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李可染在重慶 Li Keran in Chongqing

1937年「七七事變」後,日軍全面侵華。李可染加入周恩來領導的「國民政府軍事委員會第三廳美術科」投入抗日宣傳工作,創作大量宣傳畫與壁畫,並於武漢失守後,隨眾人避居重慶。 在伴隨飽經戰亂、妻子(蘇娥)病故的患難身心中,李可染的藝術生命亦於世局下產生顯著變化,一改學生時代受林風眠薰陶,潛心西畫的路線,轉向對明末清初石濤、八大山人「遺民畫」取法,全力探索和學習傳統筆墨。 本次展出三幅李可染此一時期的畫作,《擬石濤筆意》、《擬八大筆意》與《虎溪三笑》,主題囊括山水與人物;從中可具體看出,40年代李可染熱切向「遺民畫」學習的傾向。 In 1937 the“Marco polo bridge incident” breaks out in China Hebei , this incident led directly to full-scale war between empire of Japan and republic of China. Li Keran joined the “The third art hall of government military council”, which was led by Zhou En Lai for anti-Japanese war propaganda. By this time Li Karen created a large number of propaganda posters and murals, unfortunately after Wuhan fall into empire of Japan’s hands, he decided to move to Chongqing with others. As these war-torn and the death of his wife made him felt trials and tribulations, he gradually changed his art style, he changed his style of student days that from western style and Lin Fon Ming’s influence. He also learned from Shitao and Bada Shanren’s painting of yimin in Late Ming and Early Qing dynasty,in order to explore the Chinese traditional ink painting. The exhibition will bring together a selection of three pieces of Li Karen‘s paintings at this period, “Landscape in the Brush idea of Shitao“, “Landscape in the Brush idea of Bada Shanren“, “ Three Men Laughing by Tiger Creek“. The theme include landscape and figure, in this exhibition you can see Li Karen‘s enthusiasm of learning the painting of yimin (remnant subject). 一 擬石濤筆意Landscape in the Brush Idea of Shitao Postscript in 1979 88x44.5 cm 設色紙本 Ink and colour on paper 二 擬八大筆意Landscape in the Brush Idea of Bada Shanren 96.5x39 cm 墨筆紙本Ink on paper 三 虎溪三笑Three Men Laughing by Tiger Creek 1943 66x44 cm 設色紙本Ink and colour on paper