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Li Keran (March 26, 1907 - December 5, 1989), formerly known as Li Yongshun,
Jiangsu (Province)
Xuzhou
Man, outstanding in modern China
Painter
,
Qi Baishi
Disciple.
[16]
Li Keran loved painting since childhood and learned landscape painting at the age of 13. Appointed at the age of 43
Central Academy of Fine Arts
Professor, 49 years old for the change of landscape painting, travel tens of thousands of miles travel sketching. Seventy-two years old
Chinese Artists Association
Vice Chairman,
Academy of Chinese Painting
Dean. The pen tends to be old in old age. Be good at drawing
landscape
People, especially good at drawing cows.
[1]
The representative paintings are"
Lijiang River scenery map
""
The mountains are red everywhere
""
Jinggang Mountains
", etc. The representative collection includes Li Keran's ink painting Collection, Li Keran's Chinese Painting Collection, Li Keran's Cow painting and so on.
[2]
- Chinese name
- Li Keran
- alias
- Li Yongshun
- nationality
- China
- Ethnic group
- The Han nationality
- Place of Birth
- Jiangsu (Province) Xuzhou
- Date of birth
- March 26, 1907
- Date of death
- December 5, 1989
- occupation
- Painter , the POET
- Representative works
- Endless Map of the River and Mountains, Red Mountains, Scenic View of the Li River, Jinggang Mountain, Love Evening Pavilion [3]
- Major achievement
-
Western painting techniques into traditional pen and ink modeling
The shading method of Western painting was introduced into Chinese painting
catalogue
- 1Character experience
- ▪Enlightenment education
- ▪Early study
- ▪Creation of ink painting
- ▪New era
- ▪Go through rough times
- ▪Late-life achievement
- 2Major work
- ▪Landscape painting
- ▪Calligraphy works
- ▪The cow and the boy
- ▪atlas
Li Keran is painting
In 1914, Li Keran entered a private school. There is no good teacher in the poor lane, no income for two years, but often write and paint in the classroom, the tutor of the tutor, do not stop.
In 1916, Li Keran entered the "Wu Brothers Primary School" in Xuzhou. 1917, elementary school picture teacher
Wang Qinfang
See him smart and studious, praise: "I can teach, quality can be dyed." So he gave him the scientific name Keran.
In 1920, during the summer vacation, Li Keran visited Xuzhou city Wall and looked over it
Kuai Zaiting
See Jiyi calligraphy and painting Studio indoor several old painters are painting, outside the window after a few days of viewing, visit the Xuzhou painter
Qian Xizhi
为师，正式启蒙书画，习
Wang Shigu
A school of landscape painting.
In 1923, Li Keran entered the general normal department of Shanghai Art Special School, learning drawing and handwork for two years. In the meantime, see
Wu Changshuo
It's the real thing. At a school memorial. Listen
Kang Youwei
He was inspired to devote himself to the art of painting after learning that Chinese painting in Tang and Song dynasties was the peak of world art. In 1925, Li Keran graduated to his Wang Shigu style fine brush landscape Zhong Tang ranked first.
Liu Haisu
The headmaster wrote the postscript for it. Nian Hui
Xuzhou
He taught in the Seventh Normal School and the private Xuzhou Art College until the winter of 1928.
In 1929, Li Keran was admitted to the Research Department of the West Lake National Academy of Arts as a graduate student. Learn from
Lin Fengmian
Two professors, French oil painter Andre Claouodot, specializing in drawing and oil painting, while studying Chinese painting and art history. In the same year, Hangzhou "18 Art Club" was founded, and Li Keran joined the "18 Art Club" as the earliest member.
May 1931, Hangzhou"
The 18 Arts Club
"Held a study exhibition in Shanghai,
Lu Xun
For the exhibition to write "18 art society study Exhibition introduction", can be dyed works began to attract attention.
