Celebrity stories of apprentices in Li Keran
1946, introduced by Xu Beihong, Li Keran met Qi Baishi, who was over eighty years old and admired for a long time, and expressed his desire to learn from his teachers. 1947 In the spring, he visited Qi Baishi for the second time with 20 paintings, which produced a touching story.
At that time, Qi Baishi was resting on the couch. When the painting was delivered to him, he took it away. At first he was half lying down, but after seeing two pictures, he couldn't help sitting up. On the sidelines, Qi Lao's eyes lit up, stood up with him and said, "This is a great freehand brushwork!" " "In his later years, Qi Baishi had the habit of recognizing paintings and not recognizing people. After reading the painting, he turned to Li Keran and asked, "Are you Li Keran?" Li Keran busy promised. Qi Lao was happy and praised: "I saw the original work of Xu Qingteng thirty years ago, but I didn't expect to see your young people's paintings thirty years later." "Xu Qingteng, or Xu Wei, is a famous painter of flowers, birds and landscapes in the Ming Dynasty. His paintings are bold and elegant, famous far and wide, and have a great influence on later generations. Qi Baishi worshipped Xu Wei very much all his life, which shows his appreciation of Li Keran.
Then, Qi Lao said meaningfully, "But I think your portrait is written in cursive. I want to write cursive all my life, but I still write in print ..." In this way, they became very close with painting as a bridge. When Li Keran left, Qi Lao invited him to dinner, but he refused again and again. Qi Lao was angry and said loudly to Li Keran who was about to step out of the threshold: "Go!" At this time, the Qi family motioned for you to listen to the old man Qi and stay. Since then, Qi Baishi and Li Keran have forged an indissoluble bond.
Li Keran attached great importance to learning from the master, and thought that learning etiquette must be serious, so he delayed it for some time. Qi Baishi can't wait. Once he asked Li Keran, "Would you like to learn from the teacher?" Li Keran quickly said, "You have long been my teacher." Qi Baishi will be wrong and depressed. From time to time, he would say to the nurses around him, "A young man like Li Keran won't worship me as a teacher. His future achievements will be high. "
This word reached Li Keran's ear, and he hurried to see Qi Lao and explained the reason. Qi Lao was outspoken and repeatedly said, "Nothing is needed, nothing is needed." Li Keran began to understand. On the same day, accompanied by Qi Ziru, the third son of Qi Lao, a ceremony of accepting disciples was held. Qi Baishi hurriedly stood up and helped Li Keran get up. When he was happy, his eyes were a little moist and he murmured, "You are an everlasting person!" "
Since then, Li Keran has officially become a proud disciple of Qi Baishi, and spent 65,438+00 years working hard to achieve the artistic essence of Qi Lao.
Brief introduction of Li Keran
Li Keran was originally named Li Yongshun, a native of Xuzhou, Jiangsu Province, an outstanding painter in modern China and a disciple of Qi Baishi.
Li Keran loved painting since childhood, and learned to paint landscapes at the age of 13. 43 years old, professor of Central Academy of Fine Arts. At the age of 49, he traveled long distances to Wan Li to sketch. At the age of 72, he was the vice chairman of China Artists Association and the president of Chinese Painting Research Institute. Pencils are often old and spicy in old age. He is good at painting landscapes and people, especially cows.
His representative works include Beautiful Scenery of Lijiang River, Red Mountains, Jinggangshan and so on. Representative paintings include Li Keran's Ink Sketch, Li Keran's China's Painting, Li Keran's Painting Cattle, etc.
Li Keran's Painting Style
1, claim
In the aspect of landscape painting, Li Keran advocated that "what is valuable is bold, what is important is soul" and "go in with the greatest skill and courage", which endowed the ancient landscape painting art with new life. [6] He also stressed that landscape painting should be from scratch, from scratch, from simple to rich, and then from rich to simple.
In the aspect of sketch, Li Keran thinks that sketch is the science of studying image, and the only purpose of sketch is to accurately reflect the objective image. The accurate image description, as well as the scientific truth of appropriateness and light and shade, are only good for the development of Chinese painting, but never bad.
Li Keran also 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.
2. Features
Mountains and rivers
Li Keran's landscape paintings attach importance to the cohesion of images. His landscape works in the 1940s are a linear brush and ink structure. After the 1950s, the works changed from linear pen-and-ink structure to block-like pen-and-ink structure, with ink as the main part, which was simple and rich as a whole, heavy and profound.
Li Keran's landscape paintings introduce light into the picture, and are especially good at showing the effect of mountain forest backlighting in the morning and evening, which makes his works hazy, confused and wandering. Generally speaking, Li Keran's landscape paintings are closer to the perceptual reality of the object than those of Ming and Qing Dynasties, which weakens the independence of meaning and form and interest in a certain sense. Wang Jinyu, a critic, said that Li Keran combined tradition, western law and nature to create a unique appearance of "Li Family Landscape".
figure
Li Keran's figure painting is dynamic and implicit, exaggerated but not ugly, simple but not Gu Zhuo, full of humor, wit and interest in life.
cattle
The cows painted by Li Keran are very interesting in life, either walking, lying or drowning in water; On the back of the cow, the childlike shepherd boy is carefree, or watching the mountains, or talking about the sky, or running a race, and a few strokes will outline a simple and vibrant pastoral scene.
Qi Baishi
Qi Baishi (65438+65438+1October1-0957+65438 in September, 2006), formerly known as Chunzhi, was named Lanting, later renamed Huang, and was born nearby, named Baishi, Baishishan Weng, Laoping and Hunger.
He worked as a carpenter in his early years, then made a living by selling paintings, and settled in Beijing after he was 57. He is good at painting flowers and birds, insects and fish, landscapes and figures. His pen and ink are vigorous and moist, with rich and bright colors, concise and vivid shapes and simple artistic conception. Fish, shrimp, worms and crabs are full of fun. 1September 1957 16, Qi Baishi died in Beijing Hospital.
Qi Baishi's calligrapher Zhuanli learned this method from the inscriptions in Qin and Han Dynasties, and his calligraphy also attracted Gu Zhuo's interest. His calligraphy is comparable to that of Yu Youren, Li Zhimin and Sha Menghai. His brushwork is vigorous, simple and vigorous. Seal cutting is unique and good at writing poems. He used to be honorary professor of Central Academy of Fine Arts and chairman of China Artists Association. Representative works include Frog Rang Ten Miles Away from the Mountain Spring and Ink Shrimp. He is the author of "Bai Shi Shi Hua" and "Bai Shi Old Man's Self-report".