The teacher in the room, Li Keran (1907.3—1989.438+02), is from Xuzhou, Jiangsu. Formerly known as Li Yongshun, he used to be named Sanqi. Good at Chinese painting and art education, master of China landscape painting. After liberation, he served as professor of Central Academy of Fine Arts, vice chairman of China Artists Association and president of Chinese Painting Research Institute.
China is a famous master of modern Chinese painting.
Li Keran studied painting since childhood and was deeply influenced by Pan Tianshou and Lin Fengmian. He studied painting with Qi Baishi and Huang, and taught in many fine arts colleges. He is good at landscapes, rewrites his life, introduces the shading method in western painting into Chinese painting, and harmoniously blends the techniques of western painting into the profound traditional pen and ink and modeling images, and has made outstanding achievements.
Brief introduction of Mr. Li Keran's life
Li Keran, 1907 was born in Xuzhou, Jiangsu Province on March 26th. 13 years old with Xianqian Shi Zhi studying traditional landscape painting in his hometown, 16 years old joined the normal department of Shanghai Private Art College. 1929 entered Hangzhou West Lake National Painting Academy with excellent results and was admitted as a graduate student. He studied western painting with Lin Fengmian and Crodo, two famous French painters. 1943 was employed as a lecturer of Chongqing Institute of National Arts, engaged in the teaching and creation of Chinese paintings. 1946 at the invitation of Xu Beihong, he was appointed 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 the soul" and "Hit it with the greatest skill and hit it with the greatest courage", the ancient landscape painting art has gained a 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 who has cultivated painting for more than 70 years, but also made important contributions to the development of artistic concepts. Its influence has already surpassed the art world and has been highly praised by all parties.
1989 65438+February 5, died in Beijing apartment at the age of 82. .
Mr. Li Keran's past highlights
Li Keran, 1907, a native of Xuzhou, Jiangsu, whose real name is Yongshun. 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. 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. /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. 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", suggesting that you will die if your sketch is not good. 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.
As students of President Lin Fengmian's personal examiner, the "two brothers" had a lot of help to coach his oil paintings before the Li Keran exam, but they were unexpectedly successful and were admitted to the school. 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." From 65438 to 0938, at the beginning of the Anti-Japanese War, Li Keran, who was holding a palette, was banned from participating in the progressive art activities of the 18th Art Society in Wuhan in the autumn of 1932, but under the care of President Lin Fengmian, he quietly left the West Lake and returned to his 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 peaceful homeland, calling for cotton-padded clothes to be sent to the front, calling for assistance to the hungry and cold refugees, opposing compromise, surrender, obeying the people and 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.
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.
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.
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.
Painting story
Wan Shan Hong Ban: On May 28th, 2007, Li Keran's Wan Shan Hong Ban was sold at the auction of modern paintings in China at Christie's auction house in Hong Kong, which broke the world record of the highest transaction price of the artist's works.
Li Keran in 1962 to 1964, and Mao Zedong's "Qinyuanchun? In Changsha, the famous phrase "the mountains are all red and the forests are all dyed" has created seven pictures. The size, composition and landscape of each work are different, but the basic pattern is the same. Among them, Wanshan Hongbian is 13 1 cm high and 84 cm wide, which is one of the larger paintings in this series and is of great collection value. This painting is unique and colorful, which fully embodies the artistic essence of Li Keran's landscape painting. It is really rare.
1949 after the founding of new China, the whole country was jubilant and people were full of expectations for a new life. In 1950s and 1960s, Mao Zedong's poems became the creative theme of many artists, so there were countless paintings with Mao Zedong's poems as the theme, and "Wan Shanhong Side" was one of the most popular famous sentences at that time. At that time, many painters painted autumn leaves, which were called "red landscapes" by art historians, and "red" was also endowed with the political meaning and characteristics of the times when the red regime ruled China.
This painting is rich in composition, like a huge monument, and it uses a lot of royal cinnabar. It is red and contains infinite joy in silence. In order to highlight the word "red", the author uses a large number of dense vermilion dots, which makes the picture effect particularly strong and has extraordinary visual charm, and forms a contrast between cold and warm with a strong ink color, which is rich in layers; The white walls in the forest, the waterfalls on the mountain and the flowing springs under the mountain set each other off in a magnificent way, becoming the bright colors of the picture, while the streams in the foreground add movement to the solemn and spectacular picture.