From 1930 to 1932, the members of the "18 Art Club" were forced to leave the school one after another, and Li Keran was secretly protected by Mr. Lin Fengmian, who gave him travel expenses to help him leave the West Lake and return to Xuzhou. In 1932, Li Keran held his first solo exhibition (mainly oil painting) in Xuzhou and founded the "Black and White Painting Association". A large volume of
Zhong Kui
Selected for the second National Art Exhibition in Nanjing; In the same year, he taught at Xuzhou Art Academy. In the winter of 1933, 26-year-old Li Keran held his first solo exhibition in Xuzhou.
In 1937, Li Keran entered
Guo Moruo
Presided over the third hall of the Political Department, in Wuhan and other places to draw anti-Japanese propaganda pictures.
In 1938, Li Keran went to China
Wuhan (capital of Hubei Province)
Successively in
Zhou Enlai
The ministry under Guo Moruo carried out patriotic propaganda.
In 1939, in order to express national hatred, Li Keran completed the propaganda painting "Who destroyed your happy Home?" .
In 1940, Li Keran lived at the Laijia Bridge under the Diamond Slope, with the theorist
CAI Yi
In the same room, we discuss art with each other and discuss the new art theory together. From the anti-Japanese propaganda activities turned back to the creation and research of Chinese painting.
In 1941, Mr. Guo Moruo wrote two poems for Li Keran, one for the five rules of the Water Buffalo Picture, the other for the seven rules of the boat in the gap.
In 1942, Li Keran began to sketch in ink, making cow drawings, and participated in a group exhibition of contemporary artists in Chongqing, Sichuan Province. At the same time, classical freehand figures such as Qu Yuan, Wang Xizhi, Du Fu and landscape painting Wind and Rain Return to Pasture were published. It is also the beginning of the classical period of Li Keran's landscape painting form (1942-1953).
In 1943, at the invitation of Chen Zhifu, president of Chongqing National Art College, Li Keran worked as a lecturer in Chinese painting until September 1946. During this period, he devoted himself to the teaching and research of Chinese painting, focusing on landscapes, classical figures, and cattle drawings. Make "Gongyin view waterfall", "Holding fan ladies", "Imitating eight mountain people", "imitation stone Tao" and other paintings. In 1944, Li Keran's freehand Ink Painting Exhibition was held in Chongqing.
Xu Beihong
Preface,
Lao She
He wrote the article "Looking at Paintings" and praised Li Keran's landscape paintings and buffalo drawings in the article.
In 1945, Li Keran and
Lin Fengmian
,
Ding Yanyong
, Guan Liang,
Ni Yide
Zhao Wouji and other landscape and freehand figures, held a "modern painting group exhibition". In the same year, he held the "Li Keran ink freehand painting Exhibition" in Kunming, and also made "Crane Pavilion" and "Brown under the old man" and other paintings.
In 1946, Li Keran went to Beiping Art College to teach, the following spring
Qi Baishi
As a teacher, with 10 years. In the same year, Huang Binhong deeply gained the wonderful ink accumulation method.
In 1948, Li Keran held his second solo exhibition in Beiping. Xu Beihong collected nearly 10 freehand figure paintings such as "Bai Ruan Tu" and "Huai Su Shu Jiao", hidden in the museum
Xu Beihong Memorial Hall
.
After 1949, Li Keran was elected as a director of the Chinese Artists Association.
In 1950, Li Keran became an associate professor of Chinese painting at the Central Academy of Fine Arts. In the same year, he wrote "On the Transformation of Chinese Painting" for the first issue of "People's Art", pointing out the prospect of developing Chinese painting. That year, the fifth issue of People's Art published the article "Yungang Stone Impression" written by him after visiting Yungang Grottoes in Datong.
In 1951, Li Keran, along with all teachers and students of the Central Academy of Fine Arts, participated in the land reform and created the New Year painting "Beihai Garden Exhibition of Model workers and Peasants" and other works.
In 1952, Li Keran visited Yungang Grottoes again. And participated in the central Ministry of Culture organization
Bingling Temple grottoes
The delegation went to Bingling Temple and visited Longmen Grottoes along the way.
