李苦禅（1899年01月11日—1983年06月11日）原名李英、李英杰，号励公，山东高唐人。自幼家贫，在民间绘画艺人影响下学画。1919年入北京大学附设的“勤工俭学会”（又名法文专修馆）半工半读，同时在北京大学附设的“业余画法研究会”向徐悲鸿学习素描与西画。1920年入北京大学中文系攻读中文，1922年转北京国立艺术专科学校西画系学习。期间，常靠晚间拉洋车维持生活。为此，同学林一卢赠其“苦禅”二字为名（苦，即苦难的经历；禅，古称写意画为禅宗画）。1923年拜齐白石为师学国画，成为齐门第一名弟子。白石老人赠其手书云“苦禅（第画笔及思想将起余辈，尚不倒戈，真人品之高即可知矣”；认为“英（苦样）也过我，英也无敌，若老死不事大名，是无鬼神矣”。1925年于北京国立艺术专科学校毕业后任北京师范学校美术专科国画教员，1930年任杭州艺术专科学校教授，抗战初期辞职寓居北京。因平日与爱国志士交往甚密，一度被捕入狱，在狱中坚贞不屈。1946年任北京国立艺术专科学校教授，1950年任中央美术学院附属民族美术研究所研究员。后任该院国画系教授。擅大写意花鸟画，作品继承民族绘画优良传统，并融中西技法为一炉，常以松、竹、梅、兰、菊、石、荷、鱼、鸡、鹰等为题材，具有笔墨厚重豪放，气势磅礴逼人，意态雄深纵横、形象洗练鲜明的独特风格，树立了大写意花鸟画的新风范，长屏巨幅更为世人所瞩目。

1919年到北京，先入北京大学附设的“勤工俭学”（又名法文专修馆），半工半读坚持学习。同时，又在北京大学附设的“业余画法研究会”，向徐悲鸿先生学习素描与西画。1920年入北京大学中文系攻读中文，1922年转到“北京国立艺专”西画系学习。这期间，经常靠晚间拉洋车维持生活。为此，同学林一卢赠他“苦禅”二字为名（苦，即苦难的经历；禅，古称写意画为禅宗画）。1923年，拜齐白石翁为师。此时，齐翁名气尚微，加之当时北京摹古风盛，唯齐翁别开生面，大胆创新。因此，颇受讥议。
1925年，于“北京国立艺专”毕业，任北京师范学校的教授，兼任保定第二师范教授。1930年，应聘到杭州艺专任国画教授。
抗日战争初期，北京沦陷，李先生极为激愤，辞去一切“公职”，隐居前门老爷庙与西城柳树井二号，因他平日与爱国志士交往甚密，于1939年被捕入狱，严刑拷打，坚贞不屈。
抗战胜利后，1946年任“北京国立艺专”教授。1949年，北京解放后改为兼任教授，李先生于1950年上书毛主席，请求安排工作，毛主席当即写信给徐悲鸿院长，并派秘书前去看望，随即李先生被安排到“中央美术学院”附设之“民族美术研究所”任研究员。尔后又调至该院的国画系任写意画教授。
“文革”期间，李先生惨遭迫害，被诬为“反动学术权威”，关进“牛栏”，经受百般折磨，之后又被下放到农村劳动。
1972年敬爱的周总理派人请老画家作画，李先生被邀请参加，三年中为国家作画三百余幅。
“文革”后，李先生恢复了名誉。绘出《红梅怒放图》、《晴雪图》等等，尔后，又任“中国画研究院”院务委员、中国美术家协会理事与政协第五、第六届全国委员会委员。
1981年投入科教片“中国花鸟画”、“苦禅画鹰”与“苦禅写意”的拍摄工作，将毕生宝贵艺术经验毫无保留地付诸银幕，献于子孙后代。期间，创作了巨幅“墨竹图”与“盛夏图”等杰作。
1982年春赴广东经济特区访问，非常兴奋，深感中华振兴有望，立下了百幅创作的壮志。
1983年春，有关部门举办李苦禅教授从事教育事业六十年祝贺大会。6月8日应邀为日本长崎孔子庙书写了巨联：“至圣无域泽天下，盛德有范垂人间”。
1983年6月11日凌晨一时做古。

中国近百年绘画的发展，花鸟的创新成就是非常高的，可是再往前发展一步也是极其困难的。因为大师林立啊！前辈的成就太高了，如果再往前发展一步那是很不容易的。李苦禅先生在当代花鸟画家里是非常有成就，有自己独创性的，他的个性面貌非常强，他的作品精神内涵上非常丰富的，李苦禅先生的艺术成就还值得重新深入地进行研究。另外，对于李先生早期的艺术道路，艺术成就也还有一个重新认识的必要。
