中國山水畫簡稱“山水”。以山川自然景觀為主要描寫對象的中國畫。形成於魏晉南北朝時期，但尚未從人物畫中完全分離。中國山水畫較之西方風景畫，起碼早了1000餘年。隋唐時始獨立，五代、北宋時趨於成熟，成為中國畫的重要畫科。
Chinese landscape painting is called " landscape" for short. Chinese painting with mountains and rivers as its main deion object. It was formed in the Wei, Jin, Southern and Northern Dynasties, but has not yet been completely separated from the figure painting. Chinese landscape painting is at least 1000 years earlier than western landscape painting. The Sui and Tang Dynasties became independent, the Five Dynasties and the Northern Song Dynasty became mature and became an important subject of Chinese painting.
直到近代，山水畫又重新發展，新一代大師如黃賓虹、李可染、張大千、傅抱石、關山月等人吸收西方繪畫理論，深入觀察自然，創作自己的風格，使山水畫重新注入生氣，將山水畫發展到一個新階段。
Until modern times, landscape painting has developed again. A new generation of masters such as Huang Binhong, Li Keran, Zhang Daqian, Fu Baoshi, Guan Shanyue and others have absorbed western painting theories, observed nature in depth, created their own style, re-injected life into landscape painting, and developed landscape painting to a new stage.
李可染（1907年3月26日—1989年12月5日），原名李永順，江蘇徐州人，中國近代傑出的畫家、詩人，畫家齊白石的弟子。
Li Keran (March 26, 1907-december 5, 1989), formerly Li Yongshun, born in Xuzhou, Jiangsu Province, was an outstanding painter, poet and disciple of Qi Baishi in modern China.
李可染自幼即喜繪畫，13歲時學畫山水。43歲任中央美術學院教授，49歲為變革山水畫，行程數萬裡旅行寫生。72歲任中國美術家協會副主席、中國畫研究院院長。晚年用筆趨於老辣。擅長畫山水、人物，尤其擅長畫牛。代表畫作有《灕江勝境圖》《萬山紅遍》《井岡山》等。代表畫集有《李可染水墨寫生畫集》《李可染中國畫集》《李可染畫牛》等。
Li Keran loved painting since he was a child. At the age of 13, he learned to paint landscapes. At the age of 43, he served as a professor of the Central Academy of fine arts. At the age of 49, he took tens of thousands of miles to travel for landscape painting. At the age of 72, he was vice chairman of Chinese Artists Association and President of Chinese Painting Research Institute. In old age, the use of pen tends to be spicy. He is good at painting landscapes and figures, especially cattle. The representative paintings include the picture of Lijiang River, Wanshan, Jinggangshan, etc. Representative works include Li Keran's ink painting collection, Li Keran's Chinese painting collection, Li Keran's cattle painting, etc.
李可染，中國近代傑出的畫家、詩人，畫家齊白石的弟子。李可染自幼即喜繪畫，13歲時學畫山水。43歲任中央美術學院教授，49歲為變革山水畫，行程數萬裡旅行寫生。72歲任中國美術家協會副主席、中國畫研究院院長。晚年用筆趨於老辣。擅長畫山水、人物，尤其擅長畫牛。黃永玉評價李可染，“這個畫家是無愧於我們這個苦難的中國的。中國有了他，也光彩許多。”
Li Keran, an outstanding painter and poet in modern China, is a disciple of Qi Baishi. Li Keran loved painting since he was a child. At the age of 13, he learned to paint landscapes. At the age of 43, he served as a professor of the Central Academy of fine arts. At the age of 49, he took tens of thousands of miles to travel for landscape painting. At the age of 72, he was vice chairman of Chinese Artists Association and President of Chinese Painting Research Institute. In old age, the use of pen tends to be spicy. He is good at painting landscapes and figures, especially cattle. Huang Yongyu commented on Li Keran, "this painter is worthy of our suffering in China. With him in China, there is a lot of glory. "
在山水畫方面，李可染主張“可貴者膽，所要者魂”、“用最大的功力大進去，用最大的勇氣打出來”，使古老的山水畫藝術獲得了新的生命。 他也強調作山水畫要從無到有，從有到無，即從單純到豐富，再由豐富歸之於單純。
In the aspect of landscape painting, Li Keran advocated "the courage of the valuable, the soul of the important" and "using the greatest power to enter and the greatest courage to fight out", which made the ancient landscape painting art obtain a new life. He also stressed that landscape painting should be from nothing to have, from having to nothing, that is, from simplicity to richness, and then from richness to simplicity.
