Li Quan won the imperial examination in the 50th year of Kangxi's reign. In the 53rd year of Kangxi's reign, he was invited to serve as a painter in the inner court. Because he did not want to be bound by the "orthodox" painting style, he was ostracized but was banned from leaving his job. In the third year of Qianlong's reign, he was appointed magistrate of Teng County, Shandong Province. He was a pure and simple man in politics and was very popular among the people. He was dismissed from office because he offended his superiors. He later lived in Yangzhou and made a living by painting. Li Honggong's poetry, calligraphy and painting. He once studied painting with Jiang Tingxi and Gao Qipei. Later, influenced by Shi Tao, he was good at flowers, bamboos, stones, pine and cypress. In his early years, his painting style was meticulous and rigorous, and he was quite methodical. In middle age, he began to turn to rough freehand brushwork, which is bold, bold, free, full of emotion and momentum. The two readings of the word "铓" reflect the ups and downs of life
There are two ways to read the word "铓" in Li Wei. The first pronunciation is tuó (camel), which is the same as 鼍, that is, pig-shaped dragon, "divine beast". According to the memories of an old gentleman in Linzi, when Li Wei was the county magistrate in Linzi in the past, everyone knew him as Li Tuó. Li Wei's "Mandarin Fish Picture"
Another way to read it is shàn (good), which is the same as eel. Li Quan traveled around the world and signed his paintings as "Eel" many times, admitting that he was just an ordinary eel in the Jianghuai River. From a turtle to an eel, from a mythical beast to being reduced to a humble little fish, it somewhat alludes to the protagonist's rough fate of "two revolutionary revolutions, where he gained fame and was demoted." It also reflects the protagonist's frustration in his official career and his inability to find a balance in painting as a career. The sad state of mind.
Achievements in the art of painting
Li Quan freely loved painting and was quite famous at the age of 16. He later entered the court and became a court painter, but his life was not smooth. Li Wei "came back because he disobeyed the official". After "two reforms and one demoted official title", he went to Yangzhou to make a living by selling paintings. He has the closest relationship with fellow countryman Zheng Xie (Zheng Banqiao), so Zheng Banqiao is said to have "sold paintings in Yangzhou and grew up with Li", and said that he is "a talented person who is tabooed by the world, but although he praises him in words, his heart does not agree". The tortuous life deeply affected his painting style. Li Quan's calligraphy work scroll
In his early years, he learned landscape painting from his fellow villager Wei Lingcang, inherited Huang Gongwang's path, and studied painting with Jiang Ting when he was serving in the imperial court, and his painting techniques were exquisite. Later, he sought advice from Gao Qipei, a master of finger painting, and further advocated freehand brushwork. In Yangzhou, he was inspired by Shi Tao's brushwork, so he painted with broken brushes and splashed ink. His style changed drastically, and he formed his own unique style of free and easy "ink and ink blending into strange things". He liked to write long inscriptions and postscripts on the paintings, with uneven handwriting. The scattered patterns make the picture very rich, and his works had a great influence on the flower-and-bird paintings of the late Qing Dynasty. The paintings handed down from ancient times include the "Butterfly and Flowers on Earth Wall" scroll collected by Nanjing Museum, and the "Pine and Vine Painting" scroll collected by the Palace Museum. Beijing Arts and Crafts Publishing House published the "Complete Collection of Famous Chinese Calligraphers and Painters" in 2005, including "Collection of Paintings by Li Wei (Volume 1 and 2)". Li Quan's artistic achievements in painting are mainly reflected in the following two aspects: Li Quan's calligraphy works. First of all, he greatly expanded the expression field of freehand flower-and-bird paintings, including flowers, plants and trees in nature, various utensils in people's daily life, and even things that have never been seen before. Food items that are popular in farmhouses, such as mulberry, silkworms, broken banana fans, etc., are also included in the paintings one by one. The breadth and variety of the subjects far exceed that of the predecessors. Secondly, he also made new breakthroughs in the expressive techniques of freehand flower and bird painting. He worked hard to learn Shi Tao's painting method of breaking brush and splashing ink, which was hearty, unrestrained and dynamic, fully expressing the author's creative passion. At the same time, he also absorbed the expression method of boneless flowers, which is meticulous in workmanship, elegant in color, rich in changes, and full of three-dimensional shape. When painting, he can often use the two together to achieve natural harmony, flexibility and change. Have strong artistic expression. Among the Eight Eccentrics of Yangzhou, Li Quan was fiercely criticized by critics in the late Qing Dynasty. They mainly accused him of breaking away from tradition, lacking connotation in his writing, and having a "domineering spirit" and "lost to roughness". Throughout Li Quan's creations throughout his life, he was a painter rich in originality.
Versatile
Li Quan’s poetic talent and calligraphy achievements are also outstanding. Li Wei's calligraphy works
Li Wei's calligraphy is simple and elegant, with strong bones and strong bones. When painting, he likes to fill the canvas with long inscriptions and postscripts. Sometimes he even writes scattered inscriptions all over the picture, creating an ethereal quality in the substance, making the whole picture more vivid and smooth.
For this reason, Qin Zuyong said that his "calligraphy is simple and simple, and the style and title are randomly arranged, and there is something unique about it. He is almost free from the common style and stands on his own."
"Li Yi's Album of Flowers and Birds", 12 pages
This album was originally framed during the Qianlong period and is in excellent condition. It was originally collected in Japan and was exhibited at the "Eight Eccentrics of Yangzhou" exhibition in Japan. It was published, and the picture used in the promotional poster for the "Eight Eccentrics of Yangzhou" exhibition at that time was the opening of "Jiaoyin Lanhui" in this volume. "The Authentic Works of Chao Dao Ren" hidden in Japan
According to the original Japanese collector, this volume was published as a wall calendar in Japan decades ago. It is also worth mentioning that the size of this album is 46.2*31.2cm. Check the "Complete Collection of Calligraphy and Paintings of Li Wei" and "Catalogue of Ancient Chinese Paintings and Calligraphy" published by Tianjin People's Fine Arts Publishing House. This volume seems to be the largest among the albums of Li Wei in domestic public and private collections. of a book!
"Li Wei's Flower Album"
Photos of "Li Wei's Flower Album" collected by the Chinese History Museum
Published by Cultural Relics Publishing House, one edition in November 1964 , 6 folio, with a total of 600 copies printed.
Appreciation of the work: "Pine and Vine Picture"
"Pine and Vine Picture" was written by Li Wei in the Qing Dynasty. It is a color on paper with a height of 126 cm and a width of 62.6 cm. It is collected by the Palace Museum in Beijing. Li Quan
"Pine and Vine Picture" is a work of the artist in his middle age. In the painting, an old pine stretches diagonally into the painting, with mottled bark and luxuriant branches; a rattan climbs up next to the pine tree; a hint of color is added to the ink. In the space on the upper right is a poem written by Qi Jue: "Singing hundreds of thousands of branches in the spring breeze, I am looking for a place to write a poem. The curtain behind the empty courtyard is rolled up, and a tree with vines is shining at sunset." This poem also expresses the painter's mentality at that time. The painter is famous for painting flowers, bamboos and rocks. His painting style was relatively neat at first, and then gradually changed to a bold style. In his mature period, his painting style was deeply influenced by Xu Wei of the Ming Dynasty. He changed the past neat and orderly style to a free and unrestrained style, forming his own style. style of painting.
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