当时在二、三十年代的时候，苦禅先生在当时的艺术实践，他是走在整个时代的前列的，在这一点上是非常可贵的。要考虑到整个这个时代一个大的文化环境、文化背景，把李先生放在这样一个大的整体的背景看他的作用，看他的价值。
20世纪前期，我们中国美术运动的中心，一个是上海，一个是北京，还有一个比较晚一些的是杭州。苦禅先生当时正好是在这三个地区都生活过，工作过。他早期的艺术实践，就跟当代我们中国美术发展——往前推动，正在开动的时候融和在一是起了，他在这里边起了重要作用的。他不是站在保守的那一面，而是站在革新的一个方面。苦禅先生的艺术里边作为一种知识的结构，他是有中国传统，有西方的艺术观念。
他把一个很广博的东方的背景都融入了他的艺术观念、艺术的创造中了。所以我觉得苦禅先生的艺术，在中国当代的中国画坛，他是一个非常杰出的代表，放在历史长河中他也是非常杰出的

他的作品继承了中国画的优良传统，吸取石涛、八大山人、扬州画派、吴昌硕、齐白石等前辈的技法，并融中西技法于一炉，渗透古法又能独辟蹊径，在花鸟大写意绘画方面发展出了自己独到的特色。李苦禅先生笔下的花鸟世界，浑厚、平实而妙得天趣。他经常以松、竹、梅、兰、菊、石、荷花、八哥、鸬鹚以及雄鹰等等作为题材作画。他用自己独到的审美观点与丰富的表现手法，创造出许多形神兼备、千姿百态的艺术形象。他笔下的花鸟，既有一定写实的成分，但又不是对自然物象纯客观的描摹，而是高度凝练之后的再创造。在看似随意中蕴含着朴拙之气，在自然含蓄中蕴含着阳刚之气，他的运笔线条如行云流水，苍劲朴拙，笔法凝练简约，却意趣盎然。笔墨纵逸豪放、雄健磅礴。他驾驭笔墨的能力，驾驭写意技巧的能力是惊人的。对于他来说，画幅越大就越能自由挥洒。他的作品尤其到了晚年，愈加返朴归真，雄健苍劲，笔墨挥洒中已经达到了“笔简意繁”的艺术境界。
他将西方雕刻、绘画方法、精神融入国画教学。并率先将京戏作为“传统美学与文化艺术之综合”引进美术教学之中，亲自粉墨登台，现身说法，诚如当年《晨报》所评：“年来北方艺坛上创造派的先锋，异帜独标，要算这位大名鼎鼎的李苦禅先生。”
    李苦禅的书法与画互为表里，相得益彰。推崇“书至画为高度，画至书为极则”。李苦禅认为，中国写意画是写出来的，西洋画是画出来的，在这方面，中国比西方高出一筹。这表现在“融结果美”与“手段美”于一体，“融空间艺术”与“时间艺术”于一体的变革。而书法与绘画相结合恰是这一变革的契机与关键。李苦禅说：“不懂书法艺术，不练书法，就不懂大写意和写意美学”。因而李苦禅在中国书法艺术之“画家字”方面独树一帜。李苦禅在数十年觅碑访帖之中自成朴雅、浑厚、风神、婉转的行草艺术。
   “大”是李苦禅绘画显著的特点。如：巨幅《盛夏图》（荷花图），是用四幅丈二匹宣纸接成而画，面积达到22.04平方米。花如盆，叶如盖，梗如臂，盛开的荷花，山石，水鸟，组成了庞大的画面。又如《墨竹图》：是用三张丈二匹宣纸拼接起来的巨幅。李苦禅作画喜欢用重墨，善用泼墨、焦墨，水墨晕章，用大笔画小幅作品。李苦禅谈笔墨时说“墨要厚才耐看。色也要当墨用，不论红还是绿都能达到墨分五色才厚”。如作品《劲节图》用笔凝重，别具一格。中国传统大写意画传统画法的布景层次较少，主要是一至二个层次。（右图册[16] ）李苦禅把山水画法的平远，高远之法，运用到花鸟画上，能达三四个层次。李苦禅利用了墨色的浓淡干湿、色彩的冷暖、黑白的相间来增加画面层次感，把观赏者的视线和感觉层层推向远方。如《盛夏图》，第一层是近岸，用浅赭石着色。第二层是用线和浓墨画茨菰、水草，第三层用淡墨画荷叶用红色画荷花。第四层是画面的画眼巨石和水鸟，第五层是举世后面的荷花，这样一层一层慢慢递进。李苦禅的画境界平淡天真。如《绿雨清竹之乡》，描绘的是，在雨后的芭蕉叶下，几只四下张望的鸬鹚停住在浑厚朴拙的巨石上，神态各异，正在享受雨后的清新空气。鸬鹚头颈用朱色没骨画出，圆睁的双目使水鸟显得精神奕奕。四周景物围绕主题描绘，点明了鸬鹚的生存环境。笔墨自然，无矫揉造作，色彩单纯，造型简洁。又如《茨菇鹭鸶》，画中以江南水乡为背景，描写的是一只鹭鸶在大自然中悠然自得。李苦禅用粗朴、厚实的墨色画出芋叶、鹭鸶，用线条勾勒叶筋、水草。表现了江南的自然野趣。《荷塘翠鸟》图，一只翠鸟飞过微风轻拂的荷叶，露珠点点而落，在莲塘残叶之间，充满生机。
