​由于父亲黎廷俊擅长绘画，故黎雄才自幼受到艺术熏陶。17岁加入春睡画院，从高剑父学画。1931年毕业于广州烈风美术学校。1932年赴日本东京美术学校学画。

1935年毕业回国任教于广州市美术专科学校。1943年任重庆国立艺术专科学校副教授。1949年后任广州美术学院副院长兼国画系主任、教授。为中国美术家协会理事。

黎雄才画作

 1924年，他就读于肇庆中学。

1926年拜高剑父为师，翌年入高剑父的春睡画院学习，并一度在广州烈风美术学校兼习素描。

1932年，得到高剑父资助，赴日本留学，入东京美术学校学习日本画。

1935年毕业归国，任教于广州市立美术专科学校。

1939年任教于肇庆第七中学。

1943年，受聘于重庆国立艺术专科学校，任副教授。

1948年任广州市立艺术专科学校教授。

中华人民共和国建立后，先后任华南文艺学院、中南美术专科学校、广州美术学院教授、副院长兼中国画系主任、中国美术家协会广东分会副主席。

三十年代初作品《潇湘夜雨》获比利时国际博览会金奖，《寒江夜泊》、《珠江帆影》入选芝加哥"当前进步博览会"和德国柏林举办的"中国美术展览会"。其中《珠江帆影》为德国博物馆收藏。

1949年以来作品多次入选国内外举办的大型美术作品展览会并在多种专业报刊上发表，曾在国内外举办过多次个人画展。

1979年在广州举办个人画展。

1982年和1983年分别在香港和菲律宾举办个人画展，并先后访问了朝鲜、日本、菲律宾、加拿大、美国等国家。

擅山水，尤以巨幅见长，所作气势恢廓，雄健秀茂，自具风貌，为当代"岭南画派"代表画家之一。出版个人画册多种。

曾任全国政协委员、中国美术家协会广东分会副主席，广州美术学院副院长,中国美术家协会会员，中国美术家协会广东分会顾问，广州美术学院顾问、教授。

2001年12月19日上午，因多脏器功能衰竭在广州去世，享年92岁 。

黎雄才画作

 山水画方面，黎雄才受高剑父的影响不多。他在日本取法的"朦胧体"风格，延续到他回国后。黎雄才成功地揉合了传统与日本画法。他这种新作风，既有笔墨，又有渲染，同时又能表现景色的远近和空气层，在岭南画派的折衷中外的宗旨下，当是一个新的发展方向。但黎雄才往后的道路上，却未朝着这个方向努力。他喜欢用强有力的笔法来挥洒。他努力的是把变化多端的笔墨，来营造各种艺术效果。《江西行淮河畔》一画中，黎雄才已发展成一套圆熟的，建立在个人风格上的笔墨语言，如他对水份的控制;而他的笔法，双极尽挥洒之意。

黎雄才在山水画的创作上，以写生为主，因此他笔下的景色，给人一种很"实在"的感觉。以《山村暮雪》为例，他采用墨和赭石，却把寒天的意境带出。即使他所描绘的不是荒凉的冬景，观赏者仍可感到冬寒中的暖意，这大概就是画者个性在作品中的流露。黎雄才着意以笔墨书写来表达他所见的景物，作品具有浓郁的"挥写"之趣。黎雄才在山水一门上的努力，成就了他的"黎家山水"。"黎家山水"一词

，是指黎雄才在山水方面的风格。事实上，"黎家"一词还含有更广泛的意义。一篇谈及称雄才门人的文章中，作者以"黎家门下"来形容的他的追随者。"黎家山水"指的黎雄才的山水风格，而"黎家门下"是指"黎家山水"的追随者。黎雄才不独把自己的画风从岭南画派分隔开来，甚至他把门人也一并带离岭南画派之外。至于"黎家山水"的风格，可以从以下的介绍体会出来:"为人赞誉的'黎家山水'，通常是指黎雄才先生的意境清华，特别是形象美，色彩美见胜的青绿山水。"原来"黎家山水"除了泛指黎雄才的山水风格外，内面还有一个专指的意思，即指黎雄才所创造的青绿山水。 黎雄才晚年对"黎家山水"又有新的突破，他成功的揉合了厚得的青绿和粗笔深墨。《轻舟已过万重山》是他84岁时的作品。黎雄才主张作画时，"不管重彩还是淡彩，务须以墨为主"，在这幅作品中再次得到印证。他在墨稿的基础上，再敷上石青和石绿，颜色都是混合的，可以看出黎雄才已变化了对青绿的运用。他在描绘景色的同时，还表现出一种幽光，因而弥漫着氤氲的气象。黎雄才的努力，使山水画不再停留在表达社会背景的层面，而是在艺术上的推陈出新。