Forest of steles in Xi 'an
Such large stone carvings were shocked by Han Dynasty art.
portrait
In 1957, Li Keran visited with the painter Guan Liang
German Democratic Republic
It took four months. The Berlin Academy of Fine Arts held a joint exhibition of two painters.
In 1958, Li Keran watched Qi Baishi's legacy exhibition and published an article on Qi Baishi's Teacher and his Paintings.
In 1959, Li Keran went to Guilin to sketch. He held an ink painting painting exhibition of "So Much Beauty in the River and Mountains" in Beijing, and toured eight cities in China. In the same year, the Czech Museum in Prague held "Li Keran painting exhibition", "Li Keran ink landscape painting collection" was published.
In 1960, Li Keran put forward the idea of "picking one and refining ten". That is to say, mining is hard, smelting needs to pay a hundred times more labor, real artistic creation must have both mining workers and smelters double hard work and diligence.
Li Keran
In 1962, Li Keran completed the paintings "Yellow Mountain Haze", "Li Jiang", "Thousands of mountains Red (1)" and "Five Cows".
In 1964, Li Keran completed the "Scenery of the World", "Thousands of mountains Red (II)", Zhang Er's huge "Li River", "Wushan Cloud Picture" and "Paddy Field under the mountain" and other paintings.
In 1966, the "Cultural Revolution" began and Li Keran was forced to stop writing. Hone your basic skills through calligraphy. This period of time for Li Keran landscape painting monument period (1979-1989) accumulated strong and refined creativity.
In 1972, Li Keran returned to Beijing according to Zhou Enlai's transfer order, and re-devoted himself to the creation of Chinese painting
National hotel
magnify
The Li River (in Lijiang Province)
".
In 1973, Li Keran wrote"
Lijiang River scenery map
It took three months to complete. Also made "Tree top hundred heavy springs", as a national gift to friendly heads of state.
In 1974-1975, the "Gang of Four" launched the campaign of "criticizing black paintings and fighting back against the bourgeois Black Line." Li Keran's famous painting Yangshuo Scenic Spot was criticized as black painting. All works of Li Keran, originally displayed in public places, will be banned. Li Keran suffered from persecution, but still insisted on practicing calligraphy, and created her own "sauce when the body", the pattern of writing is as heavy as the inscription.
In 1976, Li Keran made a large scale "Li River" and "Jinggang Mountain" map axis for the Japanese Overseas Chinese Association.
In 1977, Li Keran wrote "Jinggangshan", "Jingjiang Pavilion", "Qingli Scenery" and so on.
In 1978, Li Keran was elected as a member of the Fifth National Political Consultative Conference. He was subsequently elected as a member of the sixth and seventh CPPCC National Committee.
In 1979, Li Keran was elected vice chairman of the Chinese Artists Association, a member of the National Federation of Literature, and was appointed president of the Academy of Chinese Painting. He was in office in 1981
Academy of Chinese Painting
During the dean's period, to commemorate the 100th anniversary of the birth of Lu Xun wrote the Lu Xun joint language, and the title "Mr. Lu Xun joint language cloud 'bow head willing to be a willing ox', this language inspired me to educate, I began to paint the ox, and named my studio as the 'teacher ox hall', today is the centennial anniversary of Mr. Lu Xun's birth, write this to respect. 1981, can be dyed and remembered ".
In 1983, Li Keran went to Tokyo and Osaka, Japan to hold "Li Keran Chinese Painting Exhibition". Art teaching film "Peak high no smooth road - Li Keran's landscape art", enjoy the film "for the Motherland's rivers and mountains Biography" "Li Keran painting cattle" shooting completed.
In 1984, "Endless Map of Rivers and Mountains" won the honorary award of the sixth National Art Exhibition.
In October 1985, the former residence of Li Keran was restored in Xuzhou City, Jiangsu Province, and Li Keran donated 40 pieces of his own calligraphy and ink treasures over the years, together with Li Keran's students and painters. In the same year, he wrote "Buffalo Zantu".
