Li Yong, 1892, was born in a Confucian family in Sheikh Town, Liangzhou District, Wuwei City. When I was young, I received strict traditional culture education and learned a lot. I know everything about playing the piano, playing chess, calligraphy and painting. Later, he participated in scientific research and became a scholar in the late Qing Dynasty. Since then, I have to make a living by painting and calligraphy. His calligraphy is excellent, he is proficient in painting flowers, birds and landscapes, and copying famous works is even more vivid, almost confusing the fake with the real.
His artistic activities and achievements in his life mainly lie in painting temples and temples and shaping Buddha statues. Many places of interest in Wuwei have left behind his Mo Bao and works.
He not only inherited the colorful paintings and sculptures of temples rigorously, but also made bold innovations. He once carved a statue of a "medicine king sitting on a needle, tiger and dragon" on Lianhua Mountain in Wuwei. The drug king rode on the back of a tiger and treated Fei Long's disease with acupuncture of his tongue. This idea is both strange and grand. His murals, especially Mo Long, are a must. He painted a pair of Mo Long on Haizi screen behind Dayun Temple, bared his teeth and wanted to fly. Under the screen is Haizi with rippling blue waves. The breeze blows, the water stone floats and the dragon shadow shines, which makes the viewer feel wonderful.
194 1 year, when Zhang Daqian went to Dunhuang and passed through Wuwei, he had many contacts with local people in the painting and calligraphy circles and paid special attention to Li Yong. He believes that Li Yong has profound attainments in ancient architecture color painting patterns, Buddha sculpture, portraits of ancient people and so on, and he is also very skilled in the processing and equipment of stone pigments. I want to ask him to work as an assistant in the Thousand Buddha Cave in Dunhuang. Li Yong can't make it because his family is poor and his son is still young.
1953, Li Yong died in his hometown at the age of 63.
Li Yong's eldest son, Li Furu, was deeply influenced by his father since childhood, strictly taught the truth and deeply understood his artistic essence. From the age of 8 to the age of 19, he followed his father to draw more than 10 temples in Wuwei city. During the day, he never left his father's side and painted on the elevated platform for more than ten hours. In the evening, I will practice calligraphy and painting in the sand table until late at night. In this way, he studied hard 1 1 year, and learned many precious things, such as line drawing patterns of ancient buildings, stone color treatment, painting patterns, hoses, Buddha statues, flowers and birds and Bo Gu, which laid a solid foundation for his future artistic career.
During his tenure as the manager of the county construction company, Li Furu undertook the repair work of the main ancient buildings in Wuwei. He climbed high and low, drawing lines and painting, which made these ancient buildings look brand-new in two years and added luster to historical and cultural cities. After that, he devoted a lot of efforts to folk painting and folk handicraft production, which made these folk arts shine brilliantly.
Li Yong and Li Furu, the father and son, are like "magic pens" in The Storm of Silk Road. They worked hard and spent their whole lives. They use their own artistic labor to add color to the great rivers and mountains and famous mountains and scenic spots. Their great achievements made by Qian Qian, an unknown craftsman in Qian Qian, will be forever engraved in the eternal mountains and rivers of the motherland.