黎雄才画作

 黎雄才以山水画见长，早年受高剑父影响，后融汇古 今，自成一格，尤以焦墨、渴笔写生独胜，风格老辣、雄劲。黎雄才的山水画饮誉海内外，独树一帜，荡气回肠，品位高雅，情趣盎然，用笔、用墨更让画坛同仁赞不绝口，每幅作品气势宏大，用笔飘逸，焦墨的运用栩栩如生。

其挥写之青山绿水，气势清旷绝俗，千峰竞秀，烟云氤氲，瞩目咫尺，意在千里。而他在山水画中之松，饮誉中外。

他的山水画是意境深邃的纯艺术珍品。他创造的艺术高峰，令世人瞩目。他对中国画，尤其对中国山水画的探索和实践是前无古人的。他在教学中常对学生说:师承古法，不能抛开前人搞国画;师承古法，不能古而不发，发展绘画艺术，要讲纯艺术，写画的艺术是什么?就是用文房四宝加国画颜料表达作者要表达的物象质感和意趣，画什么要似什么，似是似特征，和摄影照片有区别，国画要有国画的韵味，要反映出宣纸、毛笔、水、墨和颜料等绘画材料所产生的特殊效果，给人以艺术感染力。

代表作品

黎雄才深入生活，在大江南北写生作画。其代表作品;《寒夜啼猿》、《一览众山小》、《森林》、《武汉防汛图卷》、《万古之春》、《峨眉洗象池》等。出版的作品集有《黎雄才山水画谱》、《黎雄才画选》、《黎雄才画集》《黎雄才作品欣赏》等画集。

画作《松月图》赏析

这幅作品画的是苍茫的月色下，湍急的江水在陡峭的山峰下流过，几块山石探入水中，石上耸立着两颗苍劲的松树。松与石用焦墨画出，浓重的墨色与雄健老辣的笔法给人感受到一股强烈的力量。

黎雄才继承岭南画派传统，重视表现空间的透视感，前景的松石具体明晰，后景的山峰朦胧淡远如剪影，最远处的峰峦则与布着灰云的夜空融为一体，强烈的对比使画面背景的空间显得益加渺远空漠。

 黎雄才先生是画派大师，在绘画方面取得的辉煌成就，人所共知。在书法方面，他取得的成就同样突出，只不过他的"书名被画名所掩盖"，因画名更盛，故其书法成就以往未曾得到比较充分的关注、重视和宣传。 黎雄才先生的书法造诣，首先表现在其对书法和绘画两者关系的深刻认识。他在私人笔记中，一再强调书法法则在绘画创作方面的作用。他强调，绘画应该向书法的执笔、运腕、以及各家法度，

以至书法的表现精神等方面吸收精华。这是他对书法和绘画两者关系的理解。他不仅在私人笔记中提出，更是在画作中展现自己创作观。

他画作中的笔墨和线条，每每都透露出其深厚的书法功底，处处流露出丰富的笔墨神韵。他的画作的一个特色，就是画作往往配有一些较长的题字。这些题字，一方面可以帮助欣赏者理解画者创作的思路，另一方面还可以配合画面的经营布白，使绘画、书法、文学在画卷中相互辉映，表现出浓郁的文化气息和意蕴。 黎雄才先生的书法造诣之高，还表现在他对书法的理解。他用一个名唤《书法笔记集》的本子，对历代书论进行摘要择选。历代书论繁多，他并没有尽收入内，而是按照自己的理解有所取舍，这种取舍表现出他对书法艺术整体个人化和集总式的认识和理解。

他的书作中，无论是题款的，还是独立作品，我们都可以看到较重的临摹古人的痕迹，这点在他年轻时的书作中尤其明显。从这些痕迹可以看出，他的小楷学习钟繇，隶书直接临摹汉碑，章草则是对皇象的临摹，成就颇高。他年轻时，还受到高剑父古藤体的影响。在他后来的题画中，这种意趣相对较少，但在他晚年的大字书法作品仍见痕迹。

