李可染（1907年3月26日—1989年12月5日），江蘇徐州人。中國近代杰出的畫家、詩人，畫家齊白石的弟子。李可染自幼即喜繪畫，13歲時學畫山水。43歲任中央美術學院教授，49歲為變革山水畫，行程數萬里旅行寫生。72歲任中國美術家協會副主席、中國畫研究院院長。晚年用筆趨于老辣。擅長畫山水、人物，尤其擅長畫牛。
Li Keran (March 26, 1907 - December 5, 1989) was born in Xuzhou, Jiangsu Province. He is the outstanding painter of modern China. Li Keran was fond of painting since he was young, and learned landscape painting at the age of 13. At the age of 43, he was a professor at the Central Academy of fine arts. At the age of 49, he traveled tens of thousands of miles to sketch from nature to transform landscape painting. At the age of 72, he was vice chairman of China Artists Association and President of Chinese Painting Research Institute. In his later years, his pen became old and hot. He is good at painting landscapes, figures, especially cattle.
代表畫作有《漓江勝境圖》、《萬山紅遍》、《井岡山》等。代表畫集有《李可染水墨寫生畫集》、《李可染中國畫集》、《李可染畫牛》等。
His representative paintings include the picture of Lijiang River, the red mountains and Jinggangshan. Representative works include Li Keran's ink and wash painting collection, Li Keran's Chinese painting collection, and Li Keran's painting cattle.
李可染是一位用畫吟詩的大詩人，他的畫無不具有詩意，而牧牛圖就是他的田園詩。這幅繪畫，江南田野，牧童騎在牛背，踏著暮色，悠然歸去……抒發了牧童與水牛間的親密關系，李可染畫的水牛，氣宇軒昂，質樸無華，有獨特風姿。用墨恰到好處，墨的層次變化把牛靠在一起的身體區分得很清晰，以淡墨、濃墨、焦墨，漬染、溢染之法出之，水牛的質感、動感躍然紙上，牛角及牧童衣紋線條，筆法古拙，極具力度感，筆力遒勁老辣，看似信手揮灑，卻處處妙趣橫生。
Li Keran is a great poet who recites poems with paintings. His paintings are all poetic, and the picture of cattle herding is his pastoral poetry. This painting shows a shepherd boy riding on a cow's back in a field in the south of the Yangtze River Li Keran expressed the close relationship between the shepherd boy and the buffalo. The buffalo depicted by Li Keran is magnificent, simple and unique. The use of ink is just right. The change of ink levels clearly distinguishes the cattle's bodies together. With the methods of light ink, thick ink, scorched ink, waterlogging and overflow dyeing, the texture and dynamic of buffalo appear on the paper. The lines of ox horn and shepherd boy's clothing are ancient and unsophisticated, with a strong sense of strength. The strokes are vigorous and spicy. They seem to be freely wielded, but they are full of fun.
那天真的牧童，搖曳的樹枝始終傳遞著細膩、含蓄的感情，完全是中國格調。生活的意趣和縷縷溫馨的氣息令人神往。他在牧牛圖中的筆墨是最大膽、最豪放、最無所顧忌的，章法結構也最新奇。因為畫牧牛圖的時候，他的心情最放松、最無負擔，所以他往往能畫得隨心所欲。因此，李可染的一些筆精墨妙之作，常常出現在牧牛圖系列之中。故此，李可染的牧牛圖和他的山水畫一樣，是成就其藝術人生的雙高峰。
That naive shepherd boy, swaying branches always convey delicate and implicit feelings, which is completely Chinese style. The interest of life and the continuous warm breath are fascinating. In the painting of cattle herding, his ink is the most bold, bold and unconstrained, and the structure of his composition is also the most novel. Because when drawing the picture of cattle herding, his mood is the most relaxed and the least burdenless, so he can always draw as he pleases. Therefore, some of Li Keran's masterpieces of pen and ink often appear in the series of cattle herding pictures. Therefore, Li Keran's cattle painting, like his landscape painting, is the double peak of his artistic life.
