■ Li Kui landscape works
■ Li Xiangqun Famous calligraphy theorist
During the Qianjia period, the landscape paintings of Li Jian and Xie Lansheng pushed Lingnan landscape paintings to the peak. In the "Second Su" era, landscape paintings represented by Li Kui, Zheng Ji, Luo Qing, Luo Anxian, Deng Tao, Liang Yuwei and others tended to be more specialized, and Lingnan landscape painting once again appeared at a peak. Li Kui is the most prominent one.
Li Kui (1788-1878), formerly known as Kuiye, also known as Kui, also known as Kui, the word Doosan, the number of Qingkui, The Kui Kui, the other signs of The Green Ping Mountain Tree, the Old Fish of the Gate, the Guifeng Tree Chief, the Dou Room Resident, the Gangzhou Painting Yin, the Green Kwai Dao Dou, the Doosan People, the Doosan Old Maniac, etc. Xinhui Tian and others.
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the famous painter Shi Tao put forward the theory of painting innovation and the concept of creation of "one painting theory" and "pen and ink when the times are contemporary", which had a profound impact on the Guangdong and Chinese painting circles. Shi Tao, an old man of Qingxiang, a native of Guilin, Guangxi, is from Fengyang, Anhui. His footprints have not reached Guangdong, but how can it affect the Guangdong painting world? He was friends with the famous poets Liang Peilan, Qu Dajun and Cheng Keze, and sometimes had poems and paintings to answer each other, so his works circulated in Guangdong and became a model for literati painters to study. Li Jian and Xie Lansheng all studied his paintings.
Li Kui is famous for his landscapes and characters. Since childhood, he has loved painting and taken the old man of Qingxiang. In his youth, he studied painting with Zheng Ji from his hometown Xinhui to Guangzhou, and then lived in Foshan, and his activities ranged between Foshan and Guangzhou.
Bored Zhai hid his landscape painting lenses in his later years (pictured), silk, 90 cm in length and 60 cm in width, with the title: "Mr. Lan Gao Third Brother Jian Zheng, Ding Weichun March Li Kui" Under the plutonium: "Doosan" Zhu Wenyin. This lens is a masterpiece of landscape painting in his later years, created in the year of Ding Wei, that is, in the seventh year of Xianfeng (1857), when he was sixty and nine years old.
The picture is divided into three parts: long-range, medium-view and close-up, with clear layers and s-shaped composition, which is composed of distant mountains, restaurants, cruise ships, river water, small bridges and other scenery. In the middle of the vision, the upper left is blank, and the inscription is two lines long and short, which plays a role in filling in the gaps. The mountain scenery is a combination of boneless blending and outline point dyeing, and is mainly ink colored and ochre, with a small amount of flower blue cover dyeing, and the mountain stretches from the distance to the river, where the author leaves white space to connect with the middle scene. The middle scene is dominated by the river surface, the distant river surface is blank, appearing ethereal and deep, and the near river surface is outlined with light ink to outline a few curved waves, enhancing the dynamics of the water surface; Odd stone tough with pen square corners affirmatively. The middle scene is connected with several tall trees in the close-up view, and the restaurant forms a pattern of "holding the pipa and half covering the face", which is interesting. Close-up small bridges flowing water, boats light, fishermen enjoy the lake and mountains, the river surface is sparkling, the tree painting method is changeable, there are circles, needles, triangles, young branches, dead branches, thick ink, light ink, forming a vibrant picture. The overall picture is easily old with a pen, the layout is properly hidden, and the ink color is warm and elegant, making the viewer feel light and energetic.
Since the Ming and Qing dynasties, Lingnan landscape painting has been developed along the lines of the Jiangsu and Zhejiang literati painting system, with the Southern School as the sect and the mud ancient and the ancient as the fashion. Entering the "Li Xie" era, on the basis of the literati painting system, taking the law Qingxiang old man, a peak of creation appeared in the painting world. In the middle and late Qing Dynasty, the painting style was becoming increasingly weak, and there were few painters with innovative spirits. Li Kui's landscape paintings are guided by the innovative theories of painting of "searching for qifeng to make drafts" and "pen and ink should be contemporary", attaching importance to sketching, getting close to life, and creating his own "skeleton method".
Looking at the paintings of the master and apprentice duo, there are indeed great differences in style, Zheng Ji's paintings are densely composed, meticulous and rigorous with pens, and like to use wet pens to light ink, and the painting style is beautiful. Therefore, Zheng Ji's influence on him is not in pen and ink techniques, but more in the lawlessness and creativity. His landscape paintings mainly absorb Shi Tao's landscape paintings with sparse and clear, unbridled brushwork, and ink dripping techniques, and also reveal the traces of Li Jian landscape paintings. The wonderland painted is mainly a strange rock strange cave, the composition is novel, the image is interesting, the pen is clumsy, the pen and ink are thick, it can open up the path, the mountain rock rolls up and down, the shape is not like a skeleton, the pen meaning is very similar to the skeleton, the artistic personality is strong, especially in the mountain stone form, picture layout, color use, pen and ink language, breaking the traditional imitation of the ancient program, bringing vitality to the landscape painting in the late Qing Dynasty, with a new look. His achievements in landscape painting are higher than Zheng Ji's. His sketches of life for the small people in the city are not inferior to the "Second Su".
Known as the first art history in the Lingnan region, the Lingnan Painting Sketch (compiled by Wang Zhaoyong) contains only more than 40 characters of introduction. Li Kui was born in the cold door, and he was only a painter, and even if his artistic achievements were remarkable, he was still not accepted by the circle of literati painters. As a result, he was not taken seriously in the history of painting and in the world of collecting. It was not until the early 1990s that Li Gongming's book "History of Guangdong Art" was published, which gave him a more objective positioning. In 2004, he held an exhibition of Paintings of Guangdong Dynasties and exhibited his huge "Kapok Landscape" painting axis, which attracted the attention of the art community, and he was listed as a famous landscape artist.