通过欣赏他的书法作品，我们会发现，他对各家路法都有比较好的把握，从各家的结字、用笔、精神到气韵都有独到的把握。他的楷书创作就常常表现钟繇那种在高古中体现散淡、闲雅的风格，他写的长草则在厚重方面同时表现出灵动、自然的气息。其晚年大字书法创作则往往跌宕奇崛，表现出雄强豪迈气势。

黎雄才先生的书法路子宽敞。因其笔路广阔，总能根据不同的画作、不同的情景、不同的需要进行书法创作，且应对自如，使书法和画作风格配合起来，相得益彰。这表现出他有相当高的创作水平和艺术修养，这也正是现代许多年轻画人所缺乏的。一幅画作完成之后，如果画者只是在上面签名落款，表达出来的东西就十分有限，并不能完全展现出中国画的文化气息。而黎雄才先生，却能够分清中国画和西洋画不同的特点和优势，将其发扬。无论是学习、研究还是创作，黎老的这种做法给了我们很多有益的启示，很值得我们去推广。

 广州美术学院副院长、中国美术家协会理事、美协广东分会副主席、中国画研究院院委、广州美术学院和广东画院顾问。广东省人民代表、全国政协委员。

 黎雄才最重要的作品，无疑是《武汉防汛图》。

其传记记载，1954年夏，武汉遭遇百年不遇的长江洪灾，数百万人民的生命财产安全遭受严重威胁。当时，武汉中南美专的师生，无一例外，投入到惊心动魄的抗洪抢险之中去。黎雄才亦不停奔波于极为泥泞和坎坷的堤岸上;参加抗洪抢险的同时，黎雄才用心观察、仔细写生，晚上在驻地对着画稿加工整理，深夜不眠。防洪抢险之后，历经一年多的苦心经营，在大量写生稿的基础上，创作出长达28米的《武汉防汛图》长卷。作品场面宏大，内容繁复，绵延数百里的抗洪、防汛、抢险的壮观景象，一一在人们眼前铺陈开来。很快，它赢得了"抗洪史诗"的美誉。

中国美术馆副馆长梁江认为，《武汉防汛图》整合了黎雄才人物画、花鸟画方面的过人能力，进而创造了一种新的山水画表现范式。这是他上世纪40年代以来不断写生，从量变到质变的一个直接成果，标志了黎雄才50年代的一个创作高峰期。另一个意义在于，传统山水的空灵飘逸，由此转入现实生活的真情实景中, 山水画被注入新的内涵。由出世而入世，这是一种与新时代相连的转型。

2012年，黎雄才家人将《武汉防汛图》的相关写生稿及资料数十件捐献给了中国美术馆，与《武汉防汛图》一同在中国美术馆展出，引发美术界高度关注。黎捷说，捐给国家，是稳妥的办法。

中国美术馆副馆长梁江认为，作为与关山月相提并论的岭南画派中坚画家，黎雄才作出了重要贡献。其成就主要在于:一、继承和拓展了岭南画派的艺术;二、创作了《武汉防汛图》、《朱砂冲哨口》等标示20世纪中国画成就的经典作品;三、以富于个性特征的笔墨语言丰富了20世纪山水画的表现力;四、为新美术教育体系提供了新鲜而重要的经验。由是，黎雄才的意义，不仅在于岭南画派，更在于生机郁勃的20世纪中国画坛。

 Because his father, Li Tingjun, was good at painting, Li Xiong was influenced by art at an early age. At the age of 17, he joined Spring Sleep Painting Academy and learned painting from Gao Jianfu. Graduated from Guangzhou Strong Wind Art School in 1931. In 1932, he went to Tokyo Academy of Fine Arts to study painting.

Graduated in 1935 and returned home to teach at Guangzhou Academy of Fine Arts. In 1943, he was an associate professor of Chongqing National College of Art. After 1949, he served as Vice President and Chairman and Professor of the Department of Traditional Chinese Painting of Guangzhou Academy of Fine Arts. He is the director of China Artists Association.

In 1924, he studied in Zhaoqing Middle School.

In 1926, Gao Jianfu was a teacher. The following year, Gao Jianfu studied in Spring Sleep Painting Academy, and once studied sketch in Guangzhou Gale School of Fine Arts.

In 1932, with the aid of Gao Jianfu, he went to Japan to study and studied Japanese painting in Tokyo Art School.

He graduated in 1935 and returned home to teach at Guangzhou National Academy of Fine Arts.