Li Keran and Li Kuchan
In 1987, Li Keran
Huang Runhua
,
Zhang Bang
,
Li Xingjian
Held a joint exhibition in Japan and wrote "Introduction to the" Bitter School "Exhibition", proposing the formation and development of the school. In July, the German Democratic Republic Academy of Arts awarded Li Keran the honorary title of corresponding Academician.
In 1988, Li Keran donated her work "Rain over the Waterfall," and donated $40,000 from the charity sale to the International Committee to Restore the Great Wall and Save Venice.
On May 12, 1989, the Ministry of Culture held the "Donation Ceremony of Mr. Li Keran, a famous Chinese painting master, to the China Art Festival Foundation", in recognition of his donation of US $100,000 to promote the development of Chinese art. At 10:50 a.m. on December 5, he suffered a heart attack at the age of 82.
|
One leaf knows the autumn
|
Qingli Shengjing map
|
Old man under brown
|
Napalm chart
|
||
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Lu Xun hometown Shaoxing city
|
The scenery of Kunlun Mountains
|
Yangshuo
|
Hilltop terrace
|
Jinggang Mountains
|
Clear sailing shadow picture
|
|
Li River in the rain
|
Splash-ink landscape
|
The shepherd boy went home to the sunset
|
Misty river sunset
|
Hundred multiplet springs
|
A dense forest of smoky trees
|
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The rain suddenly cleared up
|
The girl with the fan
|
Bubag monk
|
Be cool while the load is clean
|
Panghakjeong
|
Banana forest song
|
|
Poetry of Song dynasty
|
Xunyang Pipa
|
twilight
|
Gentle village does not tremble
|
Zhong Kui
|
Willow Creek fishing boat map
|
|
Drunkard map
|
Wuxi Huishan under the second spring
|
Huangshan Sea of clouds
|
Spring rain Jiangnan map
|
Cang rock double waterfall diagram
|
Yellow mountain clouds
|
|
Xiajiang boat map
|
The mountains are still and the waterfalls are Shouting
|
A dense tree produces its own smoke
|
High rock water side family
|
The rain began to fall at sunset
|
Bitter chant diagram axis
|
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FIG shade crossing ox axis
|
Obstinate ox axis
|
Axis of Li River in rain
|
Axis of landscape map
|
[4]
|
Li Jia landscape
Atlas appreciation
In landscape painting, Li Keran advocated that "the precious is the courage, the essential is the soul", "with the greatest skill to fight in, with the greatest courage to fight out", so that the ancient landscape painting art has gained new life.
[5]
He also emphasized that landscape painting should be made from nothing to something, from something to nothing, that is, from simplicity to richness, and then from richness to simplicity.
In sketching, Li Keran believes that sketching is the science of studying image, and the only purpose of sketching is to accurately reflect the objective image. The accuracy of image depiction, as well as the scientific truth of decency, light and shade, and light, are only good for the development of Chinese painting.
[6]
Li Keran also put forward the idea of "picking one and refining ten". That is to say, mining is hard, smelting needs to pay a hundred times more labor, real artistic creation must have both mining workers and smelters double hard work and diligence.
landscape
Li Keran's landscape paintings attach great importance to the condensation of images. His landscape works in the 1940s are linear brushwork. After the 1950s, the works changed from linear pen and ink structure to clumpy pen and ink structure, mainly ink, the whole is simple but rich in the interior, thick, deep and dense.
[7]
Li Keran's landscape paintings introduce light into the picture, especially good at showing the backlight effect in the morning and evening in the mountains, so that the works have a hazy and confused, wandering characteristics. On the whole, Li Keran's landscape paintings are closer to the perceptual reality of the object than those of the Ming and Qing Dynasties, which weakens the independence of meaning and formal interest in a sense.
[7]
Critic of this
Wang Jinyu
Li Keran combined tradition, Western law and nature to create a unique, thick and vigorous "Li family landscape".
[8]
character
Li Keran's figure paintings are dynamic and subtle, exaggerated but not ugly, simple but not primitive, full of humor, wit and life interest.