   李苦禅绘画选材独特， 经常以松、竹、梅、兰、菊、石、荷花、八哥、鸬鹚以及雄鹰等为题材作画。如《教子学飞翔》图，画了依附在老鹰背上、跃跃欲飞的鹰雏。方形眼眶，斧形的利嘴，强调鹰与雏的相对。斜三角的整体造型，向上飞去的整体动态。李苦禅画鹰多为“静态”的鹰，多为蹲视姿态。如《松鹰图》，数只雄鹰立于山颠，蓄势待发。
     李苦禅的书法与画互为表里，相得益彰。推崇“书至画为高度，画至书为极则”。李苦禅认为，中国写意画是写出来的，融“结果美”与“手段美”于一体，融“空间艺术”与“时间艺术”于一体的变革。而书法与绘画相结合恰是这一变革的契机与关键。李苦禅说：“不懂书法艺术，不练书法，就不懂大写意和写意美学”。因而李苦禅在中国书法艺术之“画家字”方面独树一帜。李苦禅在数十年觅碑访帖之中自成朴雅、浑厚、风神、婉转的行草艺术。
   李苦禅继承了中国画的传统，吸取石涛、八大山人、扬州画派、吴昌硕、齐白石等人的技法，在花鸟大写意绘画方面有特色。有豪放，气势磅礴，形象鲜明的风格，树立了大写意花鸟画的新风范。李苦禅画花鸟，有一定写实的成分，不是对自然物象客观的描摹，是凝练后创造。随意中蕴含着朴拙之气，自然含蓄中蕴含阳刚之气。李苦禅的画幅越大越能自由挥洒。李苦禅晚年的作品达到了“笔简意繁”的艺术境界。。

齐白石评价：“李苦禅学吾不似吾”。
齐白石题李苦禅的画《清供图》道：“李苦禅也超过我了”。
郝左春评价：“李苦禅是艺术界革命的前驱”。
《晨报》评价：“李苦禅是中国北方艺坛上创造派的先锋”。
徐悲鸿题李苦禅的画道：“天趣洋溢，活色生香”。
剧作家曹禺评价：“李苦禅是一个传奇式的人物。人生短促，艺术长存。这并不是说任何艺术，而是人民所肯定的艺术。李苦禅的画就是这样的艺术”。

李苦禅纪念馆位于山东济南趵突泉公园的万竹园内，纪念馆始建于元代，因园中多竹而得名，占地10亩，总建筑面积4782平方米，建筑总高度为17.9米。该园有3套院落，结构紧凑，布局讲究，13个庭院186间房屋并有五桥四亭，楼台亭阁参差错落。1986年6月李苦禅纪念馆在万竹园内建馆开放。共有18个展室、160余间房屋常年展出李苦禅遗作和生前收藏的书画文物400余件，其中有《红梅怒放图》、《晴雪图》、《墨竹图》、《盛夏图》等精品。
艺术馆
李苦禅艺术馆坐落于山东高唐县南湖景区，于2006年9月落成开馆，总投入2000万元，是高唐县为纪念李苦禅而修建的一座美术馆。李苦禅艺术馆为三层建筑，建筑面积5000平方米。艺术馆内设书画展览厅9个（其中2个恒温恒湿展厅），画室5个，容100人报告厅一个，藏画库一个，常年展出李苦禅的生平业绩资料和作品

Li Kuchan (01 1899 11 August 06 1983 11 August), formerly known as Li Ying, Li Yingjie, Li Gong, Shandong gaotang. Childhood poverty, under the influence of folk painting artist in painting. 1919 Peking University attached "work study society" (also known as the French training hall) part-time, while learning from the Western sketch to Xu Beihong at the Peking University affiliated "amateur painting research association. In 1920 Chinese department at Peking