He taught in Zhaoqing No. 7 Middle School in 1939.

In 1943, he was employed as an associate professor in Chongqing National College of Art.

He was appointed professor of Guangzhou National College of Art in 1948.

Since the founding of the People's Republic of China, he has successively served as a professor, vice-president and chairman of the Department of Chinese Painting of South China Academy of Arts, Central South Academy of Fine Arts, Guangzhou Academy of Fine Arts, and vice-chairman of Guangdong Branch of China Artists Association.

In the early 1930s, Xiaoxiang Night Rain won the gold medal of Belgium International Exposition, Hanjiang Night Boat and Pearl River Sailing Shadow were selected as Chicago's "Current Progress Exposition" and "China Art Exhibition" held in Berlin, Germany. Among them, The Pearl River Sail is collected by German Museum.

Since 1949, his works have been selected for many large-scale art exhibitions held at home and abroad and published in various professional newspapers and magazines. He has held many personal art exhibitions at home and abroad.

In 1979, a personal painting exhibition was held in Guangzhou.

In 1982 and 1983, he held personal art exhibitions in Hong Kong and the Philippines, and visited Korea, Japan, the Philippines, Canada, the United States and other countries.

Proficient in landscape, especially in the huge, broad momentum, vigorous and beautiful, with its own style, as one of the contemporary "Lingnan Painting School" representative painters. Publish a variety of personal picture albums.

He was a member of the CPPCC National Committee, vice chairman of Guangdong Branch of China Artists Association, vice president of Guangzhou Academy of Fine Arts, member of China Artists Association, consultant of Guangdong Branch of China Artists Association, consultant and professor of Guangzhou Academy of Fine Arts.

On the morning of December 19, 2001, he died of multiple organ failure in Guangzhou. He was 92 years old.

In landscape painting, Li Xiongcai was not much influenced by Gao Jianfu. The "obscure style" he adopted in Japan lasted until he returned home. Li Xiongcai successfully blended traditional and Japanese painting. His new style, with both brush and ink, and rendering, can also express the distance and air of the scenery. Under the compromise between Chinese and foreign purposes of Lingnan School of Painting, it should be a new direction of development. However, Li Xiongcai did not work in this direction on the road ahead. He likes to use strong strokes. His efforts are to create various artistic effects with varied pen and ink. In the painting Jiangxi Xinghuai Riverside, Li Xiongcai has developed into a set of well-rounded, personal style-based brush and ink language, such as his control of water, while his brushwork is full of both poles.

Li Xiongcai's creation of landscape painting mainly focuses on sketching, so the scenery in his works gives people a very "real" feeling. Taking "Dusk Snow in Mountain Village" as an example, he used ink and ochre, but brought out the artistic conception of cold weather. Even if he does not depict the desolate winter scenery, the viewer can still feel the warmth in the winter, which is probably the expression of the painter's personality in his works. Li Xiongcai intentionally expresses the scenery he sees with his pen and ink writing. His works have a strong interest of "swinging and writing". Li Xiongcai's efforts in the field of mountains and rivers have contributed to his "Li Jia Landscape". The word "Lijia Landscape"

It refers to Li Xiongcai's style in landscape. In fact, the word "Li Jia" has a wider meaning. In an article about the heroic talents, the author describes his followers as "under the door of the Li family". "Li Jia Landscape" refers to Li Xiongcai's landscape style, while "Li Jia Menxia" refers to the followers of "Li Jia Landscape". Li Xiongcai not only separated his painting style from Lingnan Painting School, but also took his doors away from Lingnan Painting School. As for the style of "Li Jia Landscape", it can be seen from the following introduction: "The praised'Li Jia Landscape', usually refers to Mr. Li Xiongcai's artistic conception of Tsinghua, especially the green landscape with beautiful image and beautiful color. In addition to referring to Li Xiongcai's landscape style, there is also a special meaning inside, that is, the green landscape created by Li Xiongcai. In his later years, Li Xiongcai made a new breakthrough in "Li Jia Landscape". He succeeded in blending thick green and thick ink. "The Light Boat Has Been Over Ten Thousand Heavy Mountains" was his work when he was 84 years old. When Li Xiongcai advocated painting, "whether heavy or light, ink should be the main thing", which was confirmed again in this work. On the basis of his ink manuscript, he applied stone green and stone green. The color was mixed. It can be seen that Li Xiongcai had changed the use of green. While describing the scenery, he also showed a kind of gloomy light, which filled with a dense atmosphere. Li Xiongcai's efforts make landscape painting stop at the level of expressing social background, but bring forth new in art.

