Li Keyan's 1963 "A Scene of Yangshuo" is 54cm × 65cm
Li Keyan was an outstanding painter and poet in modern China, and a disciple of the painter Qi Baishi. Li Keyan has loved painting since childhood, learning to paint landscapes at the age of 13; becoming a professor at the Central Academy of Fine Arts at the age of 43; painting landscape painting for the reform of the 49-year-old, traveling tens of thousands of miles; and at the age of 72, he became the vice chairman of the China Artists Association and the president of the Chinese Painting Research Institute.
Li Keyan's 1984 "Qing Li Sail Shadow Map" is 62cm × 92cm
The tone of a landscape painting should be unified, and a painting should have a unified melody like a piece of music. A method of expression is a melody, either rough or beautiful.
Li Keyan's "Xiongguan Mandao Cangshan Ruhai" Transaction price: RMB-40,825,000 Beijing Poly 2012 autumn auction
A painting must be shrouded in an atmosphere, and with the atmosphere painting can it be alive. Qi Baishi said: "Pen and brush are born together, pen and brush cause", it is also for the sake of a painting's qi coherence, qi coherence is powerful, can be vivid. The painter is not a talent who draws and runs, the static is not vivid, and the snooze can also be painted very vividly, and vivid is to be coherent. Chinese ink painting has always paid attention to atmosphere. For example, if it is said: "There are dragons and snakes in the mountains", that is, through the qi, and also said "the breath of the vastness", "with smoke and rain", "waving paper like a cloud of smoke", "try to see the pen pass through the smoke", etc., all contain this meaning. Leaving appropriate gaps in landscape paintings also contributes to the expression of atmosphere.
Li Keyan's 1954 "Qiantang River" is 42cm × 49.5cm
Li Keyan's 1954 "Summer Palace Back Lake"
Li Keyan's 1962 "Jiangnan Sketch" is 37.5cm ×44cm
Li Keyan's 1965 work "Cangshan Like the Sea, The Sun Is Like Blood" is 49cm×69cm
Li Keyan's 1972 "Yangshuo Shengjing Map" is 211cm×384cm
Li Keyan's 1973 "Qing Li Sail Shadow"
Li Keyan's 1974 "Former Residence of Chairman Mao of the Revolutionary Holy Land of Shaoshan Mountain" was sold for 141.5cm× 243cm for 124.2 million yuan
Li Keyan's 1977 "Qingli Victory Map"
Li Keyan's 1978 "Apricot Blossom Spring Rain Jiangnan"
Li Keyan's 1980 "Li River Under the Sky"
Li Keyan's 1982 "Hundred Heavy Springs" 109.6cm× 60.2cm
Li Keyan's 1982 "A Thousand Rocks and a Thousand Valleys"
Li Keyan's 1986 "Light Boat Map of the Gorge River"
Li Keyan's 1987 "Lijiang Landscape"
Li Keyan's 1987 autumn colors
Li Keyan's 1987 "Yanjiang Sunset Photo" is 33.6 × 103.3 cm
Li Keyan's 1988 "Qianyan Jingxiu Wanyuan Hidden Cloud" sold at RMB-32,775,000
Li Keyan,Jinggangshan, Cradle of Revolution, 75cm×94cm
Li Keyan", "Jiangnan Water Town"
Li Keyan's "Deep in the Dense Forest" 41cm×36cm
Li Keyan's 1963 "Huangshan Smoke"
Li Keyan's 1963 "Journey to the Li River" was RMB 9,315,000
In 1963, Li Keyan composed "Ten Thousand Mountains Red All Over the Forest", collected by the National Art Museum of China
Li Keyan's 1979 "Lijiang Landscape"
Li Keyan's 1979 "Qingli Fishing Song"
Li Keyan's 1982 "Pleasing the Heart to See the Rainy Mountain" Sold at RMB 3,335,000
Li Keyan's 1988 "Waterside People' Home" is 84.2cm×52 .6cm
Li Keyan's 1988 "After the Rain"
Li Kejian's 1988 "Want to Rain and Sunny"
Li Keyan's "Spring Rain in ShuShan"
Li Keyan's Spring Rain Map of ShuShan Mountain is RMB 7,360,000
Li Keyan's "Wushan Cloud Map"