University Chinese, 1922 Beijing Oil Painting Department of National Art College learning. During the night, often by pulling rickshaw living. To this end, the students Lin Lu donated its "bitter Zen" two words in the name (bitter, that suffering experience; Zen, ancient painting as a Zen painting). In 1923 thanks to Qi Baishi to learn Chinese painting, become the first disciple zimen. The old man Bai Shi donated his calligraphy "(the cloud brush and thought bitter meditation will play more than generation, is not the real defection, that there shall be high"; that "the British (bitter like) also me, English is invincible, if have no thing name, no ghosts". In 1925 at the Beijing national art college he graduated from Beijing Normal School of fine arts college painting teacher, Professor of Hangzhou Academy of Arts in 1930, during the early days of the resignation of resident in Beijing. For weekdays and patriots very close contacts, was arrested and imprisoned in the prison unyielding. In 1946 he was appointed professor of Beijing National Art College, and he was a research fellow of National Institute of fine arts, China Central Academy of Fine Arts in 1950. He served as professor of the Academy of Chinese painting department. Good at freehand flower and bird painting works, inherit the fine tradition of painting, and Western techniques for melting furnace, the theme of Chang Yisong, bamboo, plum, orchid, chrysanthemum, lotus, stone, fish, chicken, eagle, with thick ink bold, with unique style of great momentum, the male will deep horizon, succinct bright image, set a large freehand bird new style, long a huge screen is more attracted worldwide attention.