在素描方面，李可染認為素描是研究形象的科學，素描唯一的目的就是準確地反映客觀形象。形象描繪的準確性，以及體面、明暗、光線的科學道理，對中國畫的發展只有好處，絕無壞處。
In the aspect of sketch, Li Keran thinks that sketch is the science of image research, and the only purpose of sketch is to accurately reflect the objective image. The accuracy of image depiction, as well as the scientific principles of decency, brightness and light, are only good for the development of Chinese painting, and there is no harm.
李可染也提出過“採一煉十”的主張。意即，採礦是艱辛的，冶煉更加需要付出倍百倍的勞動，真正的藝術創造必須兼有采礦工人和冶煉家雙重艱辛和勤奮。
Li Keran also put forward the idea of "adopting one to refine ten". That is to say, mining is hard, smelting needs to pay more than 100 times of labor. Real artistic creation must have both the hardships and diligence of mining workers and smelters.
李可染的山水畫重視意象的凝聚。他在40年代的山水作品是一種線性筆墨結構。50年代以後的作品，由線性筆墨結構變為團塊性筆墨結構，以墨為主，整體單純而內中豐富，濃重渾厚，深邃茂密。李可染的山水畫將光引入畫面，尤其善於表現山林晨夕間的逆光效果，使作品具有一種朦朧迷茫、流光徘徊的特色。從總體看，李可染的山水畫比明清山水畫更靠近了對象的感性真實，從某種意義上看減弱了意與形式趣味的獨立性。
Li Keran's landscape painting attaches great importance to the cohesion of images. His landscape works in the 1940s are a kind of linear ink structure. After the 1950s, the works changed from linear ink structure to lumpy ink structure, mainly composed of ink. The whole works are simple, rich, thick and profound. Li Keran's landscape painting introduces light into the picture, especially is good at showing the backlighting effect between the morning and night in the mountains and forests, which makes the work have the characteristics of hazy confusion and wandering light. On the whole, Li Keran's landscape painting is closer to the perceptual reality of the object than the landscape painting of Ming and Qing Dynasties, which weakens the independence of meaning and form interest in a sense.
本期有幸徵集到紫藤書屋舊藏武先生一副李可染山水畫作，專家評語：此幅李可染山水圖構圖嚴謹， 以李可染獨有的“逆光”手法， 體現山石的厚重， 山峰的高聳以及雲霞的繚繞。光線從左側而來， 筆筆有痕， 虛中有實， 實中有虛， 似空氣在流動， 似山村在鳴響酣暢的筆墨，淋漓盡致地描繪出一個雄渾的山水圖，在此畫中，李可染結合積墨法和逆光法兩種表現形式，二者相互滲透，把過去山水畫中表現黑的部分，變成他畫面中亮的部分；白和灰的部分又大膽變成他畫面中黑的部分。這種繪畫語言的開拓和創新，不僅使此幅畫面更加接近大自然的表象，引人入勝，更是在積墨法的“厚”和“透”中注入了帶有個人色彩的濃厚風格。畫中線條靈動飄逸又都遒勁有力，圓渾厚實，具有極強的立體感。筆墨生動飽滿、力道穩重不失大方，緩緩而行，積點成線。山脊和山峰側面下筆遲澀老辣，線條看似有意識的顫抖而形成一種齒輪狀，使得山體更顯陡峭俊秀之美。畫面下方的樹林與山石的用筆一致，寥寥數筆就刻畫出樹枝的前後穿插關係，樹林茂密而蔥鬱。樹幹也在渾厚飽滿、剛強堅硬的線條抖動下給人一種硬朗挺拔，生機勃勃的感覺。表現了大自然渾厚一體、率性自然的感覺，畫面雖然厚重，但仍蘊含著線條的風采。近景的樹和山路、中景的山體、遠景的遠峰和天空，以濃淡虛實的分佈給予畫面一種富有節奏變化的層次美。收藏價值極高！
In this issue, I have the honor to collect a pair of Li Keran's landscape paintings from an old Tibetan friend in the wisteria bookstore. Experts comment: this landscape painting of Li Keran is rigorous in composition. With Li Keran's unique "backlighting" technique, it reflects the massiness of rocks, the towering peaks and the clouds. The light comes from the left side. There are marks in the pen and pen, solid in the virtual, and virtual in the real, as if the air is flowing, Like the sound of the mountain village's pen and ink, Li Keran vividly depicts a majestic landscape. In this painting, Li Keran combines the ink accumulation method and backlighting method. They penetrate each other, turning the black part of the past landscape painting into the bright part of his picture; the white part and the gray part boldly become the black part of his picture. The development and innovation of this painting language not only make this picture more close to the appearance of nature, fascinating, but also infuse a strong style with personal color into the "thick" and "transparent" of ink accumulation method. The