Li Xiongcai is good at landscape painting. In his early years, he was influenced by Gao Jianfu. Later, he merged the past and the present into his own style. He was especially successful in painting with burning ink and thirsty pen. His style was old and vigorous. Li Xiongcai's landscape painting is well-known at home and abroad. It has a unique style. It is elegant in taste and full of interest. The use of pens and ink makes the colleagues in the painting circle praise it endlessly. Every painting has great momentum, elegant in brush and vivid in the use of charred ink.

The green hills and waters in his writings are clear and unpretentious, with thousands of peaks competing and clouds gathering in the air, and he intends to stay close to each other for thousands of miles. And he is well-known both at home and abroad in landscape painting.

His landscape painting is a pure art treasure with profound artistic conception. His artistic peak has attracted worldwide attention. His exploration and practice of Chinese painting, especially Chinese landscape painting, is unprecedented. In his teaching, he often said to the students: to inherit the ancient method, we should not abandon our predecessors to engage in traditional Chinese painting; to inherit the ancient method, we should not develop the art of painting, we should focus on pure art, what is the art of painting? That is, to express the author's image quality and interest with the four treasures plus Chinese painting pigments in the study, what is the painting like and what seems to be similar characteristics? Different from photographs, traditional Chinese paintings should have the charm of traditional Chinese paintings, reflecting the special effects of painting materials such as Xuan Paper, brush, water, ink and pigments, giving people artistic appeal.

Representative Works

Li Xiongcai went deep into life and painted in the north and south of the Yangtze River. His representative works include "Crying Apes on Cold Night", "Looking at Small Mountains", "Forest", "Flood Control Picture Volume of Wuhan", "Spring of Ancient Times", "Emei Elephant Washing Pool" and so on. Published works include "Li Xiongcai Landscape Painting Spectrum", "Li Xiongcai Painting Selection", "Li Xiongcai Painting Collection" and "Li Xiongcai Works Appreciation".

Appreciation of the Painting Songyue Picture

In this painting, under the vast moonlight, the turbulent river flows under the steep peaks. Several rocks plunge into the water, and two vigorous pine trees stand on the rocks. Pines and stones are painted with coke ink. The strong ink color and vigorous, old and spicy brushwork give people a strong feeling of strength.

Li Xiongcai inherits the tradition of Lingnan Painting School, attaches great importance to the perspective of the performance space, the prospects of pine stones are specific and clear, the mountains in the back are dim and distant like silhouettes, and the farthest peaks are merged with the night sky covered with grey clouds. Strong contrast makes the space of the background of the picture more remote and indifferent.

Mr. Li Xiongcai is a master of painting school. He has made brilliant achievements in painting, which is well known to all. In the area of calligraphy, his achievements are equally outstanding, but his "name of calligraphy is covered up by the name of painting", because the name of painting is more prosperous, so his achievements in calligraphy have not received sufficient attention, attention and publicity in the past. Mr. Li Xiongcai's calligraphy accomplishments are first manifested in his deep understanding of the relationship between calligraphy and painting. In his personal notes, he repeatedly emphasized the role of calligraphy in painting creation. He emphasized that painting should refer to calligraphy, wrist manipulation, and various rules.

And even the essence of calligraphy. This is his understanding of the relationship between calligraphy and painting. He not only put forward in his personal notes, but also showed his creative ideas in his paintings.

The ink and lines in his paintings always reveal his profound calligraphic skills and rich ink charm everywhere. One of the characteristics of his paintings is that they are often accompanied by longer inscriptions. These inscriptions, on the one hand, can help the viewer understand the idea of the painter's creation, on the other hand, they can also cooperate with the operation of the screen white, so that painting, calligraphy, literature in the scroll reflect each other, showing a strong cultural flavor and meaning. Mr. Li Xiongcai's high attainment in calligraphy is also reflected in his understanding of calligraphy. He used a book called Calligraphy Notebook to select the abstracts of the past dynasties'calligraphy theory. There are many calligraphy theories in the past dynasties. He did not make all his income, but made a choice according to his own understanding. This choice shows his understanding and understanding of the overall individualization and centralization of calligraphy art.