In 1919 to Beijing, the first in the Peking University attached to "work" (also known as the French training hall), adhere to the study of part-time work. At the same time, also at the Peking University with a "amateur descriptive study, learning to sketch and Western painting to Mr. Xu Beihong. In 1920 Chinese department at Peking University Chinese, in 1922 to the "Beijing National Art College" Western painting learning. During this period, often rely on the evening pull a rickshaw to maintain life. To this end, the students Lin Lu donated him "bitter Zen" two words in the name (bitter, that is suffering experience; Zen, the ancient said freehand painting for Zen painting). In 1923, Betsybus Von as a teacher. At this time, Qi Weng fame is micro, coupled with the Beijing style wind Sheng Qi Weng, only open up a fresh outlook and bold innovation. Therefore, the popular drub.
In 1925, the "Beijing national art college graduate, Ren Beijing normal school professor, adjunct professor of Baoding normal school second. In 1930, candidates to the Hangzhou art painting full-time professor.
The beginning of the Anti Japanese War, the fall of Beijing, Mr. Li is very angry, resigned from all public, in the front door Laoyemiao and West willow wells two, because he usually with patriots closely, was jailed in 1939, tortured, unyielding.
After the war, in 1946, "Professor of Beijing National Art College". In 1949, after the liberation of Beijing as adjunct professor, Mr. Li wrote Chairman Mao in 1950, request to arrange work, Chairman Mao immediately wrote a letter to President Xu Beihong, and sent his secretary to visit, then Mr. Li was assigned to the "China Central Academy of Fine Arts" affiliated "of National Fine Arts Institute researcher. And then to the hospital as professor of Department of Chinese painting freehand brushwork.
During the "Cultural Revolution", Mr. Lee persecution, has been accused of "reactionary academic authority", in "the bullpen" has been put under the later afflict by every means, the rural labor force.
1972 dear premier Zhou sent for the old painter, Mr. Li was invited to participate in three years for the country to paint more than 300 pieces.
After the cultural revolution, Mr. Lee restored his reputation. Draw the map "," plum blossoms "sunny snow map" and so on, then, and any "Research Institute" China Painting Council member, Chinese Artists Association and the fifth CPPCC National Committee, sixth.
In 1981 and "Chinese painting", "bitter meditation picture" and "bitter meditation freehand" work, life will be valuable artistic experience unreservedly into the screen, offering to future generations. During the creation of a "bamboo" and "summer map" masterpiece.
The spring of 1982 in Guangdong special economic zone to visit, very excited, great revitalization of the Chinese hope, made a hundred pieces of creative ambition.
1983 spring, the relevant departments held professor Li Kuchan engaged in education sixty years to congratulate the general assembly. June 8th was invited to Japan Nagasaki Confucius Temple wrote: "holy Julian no domain Ze Sheng de world, a range of vertical earth".
June 11, 1983 early in the morning to do ancient.

The development of Chinese painting in the past hundred years, the innovative achievements of birds and flowers is very high, but further development is also extremely difficult step forward. Because of the great masters! Senior achievement is too high, if further development step it is not easy. Mr. Li Kuchan is very successful in the contemporary painter, has its own originality, his personality appearance is very strong, very rich spiritual connotations of his works, Mr. Li Kuchan's artistic achievement is also worth to in-depth study. In addition, for Mr. Li's early art road, there is also a need for a new understanding of artistic achievements.
At that time in two and 30s, bitter Zen Mr. at the time of artistic practice, he is walking in the forefront of the whole era, at this point is very valuable. To take into account the whole of this era a large cultural environment, cultural background, put Li on such a large overall background to see his role, look at his value.
In the early twentieth Century, the center of our Chinese art movement, one is Shanghai, one is Beijing, and a later is Hangzhou. Mr. Zen was living in these three areas, worked. His early art practice, with contemporary art development, we China forward, when moving up and in, where he played an important role in the side. He is not on the conservative side, but on one side of innovation. Mr. Chan's art as a kind of knowledge structure, he has Chinese tradition, western art concept.
