
Li Keran summed up the true meaning of his 70-year pursuit of art and enlightenment with these four words. He analyzed the origin of oriental culture from a modern perspective, showed the cross-century prospect of Chinese painting, and sublimated the aesthetic thinking on the relationship between landscape painting and natural sound and modern people's life.
Li Keran's re-understanding and re-evaluation of the artistic value of modern landscape contributed to the birth of a series of his new landscape works: Song of the Mountain, Summer Dishes under the Mountain, Cuckoo Crow on the Thousand Peaks, Birds in the Woods Race to Return, Waterfall after Rain, Home on the Clouds of Chongshan and People in the Lush Trees, which are vivid and colorful.
In his later years, he created his own "dense forest smoke tree method", which made the landscape of ink block and strong backlight change wildly. Maolin, sunset, waterfalls, birds, crows, natural Vientiane ... leisurely in a lush cloud of smoke, the structure has become a muddy world with infinite green sounds.
It is the real realm that Master Li Keran has been pursuing all his life, that is, to view the Tao with a clear mind, the road is round, the transportation and transformation are integrated, and all voices are ringing.
Pass away ◆
On February 5th 1989 10: 50, the master artist Li Keran passed away.
At the last stop of his life journey, he was entrusted by the 1990 international scientific conference to create the first and last abstract painting "Superstring breeds everything", which conveyed his last expectation and blessing. The abstract "points" and "lines" running freely in the universe are like a continuous silk thread; It is like the piano sound of nature, drawing the magical track of the world playing. ...
Li Keran (1907-1989), male, from Xuzhou, Jiangsu, is a professor at the Central Academy of Fine Arts.
Honorary President of Beijing Landscape Painting Research Association, member of China People's Political Consultative Conference and member of China Federation of Literary and Art Circles. In 1950s, he held landscape painting exhibitions in Beijing, Shanghai, Guangzhou, Tianjin and Xi 'an, and visited Germany, Czech Republic and other countries. 1986 held a large-scale solo exhibition in China Art Museum. In the same year, the German Academy of Arts awarded the title of "Academician of Art Communication". 1989 is dead. He has published Li Keran's Painting Collection and Li Keran's Landscape Painting Collection. , and the author of "Li Keran Painting Theory".