LI KERAN (1907-1989)
Yandang Mountain
LI KERAN (1907-1989) Yandang Mountain Hanging scroll, ink and colour on paper 68.1 x 44.1 cm. (26 ¾ x 17 3/8 in.) Inscribed and signed, with one seal of the artist Dated 1963 NOTE: Li Keran’s lifelong effort in the advancement of Chinese paintings played a pivotal role in modern Chinese art history. “Founding firmly in tradition with the utmost efforts, and reinvigorating it with the utmost boldness” was Li’s motto during his early years, and he focused on sketching from nature as the foundation of his creations. From 1954 onwards, he travelled extensively in his pursuit of being exposed to different terrains and mountains, visiting Wenzhou’s Yandang Mountains twice in 1954 and 1956. Li identifies the location through his inscription, and through his unique composition, Li seats the modest houses and river mouth at the base of the painting, guiding the viewer to take in the overlapping peaks and grandeur of the mountain. Li uses his ink accumulation method in seeping the work in dark layers of ink, while using green tones to identify the direction of the sunlight penetrating from the left hand side of the work. Li further contrasts the heaviness of the mountains with the light waterfall that joins the right side of the peak. The entire composition is distinctively balanced, exuding a mood of lightness and tranquillity.
LI KERAN (1907-1989)
Yandang Mountain
LI KERAN (1907-1989) Yandang Mountain Hanging scroll, ink and colour on paper 68.1 x 44.1 cm. (26 ¾ x 17 3/8 in.) Inscribed and signed, with one seal of the artist Dated 1963 NOTE: Li Keran’s lifelong effort in the advancement of Chinese paintings played a pivotal role in modern Chinese art history. “Founding firmly in tradition with the utmost efforts, and reinvigorating it with the utmost boldness” was Li’s motto during his early years, and he focused on sketching from nature as the foundation of his creations. From 1954 onwards, he travelled extensively in his pursuit of being exposed to different terrains and mountains, visiting Wenzhou’s Yandang Mountains twice in 1954 and 1956. Li identifies the location through his inscription, and through his unique composition, Li seats the modest houses and river mouth at the base of the painting, guiding the viewer to take in the overlapping peaks and grandeur of the mountain. Li uses his ink accumulation method in seeping the work in dark layers of ink, while using green tones to identify the direction of the sunlight penetrating from the left hand side of the work. Li further contrasts the heaviness of the mountains with the light waterfall that joins the right side of the peak. The entire composition is distinctively balanced, exuding a mood of lightness and tranquillity.
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