[7]
The cow
Li Keran's paintings of cows are full of life interest, or walking, or lying, or lapwing in the water; On the back of the cow, the childish shepherd boy is relaxed, or watching the mountain, or Shouting, or racing across the river, a few words, will draw out a simple and vibrant pastoral scene.
[9]
In 1944, "Li Keran's freehand Ink Painting Exhibition" was held in Chongqing, Lao She wrote in the article "Looking at Paintings" : "About five years ago, the art association charity sale members of the painting, the Keran brothers painted a buffalo, a landscape, and gave it to me. I bought these two myself, and the buffalo still hangs in my study/living room/bedroom today. I very much love those painted cattle ah!"
During the Anti-Japanese War, Li Keran set up a propaganda room in the Xuzhou People's Education Hall, and created an Anti-Japanese War pictorial with black and green lithography. Li Keran wrote the draft alone, and seven students followed him in coloring and calligraphy. In this way, hundreds of paintings were completed, and the young students marched and cooperated with the Anti-Japanese War literature and propaganda team to tour the city and countryside. The Anti-Japanese War propaganda exhibition held by them aroused the people's hearts and encouraged people to work together in the war of resistance.
[2]
Guangzhou Academy of Fine Arts
Li Gongming
"During the transformation of New Chinese painting, the achievements of Li Keran's sketched landscape and red landscape in this new tradition are of original significance," said the professor.
[10]
Shen Pengxian's "Li Keran's Complete Collection of Calligraphy and Paintings, Calligraphy Volume, Preface" said: "Calligraphy is not only Li Keran's spare work, but also an important part of all his artistic activities. Suffice it to say, because calligraphy occupies only a small amount of his time outside of painting, and takes a secondary place compared to the amount of painting. However, in the same sense of the principle of calligraphy and painting, in terms of the most abstract principles of brushwork and structure, calligraphy is not only a chore, but a very important basic project of the art of dyeing."
[11]
Li Keran's son
Li Xiaoke
"The thing that most benefited us about my father was his attitude toward art and life, and that's what his story reflects," he said in an interview.
Lao She wrote in "Li Keran's Freehand Ink Painting Exhibition" : "In the poor, occasionally see a few good paintings, the spirit is refreshed."
[12]
Wu Zuoren said in the preface of Li Keran's Chinese Exhibition: "The world of art is wide, and the landscape is ingenious. Mountains are hidden, clouds and smoke, which the ancients never caught; Haze shadow tree light, with ink to win color, create the realm to push forward."
Li Keran's old residence
Li Keran's old residence was built in 1922, a total of 12 houses, for a green brick tile Siheyuan structure. On March 28, 1994, the second phase of Li Keran's old residence, "Li Keran Art Exhibition Hall", was completed and opened to the public, covering an area of 280 square meters. The building area is 320 square meters, which is a two-story building combining Chinese and Western architectural styles. It was dismantled during the construction of Phase III. In 2006, Xuzhou Municipal Party Committee and municipal government decided to expand the third phase of Li Keran's old residence to the south of Li Keran's old residence. The third phase of the project covers an area of more than 4,200 square meters, construction area of 2,600 square meters, and is expected to invest more than 30 million yuan.
[13]
Located in the south of Li Keran's old residence, the new Hall officially started on December 5, 2006 and was completed in December 2007, covering an area of 4810 square meters and a construction area of 2829 square meters. The new hall consists of four parts: exhibition hall, academic lecture hall, comprehensive function hall and outdoor courtyard.
[14]
On May 5, 2023, in order to strengthen the protection of cultural relics, prevent the loss of modern and precious cultural relics, and improve the standard system of cultural relics exit examination, the Notice of the State Administration of Cultural Heritage on the Issuance of the List of eight types of works such as dead paintings and calligraphy restricted from leaving the country after 1911 (Cultural Relics Bofa (2023) No. 13) Li Keran's works are not allowed to leave the country.
[15]