Seal printing
Valuable courage-this is the printing language used by 1954 when he went out to sketch. In order to encourage myself, 1986, I wrote a book in Shiniutang. "Bold" people dare to break through traditional stereotypes.
Soul of Desire-This seal was carved by me 1954 before I went out to write. 1April, 986, Bing Yin can dye Shiniutang. "Courage to those who are valuable" and "Soul to those who want it" are two seals that I engraved before typing. A "bold" person is one who dares to break through traditional conventions and "soul" and create artistic conception with the spirit of the times.
The story of the mountains and rivers of the motherland-the mountains and rivers of the motherland are magnificent, so you should draw them with your heart. 1986, Bing Yin wrote a book "April", and my scenery was printed.
"Three Thousand Waste Paintings"-self-excited printing language 1986, ice printing can dye Shi Niu Tang, but it is useless to be afraid that the painting is not good. As long as you draw with your heart, it doesn't matter if it is broken. I have a stamp called "Three Thousand Paintings Scrapped" to encourage myself not to be afraid of painting damage. Because I am afraid that my painting is not good, I will stick to the rules and dare not break through. I always turn around in my old circle. This is a sign of inertia and it is difficult to make progress. (Li Keran self-interpretation)
"Cow"-Lu Xun's joint statement "bow down and be a willing cow" inspires us. So, I began to draw cows and named my studio Normal Cow Hall. I am writing this article to commemorate the centenary of Lu Xun's birth in 198 1.
In 1950s, I went out to sketch several times, carrying students' painting tools, and went to Wan Li every day. Strive to create a new landscape painting with real life flavor and reflecting the spirit of the socialist era. Now, before you know it, it's over 70. I summed it up and carved a stamp of "70 years ago, bosom friends and ignorance", which means that the world is vast, everything is broad, the truth is profound, and what I have learned is insignificant. Summing up myself, I have lived for 70 years and feel deeply ignorant. I should study from scratch. (Li Keran self-interpretation)
There is no smooth road to the top (for Zhou Encong)-This 70-year-old Indian book was given to Encong in 1978 to encourage him to die.
Other works include: Valuable Courage, 2 and 3, Soul of Desire, 2, Words Not Amazing, etc.
Painting Discourse and Main Works
Quite critical-vertical axis and color book, 67×37cm.
In the forties, Li Keran turned to Chinese painting, and his figure painting showed a more mature personal style, which fully reflected his natural and unrestrained temperament in artistic personality. This style remained until his later years, and in his artistic aesthetic performance, it became an important complementary factor of the unity of opposites with the vigorous aesthetic taste of landscape painting.
Inscription: "I am asking Qiu Xun, and a leaf falls into the atrium."
Guo Moruo's title: "The phoenix tree is the spirit of autumn, and the word refreshing is better."
Wan Shanhong bian-1962 frame colored paper, 69×45cm.
Painted a poetic picture of Wan Shanhong with vermilion, which is the opening work, and was made on 1962. In the next two years, there were more works. There are only five known works of cinnabar landscape, which are hidden in folk and art institutions. In terms of art, this special landscape creation is Li Keran's innovation from "writing landscapes" to "creating landscapes", which is wonderful and touching.
Inscription: "The mountains are all red and the forests are all dyed."
Li Qing scenic spot map-1977, 152× 128cm.
Jiangshan is like a mirror, the scenery of two rocks and the boat of Jiangshan are all in pairs. Rugged houses, lush forests, grotesque and ever-changing peaks seem to be deliberately arranged on both sides of the river for anyone to watch. The painter spread the most amazing scenery of Lijiang River on the screen with a grand layout. In terms of pen and ink, the painter avoids emptiness and emphasizes the clarity of the air here by improving visual visibility. The lines are dignified and steady, and the ink color is full and full, which makes the beautiful Lijiang River stable and not floating, which is very attractive.
Gan Niu Tu (1983 ink color printing: white-haired male student Shi Niutang, Li, 68× 1 1 cm dyeable seal).
