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Lot Essay
‘The inscription clearly states that the composition uses a traditional multifocal perspective technique, that is, reducing distances and incorporating different viewpoints, in order to depict a panoramic view. If one were to stand by the river, it would be impossible to see so far or so widely, neither would the sailboats be so clear.’
- Wan Qingli, The World of Li Keran
Sailing Along Li River is an important theme in Li Keran’s oeuvre, and the scenery along the Li River is perhaps the most crucial source of inspiration. The artist’s affinity for the subject lasted throughout his life, as evidenced by the landscape of the Li River hanging in his studio. Li Keran first travelled to Guilin in the spring of 1959, accompanied by the artist Yan Di, and the duo painted the Guilin and Yangshuo landscapes. In 1962, he took his students there to sketch en plein air again. Painted in Beijing in 1964, the present Sailing Along River Li dates to the final years of a transitional period, from 1954 to 1965, as his idiosyncratic landscape style fully emerged. Layer by layer, jagged mountains follow the twists and turns of the river: the heavily-inked, solid forms are deftly complemented by the light azurite colours, while a light wash signals the reflection of the mountains on the river, achieving a sense of balanced lightness. The present painting is also larger in size compared to most works with the same subject-matter, and a fine example of Li Keran’s exploration of the theme.
- Wan Qingli, The World of Li Keran
Sailing Along Li River is an important theme in Li Keran’s oeuvre, and the scenery along the Li River is perhaps the most crucial source of inspiration. The artist’s affinity for the subject lasted throughout his life, as evidenced by the landscape of the Li River hanging in his studio. Li Keran first travelled to Guilin in the spring of 1959, accompanied by the artist Yan Di, and the duo painted the Guilin and Yangshuo landscapes. In 1962, he took his students there to sketch en plein air again. Painted in Beijing in 1964, the present Sailing Along River Li dates to the final years of a transitional period, from 1954 to 1965, as his idiosyncratic landscape style fully emerged. Layer by layer, jagged mountains follow the twists and turns of the river: the heavily-inked, solid forms are deftly complemented by the light azurite colours, while a light wash signals the reflection of the mountains on the river, achieving a sense of balanced lightness. The present painting is also larger in size compared to most works with the same subject-matter, and a fine example of Li Keran’s exploration of the theme.