He integrates a very wide Eastern background into his artistic conception and artistic creation. So I feel bitter Zen's art, contemporary painting in Chinese Chinese, he is an outstanding representative in history, he is also very good

His works inherited the fine tradition of China painting, from Shi Tao, Badashanren, Yangzhou school, Wu Changshuo, Qi Baishi and other advanced techniques, and blending techniques in a furnace, the traditional method can penetrate a large freehand painting in flowers and birds have developed their own unique characteristics. Mr. Li Kuchan's flower and bird world, vigorous, plain and wonderful nature. He often with pine, bamboo, plum, orchid, chrysanthemum, lotus, stone, starlings, cormorants and eagle and so on as the theme of painting. He used his own unique aesthetic view and rich expression, create many vivid artistic images in different poses and with different expressions. Under his pen flower, has certain realistic elements, but not the natural phenomena of pure objective description, but highly condensed after re creation. In the seemingly random contains a clumsy gas, in the natural implicitly contains masculinity, his pen lines such as vigorous simplicity, freely flowing style of writing, writing concise and simple, but interesting. Yi bold, majestic vigorous vertical text. His ability to control pen and ink, the ability to control freehand skills is amazing. For him, the greater the more free format can sway. His works especially in his old age, more vigorous and vigorous, and recover the original simplicity, beauty has reached pen concise and complex art realm.
He will western sculpture, painting methods, spirit into Chinese painting teaching. It will be the first opera as "traditional aesthetics and art comprehensive introduction of art teaching, personal experience, Regalia on stage, as the year's" Morning News "comment:" Xianfeng years North art creation school, different flag is unique, the famous Mr. Li Ku chan."
Calligraphy and painting "Li Kuchan, complement each other. Highly praised "book to painting for height, painting to book is extremely". Li Kuchan believes that China freehand painting is to write out, Western painting is painted, in this regard, Chinese than Western better than others. This is reflected in the "melting results of the United States" and "means of beauty" in one, "melting space art" and "time art" in one of the changes. The combination of calligraphy and painting is the opportunity and key of this reform. Li Kuchan said: do not understand calligraphy art, do not practice calligraphy, do not understand freehand brushwork and freehand aesthetics". Thus Li Kuchan in Chinese calligraphy art "painter word" unique. Li Kuchan in the decades since a monument for post visit Puya, vigorous, Aeolus and melodious cursive art.
"Big" is the remarkable characteristic of Li Kuchan's painting. Such as: the huge "summer map" (Lotus), with four pieces of two pieces of paper with Zhang and painting, an area of 22.04 square meters. Such as flower pots, leaf stalk as a cover, such as the arm, the lotus in full bloom, birds, rocks, forming a huge picture. And as the "bamboo": with huge three Zhang two horse pieced together the Xuan paper. Li Kuchan is painting love with heavy ink, ink, ink ink use, halo chapter, with a large stroke works slightly. Li Kuchan said "thick ink ink is beautiful. When the ink color should also be used, regardless of the red or green colored ink can reach only thick". Such as the works of "Jin Festival map" a dignified, have a unique style. Chinese traditional painting freehand brushwork of traditional painting less level, mainly from one to two levels. (right Atlas [16]) Li Kuchan landscape painting of Pingyuan, lofty method, applied to the painting, can reach three or four levels. Li Kuchan used the ink color shade wet and dry, warm and cold colors, black and white and white screen to increase the sense of hierarchy, the viewer and the feeling to distant layers. Such as "summer", the first layer is near the shore, with a light colored ochre. The second layer is the ink painting line and arrowhead, water, third layer with light ink painting lotus with red painted flowers. The fourth layer is the picture painted eye stone and water birds, fifth layer is the back of the lotus, this layer slowly progressive. Li Kuchan painting realm plain naive. Such as "green rain Qing bamboo village", is depicted in the rain, the banana leaves, a few four around cormorant stopped in the sincere vigorous rock and look different, enjoying the fresh air after the rain. Cormorant neck with vermilion Mogu painting, wide eyes make birds appears in high spirits. The surrounding landscape around the theme of description, pointing out the living environment of the cormorant. "Naturally, without affectation, the color is pure, simple shapes. And as the "arrowhead" Egret, painting in the background of Jiangnan, is a description of a heron in nature carefree and content. Li Kuchan used coarse and thick ink painting, taro leaves egrets, with lines of a grass. The south of the wild nature. "Lotus" Kingfisher map, a kingfisher flew over the breeze lotus leaf, dew fall, leaves in Liantang, full of vitality.