"Cows, too, have infinite strength, and bow their heads and listen without trying to be brave. Life-long fatigue, doing things without taking credit. Pure and gentle, sometimes strong and stubborn, moving forward steadily, not stepping on the air, describing it as unpretentious and magnificent. I admire its sex and love its shape, so I never tire of writing. "
Panasonic Waterfall View (1943): Li, dyeable, 79.9×47cm.
The Painting of Tung Washing (1944, printed on paper with colored ink lenses: Panax notoginseng, dyeable and spotless, 65.5×37.2cm).
Old people under brown (1945 94.4×43.5cm)
Sleepy Pictures in the Afternoon (1948 printed with ink-and-wash colored lenses: dyeable and inexplicable, with Tang Jun 7 1.3×34.3cm)
Men in Plum Blossoms (196 1 year-old mirror color printing paper, 70× 45cm)
Shaoxing, Lu Xun's hometown (1962): Li Keran 62.3×44.6cm
Edge (2) (1964 136×84cm)
Color of Kunlun Mountain (1965): color setting of paper and ink vertical shaft seal: dyeable, sentimental and picturesque rivers and mountains 67×45cm)
Yangshuo (1972 ink color lens paper printing: dyeable 69×95cm)
Peak platform (1974) (paper ink lens seal: dyeable, Li 5 1.3×38.7cm)
Jinggangshan (1976 ink colored lenses printed on paper: Li, dyeable 129×8 1cm)
Lijiang River in the Rain (1977 Paper color ink lens: Li, dyeable, picturesque 7 1.2×48.7cm)
Shadow of Li Qingfan (1979 vertical colored paper, 60×96cm)
The piccolo of the shepherd boy (1980 vertical axis, color book, 69×45cm)
Splash ink landscape (198 1 year paper ink lens seal: dyeable, rixin, plum 68.7×45.9cm)
The shepherd boy returns to the sunset (1984 ink painting lens: Li, Keran, Gan Niu, Li Xia crooked crown, Chen Qu 69×58.5cm).
Sunset on the Smoky River (1987 68.5× 103cm)
Hundred springs (1987 109.6×60.2cm)
Tobacco trees in the dense forest (1988 color lens of ink painting: Li, Keran and Chen 76.5×50cm)
Grassland grazing (1988 77.5×102.5cm)
"The rain suddenly cleared up" (1988) and so on.
Li Keran's Artistic Prose
Compared with art, life is the foundation. If you want to do anything well, you must lay a good foundation first. Why are some people's landscape paintings formulaic? Mainly divorced from life, divorced from reality, no feelings. Take it for granted that painting will inevitably form a fixed formula.
Let me tell you a well-drawn five-character formula, which is easy to remember: qi, cold (inclusive), north (pen), wind (abundant) and big.
"Qi" refers to charm. The charm of a painting is the most important. It is the commander-in-chief and the soul. The first and most important of the "six methods" is to express the charm.
"Tolerance" refers to the meaning, and the meaning of the picture is very important. A good painting gives people profound thoughts, endless aftertaste, and a bell-like echo, leaving room for imagination for the audience. A good article should not be nervous, nor should a good painting be nervous. It needs depth, not a simple appearance, but an infinite feeling.
"Pen" refers to pen and ink, which is the means and method of creation. Any good work, good creativity and good artistic conception need to be expressed with good pen and ink, which is part of basic skills.
"Rich" means rich. Some people paint rashly, which is not good. A painter should be responsible for his audience and himself. In order to give people spiritual enjoyment, education and thought-provoking, and make people forget to return for a long time, we must have rich and "durable" pictures. Huang's method of accumulating ink has this feeling. Concentration is not necessarily complicated. Simple strokes can also achieve rich effects, but it is not easy. It is impossible for art to pursue richness, and one-sided emphasis is placed on simple and sloppy washing and training. This is especially true for beginners, and it is not too complicated to write thousands of strokes.
"Big" means "atmosphere", and some people paint with the feeling of "atmosphere". Some people draw pictures, which makes people feel stiff and stingy. This is determined by the painter's accomplishment, personality and other factors. It is not easy to achieve "atmosphere". Fan Kuan's works are rare in history and atmospheric, which is a good tradition of Chinese painting. These five words are easy to remember, but it is not easy to really do it. The "five-character formula" can only be achieved if it has a living foundation, a variety of practices and long-term hard study and practice.