廣州美術學院李公明教授說：“在新中國畫改造過程中，李可染的寫生山水和紅色山水在這一新傳統中所取得的成就是具有原創性意義的。”
Professor Li Gongming of Guangzhou Academy of fine arts said: "in the process of the transformation of new Chinese painting, Li Keran's achievements in sketching landscapes and red landscapes in this new tradition are of original significance."
沈鵬先《李可染書畫全集·書法卷·序》中說：“書法既是李可染的余事，也是他的全部藝術活動的重要部分。說余事，因為書法只占用他從事繪畫以外的較少時間，并且與繪畫的數量比較占據次位。但是，從書畫理法相同的意義來說，從筆法與結構的最抽象的原則來說，書法就不僅不是余事，而是可染藝術十分重要的基礎工程了。”
Shen Pengxian said in the complete works of Li Keran's calligraphy and painting · calligraphy volume · Preface: "calligraphy is not only Li Keran's remaining business, but also an important part of all his artistic activities. The reason is that calligraphy only takes up a small amount of time besides painting, and it takes second place compared with the number of paintings. However, from the same meaning of calligraphy and painting theory, and from the most abstract principle of brush technique and structure, calligraphy is not only a chore, but also a very important basic project of dyeable art. "
李可染的兒子李小可接受采訪時說“我父親讓我們最為受益的是他對待藝術和人生的態度，他的故事背后反映出來的是他對藝術的態度。”
Li Xiaoke, Li Keran's son, said in an interview that "what my father benefited most from was his attitude towards art and life. What his story reflects is his attitude towards art."
老舍在《李可染水墨寫意畫展》的撰文中說“在窮苦中，偶爾能看到幾幅好畫，精神為之一振。”
Lao she wrote in the exhibition of Li Keran's freehand brushwork that "in poverty, I can occasionally see a few good paintings, and my spirit is invigorated."
吳作人在《李可染中國畫展》的序言中說：“藝術天地至廣，而于山水匠心獨運。峰戀隱顯，云煙吞吐，乃古人所未逮；嵐影樹光，以墨勝彩，創境界以推陳。”
In the preface of Li Keran's Chinese painting exhibition, Wu Zuoren said: "art has a wide range of fields, but it is ingenious in landscape. The love between the peaks is hidden, and the clouds are filled with smoke, which was never caught by the ancients. The haze, shadow and tree light, win the color with ink, and create a realm to push forward the old. "
此幅近現代著名繪畫大師李可柒先生力作，有他兒子李小可的鑒定提簽，是不可多得的收藏珍品！
This painting is a masterpiece by Mr. Li Keqi, a famous painter in modern times. It has been appraised and signed by his son Li Xiaoke. It is a rare collection treasure!
1999年，在中國嘉德拍賣會上，李可染的《萬山紅遍》（2.8平尺）一舉奪魁，成交價高達407萬元，創造了當時李可染作品拍賣的最高價位，也創造了中國畫單平尺最高價位，頓時震動了整個書畫界及拍賣市場。
In 1999, Li Keran won the first prize in China's Jiade auction, with a transaction price of 4.07 million yuan, which created the highest auction price of Li Keran's works and the highest price of Chinese painting sheet, which immediately shocked the whole painting and calligraphy industry and the auction market.
同為這一系列，2000年，在北京榮寶拍賣會上，另一件《萬山紅遍》（3.1平尺），在多位買家的激烈競投下，價格一路飆升，最后在501.6萬元的價位上一錘定音，使李可染作品的拍賣價和中國畫單平尺價又創新高。
For the same series, at the Beijing Rongbao auction in 2000, the price of another piece, Wanshan Hongquan (3.1 square feet), soared all the way under the fierce bidding of many buyers. Finally, the price was settled at the price of 5.016 million yuan, making the auction price of Li Keran's works and the price of Chinese painting sheet reaching a new high.
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