lines in the painting are flexible, elegant, powerful, round and thick, with a strong sense of three-dimensional. The strokes are vivid and full, the strength is steady and generous, and the lines are formed by accumulation. The ridge and the side of the mountain are late, old and spicy. The lines seem to shake consciously and form a kind of gear shape, which makes the mountain more precipitous and handsome. The woods at the bottom of the screen are the same as the rocks. A few strokes depict the interspersed relationship between the branches. The trees are dense and lush. The trunk also gives a strong, straight and vigorous feeling under the shaking of thick, strong and hard lines. It shows the feeling of natural integrity and frankness. Although the picture is thick, it still contains the style of lines. The trees and mountain paths in the near view, the mountains in the middle view, the distant peaks and the sky in the long view give the picture a rhythmic beauty with the distribution of thick, thin, virtual and real. Collection value is very high!
新中國成立後，他進一步致力於中國畫藝術的革新。以“可貴者膽，所要者魂”、“用最大的功力打進去，用最大的勇氣打出來”為座右銘，使古老的山水畫藝術獲得了新的生命。可染先生的山水深厚凝重，博大沉雄，以鮮明的時代精神和藝術個性，促進了民族傳統繪畫的嬗變與昇華。可染先生自成體系的教育思想，形成了活躍於畫壇的“李可染學派”。他不僅是畫壇辛勤耕耘70餘年的一代宗師，而且在藝術觀念的開拓上也做出了重要貢獻。其影響早已越出美術界，受到各方面的高度評價。
After the founding of New China, he further devoted himself to the innovation of Chinese painting art. With the motto of "valuable courage, the soul of the person who wants it" and "fight with the greatest power and fight with the greatest courage", the ancient landscape painting art has gained new life. With the distinctive spirit of the times and artistic personality, Mr. Can dye's landscape is deep and dignified, and it promotes the transformation and sublimation of traditional Chinese painting. The educational thoughts of Mr. Can Dyeing's self-contained system formed the "Li Keyan School" that was active in the painting field. He is not only a great master who has worked hard for more than 70 years in the painting field, but also made important contributions to the development of artistic concepts. Its influence has already crossed the art world and has been highly praised by various parties.
李可染有紮實的素描功底，他的作品讓人感受到了屹立千年的中國山水。一種范寬式的飽滿構圖，山勢迎面而來，瀑布濃縮為一條白色的裂隙，用沉澀的筆調一寸一寸地刻畫出來，綿綿密密地深入到畫面的每一個角落，在一張紙上，表現出最豐富的內容。李可染的水墨畫一掃逸筆優雅的文人積習，尤其是那以悲沉的黑色形成的基本色調，深深地抓住了人們的視覺。而在這悲愴旋律的制約下，畫中即使偶有淡淡的幽雅，也會被這“黑色世界”造成的悽迷的基調所吸引。
Li Keran has a solid foundation in sketching, and his works make people feel the Chinese landscape standing for thousands of years. A full composition of Fan Kuan style, the mountain trend is coming head - on, the waterfall is condensed into a white fissure, carved out inch by inch with a heavy and unsmooth tone, and goes deep into every corner of the picture, showing the most abundant content on a piece of paper. Li Keran's ink and wash paintings have swept away elegant literati's habits, especially the basic color tone formed by sad black, which deeply captures people's vision. Under the restriction of this pathetique melody, even if there is a slight elegance in the painting, it will also be attracted by the mournful tone caused by this " black world".
李可染山水畫的價值，主要是他創造性地探索出了一種新的圖式，並且表現出了渾厚博大的精神力量。
The value of Li Keran's landscape painting mainly lies in his creative exploration of a new schema and his vigorous and broad spiritual strength.
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