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Li Keyan's "Raft in the Forest Area" was auctioned for 10.58 million Hong Kong dollars in 2013
Li Ke dyes the green water and green mountains, really "golden mountains and silver mountains"
Li Keyan's landscape works have undergone a process from simple to rich, and then from rich to simple, he constantly thinks and innovates between "Shi Guren" and "Shi Zhaohua", and constantly improves and creates his own pen and ink structure and picture language.
Li Keyan's "Rafting in the Forest Area" belongs to the works after the 1970s, when the painter paid attention to the creation of artistic conception, and the traditional literati's Pingyuan composition also gave way to the lofty and far-reaching structure, with the help of the sketching experience of "foreign teachers", creating a new landscape image.
Li Keyan,"Mountain Village Flying Waterfall People' Home"
This painting depicts a common scene of a waterfall in a mountain village after a rain. A scent of rain washed came to the nose, mixed with thick moisture, like a oratorio singing through the forest...
The original collector of this painting is the famous singer Li Shuangjiang, and the work is directly derived from Mr. Li Keyan himself.
The author uses thick and light ink layers of dyeing, so that the whole width is deep and quiet and sound and colorful, and then a strong green is applied, so that the whole picture is filled with warm and fresh air, which is suddenly refreshing.
The brick arch stone bridge is the only warm color of the picture, and the black rocks and bright streams under the bridge are reflected in the distant mountain waterfalls, so that the picture is unified in the deep and tranquil mood, as if the clanging sound of spring water can be heard in the empty deep mountains, making people feel immersed, and there is a desire to swim and live.
Mr. Li Keyan's discussion on painting believes that the high-level aesthetic realm of Chinese painting "not only paints what he sees, but also paints what he knows and thinks", and dao breaks the deep relationship between the "creation" and the "heart source" of the ancient painting theory. As a result, his landscape paintings jumped from "writing scenes" to "creating the environment", paying more attention to writing about the source of the heart, writing about the general idea, and writing about the spirit of landscape! Extremely close to nature and beyond nature, this is the charm of this work, and it is also the charm of Li Jia's landscape.
Li Keyan's "Yangshuo"
Li Keyan", "Jinggangshan"
Li Keyan's "Jinggangshan" was sold for 126.5 million yuan in 2015
The vertical composition of this "Jinggangshan" is based on the left side of the sun. In the close-up scene, the cloud pine is straight, and the Panasonic paints three groups of soldiers and civilians, and the red flag is three sides; the middle scene accounts for about four-fifths of the picture, writing about the waterfall flying current, the green and stacked peaks of the wells, and the texture of the ravines is arranged in a solemn manner; and the white space is left in the middle scene to show that the clouds are cloudy, the sky is vast, and the distant mountains are sent to the right life.
Compared with the painter's earlier paintings of Jinggangshan, the biggest feature of this painting is that the primary and secondary relationship between the main peak and the group peak is obviously weakened in the middle scene, and the posture of the peaks and stars arching the main peak is replaced by the way the peaks are stacked in a layered and stacked in a near and far relationship. At the same time, although the proportion of the close-up scene in the picture is small, it is obviously carefully picked up, not only paying attention to distinguishing the relationship between the pine trees with thick and light brush and ink, but even the three groups of characters in the Matsuma dot scene are also very carefully handled by their dynamics and spatial arrangements. This treatment not only maintains the sense of thickness and volume of the picture, but also strengthens the layering and spatial rhythm of the scene.
Li Keyan,"The Main Peak of Jinggang Mountain"
Li Keyan's "Main Peak of Jinggang Mountain" is a kind of grand mountain of "the lord of all mountains". The weather is majestic and the trees are abundant, which is a sublime and magnificent aesthetic realm. The craftsmanship of the picture and the creation of the image are also the accumulation and sublimation of the painter's creative experience.
Li Keyan, "Jinggangshan, cradle of revolution"
Li Keyan, "Shaoshan Revolutionary Holy Land Chairman Mao's Former Residence"
Li Keyan, "Forest Exploration"
This work was made in 1972, using traditional freehand techniques in the depiction of mountains and forests, the dark ink color of the distant mountain peaks is deep and thick, and after high generalization, bold tailoring, to maximize the language charm of pen and ink and color. In the center of the picture, light and ink blend, especially the angle of backlight, showing the artistic conception of streamers wandering and color blending in the darkness. In the black place, the ink color is thick, often painted vaguely and implicitly, it is a relatively virtual part, and the light color jumps on the edge of the peak, revealing ethereal in the depth. The closer one understands that as the most wonderful place of the picture, it is the most attractive place, and the blank space and depiction here are exquisite and realistic.
Lee Ke Dye Xi Shan
Li Keyan's landscape paintings attach importance to the condensation of imagery. He stressed that landscape painting should be from scratch, from being to nothing, that is, from simple to rich, and then from rich to simple. His landscape works in the 1940s still have the shadows of Zhu Yun and Dong Qichang, which are sparse and simple, and are a linear pen and ink structure. Works after the 1950s, with the help of sketching to shape new landscape imagery, changed from linear pen and ink structure to clumpy pen and ink structure, mainly ink, the whole is simple and rich inside, thick and thick, deep and dense. After 1954, he took creation as a teacher, repeatedly went down to Jiangnan, explored the changes of light and ink, and formed a unique style.
Li Keyan's "Thousand Rocks Competition Show Ten Thousand Valleys Contending For Flow"
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