Li Kuchan painting unique selection, often painting with pine, bamboo, plum, orchid, chrysanthemum, lotus, stone, starlings, cormorants and eagle etc.. Such as "Godson" learn to fly, drew back, attached to the eagle jump to fly young eagles. Square eyes, dolabriform mouth, the relative emphasis on the eagle and chicks. Oblique triangle of the overall shape, the overall dynamic upward flight. Li Kuchan picture is "static" Eagle, is seen squatting posture. Such as "pine and Eagle", the number of eagle poised in the hills.

Calligraphy and painting "Li Kuchan, complement each other. Highly praised "book to painting for height, painting to book is extremely". Li Kuchan believes that Chinese freehand painting is written out, melt the results of the United States and the means of beauty in one, melting space art and time art in one of the changes. The combination of calligraphy and painting is the opportunity and key of this reform. Li Kuchan said: do not understand calligraphy art, do not practice calligraphy, do not understand freehand brushwork and freehand aesthetics". Thus Li Kuchan in Chinese calligraphy art "painter word" unique. Li Kuchan in the decades since a monument for post visit Puya, vigorous, Aeolus and melodious cursive art.
Li Kuchan China inherited the tradition of painting, drawing Shi Tao, Badashanren, Yangzhou school, Wu Changshuo, Qi Baishi et al techniques, in the flower and bird freehand painting characteristics. A bold, of great momentum, vivid style, set a large freehandbird air fan. Li Kuchan painted flowers and birds, have certain realistic elements, not the natural phenomena of the objective description is concise after creation. Random contains a clumsy gas natural, subtle contains masculinity. Li Kuchan. The bigger the free flow. Li Kuchan's works in his later years reached the artistic realm of "pen simple meaning complex"..

Qi Baishi evaluation: "Li Kuchan learn I don't like me".
Qi Baishi's picture of the painting "clear for map" way: "Li Kuchan also more than me" ".
Hao Zuochun evaluation: "Li Kuchan is the precursor of art revolution".
"Morning News" commented: "Li Kuchan is a pioneer in art creation School of North China".
Xu Beihong Li Kuchan's paintings: "nature filled with flesh".
Playwright Cao Yu evaluation: "Li Kuchan is a legendary figure. Life is short, art is long. This is not to say any art, but the art of affirmation. Li Kuchan's painting is such an art".
Li Kuchan memorial hall is located in Shandong Baotu Spring Park in Ji'nan million bamboo park, the memorial was built in the Yuan Dynasty, named after the park for many bamboo, covers an area of 10 acres, with a total construction area of 4782 square meters, the total height of the building is 17.9 meters. The park has 3 sets of courtyards, compact structure, pay attention to the layout of 13 courtyards, 186 houses and five bridges and four Pavilion, pavilion confused with errors and omission. June 1986 Li Kuchan Memorial Museum opened in 10000 bamboo garden. A total of 18 rooms, more than 160 houses in the annual exhibition of Li Kuchan and his works of painting and calligraphy collection more than 400 pieces of cultural relics, including the "plum blossoms" map "," sunny snow map ", Mozhu map", "summer" boutique.
Art Gallery
Li Kuchan art museum is located in the Shandong Lake scenic spot of Gaotang County, in September 2006 the completion of the opening, a total investment of 20 million yuan, is an art museum in Gaotang county to commemorate Li Kuchan built. Li Kuchan Art Museum for three storey building, construction area of 5000 square meters. A museum of art painting and calligraphy exhibition hall 9 (of which 2 constant temperature and humidity, studio hall) 5, 100 people in a hall, a library of Tibet, the annual exhibition of Li Kuchan's life and work performance