In his books, whether themes or independent works, we can see the heavy traces of copying the ancients, which is particularly evident in his young books. From these traces, we can see that his Xiaokai study Zhong Fang, and his official script directly copies the Han stele, while Zhang Cao copies the emperor's image, and his achievements are quite high. When he was young, he was also influenced by Gao Jianfu's cane body. In his later inscriptions and paintings, this kind of interest is relatively small, but there are still traces of his large-character calligraphy works in his later years.

By appreciating his calligraphy works, we will find that he has a good grasp of each road method, from each family's knotting, pen, spirit to charm have a unique grasp. His regular script creation often reflects Zhong Gan's style of indifference and elegance in the high ancient times, while his long grass shows a lively and natural atmosphere in the aspect of thick and heavy. In his later years, his writing of big-character calligraphy tended to be ups and downs, showing a strong and heroic momentum.

Mr. Li Xiongcai has a spacious way of calligraphy. Because of its broad brushwork, it can always create calligraphy according to different paintings, different scenes and different needs, and cope freely, so that the style of calligraphy and painting can be combined and complement each other. This shows that he has a fairly high level of creativity and artistic accomplishment, which is what many young modern painters lack. After the completion of a painting, if the painter just signed the money on it, the expression of things is very limited, and can not fully show the cultural flavor of Chinese painting. However, Mr. Li Xiongcai can distinguish the different characteristics and advantages of Chinese painting and Western painting and carry them forward. Whether it is learning, research or creation, this practice of Lao Li has given us a lot of useful enlightenment, which is worthy of our promotion.

Vice President of Guangzhou Academy of Fine Arts, Director of China Artists Association, Vice Chairman of Guangdong Branch of the Association of Fine Arts, Academic Committee of the Academy of Chinese Painting, Consultant of Guangzhou Academy of Fine Arts and Guangdong Academy of Painting. Guangdong Provincial People's Representative and member of the CPPCC National Committee.

Li Xiongcai's most important work is undoubtedly the Flood Control Map of Wuhan.

Its biography records that in the summer of 1954, Wuhan suffered the unprecedented flood of the Yangtze River in a century, and the safety of millions of people's lives and property was seriously threatened. At that time, the teachers and students of Wuhan Central and South American College, without exception, devoted themselves to the thrilling flood fighting and rescue. Li Xiongcai also kept running on the muddy and rough embankments; while participating in flood fighting and rescue, Li Xiongcai watched carefully and sketched carefully. At night, Li Xiongcai was stationed at the site to process and arrange the paintings and stayed up late at night. After more than a year of painstaking management, a 28-meter long volume of Wuhan Flood Control Map was created on the basis of a large number of sketches. The magnificent scenes and complex contents of the works spread out in front of people one by one the spectacular scenes of flood fighting, flood control and emergency rescue that stretch for hundreds of miles. Soon, it won the reputation of "flood epic".

Liang Jiang, deputy curator of the Chinese Art Museum, believes that "Flood Control Map of Wuhan" integrates the outstanding ability of Li Xiongcai's figure painting and flower and bird painting, thus creating a new paradigm of landscape painting. This is a direct result of his continuous sketching since the 1940s, from quantitative change to qualitative change, marking a peak period of Li Xiongcai's creation in the 1950s. Another significance is that the traditional landscape is ethereal and elegant, thus turning into the real scene of real life, landscape painting has been injected into a new connotation. From birth to entry into the WTO, this is a transformation connected with the new era.

In 2012, Li Xiongcai's family donated dozens of sketches and materials related to "Wuhan Flood Control Map" to the Chinese Art Museum, which together with "Wuhan Flood Control Map" was exhibited in the Chinese Art Museum, arousing great concern in the art circle. Li Jie said that donating to the country is a safe way.

Liang Jiang, deputy curator of the Chinese Art Museum, believes that Li Xiongcai, as a backbone painter of Lingnan School, has made an important contribution in comparison with Guan Shanyue. Its achievements mainly lie in: 1. inheriting and expanding the art of Lingnan School of Painting; 2. creating classical works such as Wuhan Flood Control Map and Zhusha Chong Whistle, which mark the achievements of Chinese painting in the 20th century; 3. enriching the expressive force of landscape painting in the 20th century with individualized brush and ink language; 4. providing a new art education system. Fresh and important experience. Therefore, the significance of Li Xiongcai lies not only in Lingnan School, but also in the vigorous 20th century Chinese painting circle.