| Two thousand years ago, Sage Confucius said that,"that intelligent person likes water and benevolence person likes mountains". This almost established the spiritual basis of the development of Chinese landscape painting during thousand years. Landscape painting formed since Wei and Jin Dynasties has been the most solid emotional precipitation and the most obscure spiritual hope. Countless landscape painters were addicted with the world of cinnabar, gamboges, rouges and azurite, painting grandeur and splendor national gas charm, elegant feelings intermountain of drinking alone and elegantly original personal temperament....... However, when Chinese paintings developed to Ming and Qing dynasties, the interior had contained deep danger. Ming and Qing dynasties epitomized the landscape paintings, but "the four kings" dominating the painting altar concentrated to imitate the olds too much, mostly changing the position of the mountains and making the landscape losing the natural flesh and blood and spirit. Thus, landscape painting formed the dead painting style of following a set routine.Many painters have founded this question and tried to solve it since the20th. The debates of innovating the landscape painting were more and more intense after the May4th movement. The Chinese painting settled in a dilemma in which the Chinese painting must be changed but no one knew how to change. One hand, the systems of the painting tradition and skills which were accumulated during the historical and long processing development can’t be discarded. On the other hand, the ability of western paintings which can demonstrate the reality in detail has already been deep in people’s hearts. Hence, the Chinese paintings also were needed to reach the demand that can demonstrate the reality based on the spirit, quality, topic and conception. Many painters who had sense of duty and service undertook this burden courageously and accepted the challenge in the times. Li Keran was one of them. Li Keran did valuable trial on the aspect of innovating the Chinese painting. He fused with the traditional styles and the spirit of the times creatively, combining the western skills and the Chinese styles. He made a unparalleled contribution to the innovation career of the Chinese landscape painting by the courage of pursuing the innovation and change and the spirit of obtaining the vigor.’Thought is the forerunner of the action." The reason why Li Keran can obtain the outstanding art achievements was attributed to his artistic ideology. His artistic ideology mostly scattered in the class notes that sorted out and published by his students. Though he didn’t resemble as the painting theorist who had lots of literatures, his words were all gems, which were obtained by painting in practical thousands times. His "what valuable is bravery and what one needs is spirit" gave the innovational courage to countless successors. His "using the most huge strength beating" lighted countless painters to emphasize the tradition of art and the training of basic skills. He unremitting pursued the painting art all the life. His sprit, which is never losing hope even confronting the frustration, inspired the successors constantly developing the process of painting art. His artistic ideology still shining in the art altar until today and becomes the insurmountable mountain.The artistic circle in the20th century was surging forward with great momentum, and extraordinary mountains were coming frequently. Li Keran was one of the magnificent mountains. He painted the mountains all the life, ultimately became a huge mountain. |
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