读万卷书,行万里路,无疑是一位画家成功的必由之路。但也有例外者,如明四家之沈周,一生足迹未出吴中,终成正果。我刊本期重点介绍的李耕先生亦然,先生一生僻居福建仙游故里,仅在晚年有过短暂北游,但他在古典人物画上所达到的高度,在整个20世纪几乎无出其右。然而,也正因其僻居乡里,更重要的,是其与当时主流绘画的疏离,使他的绘画远未得到应有的认识与评价。风骨奇峭,收放自如,且技法全面,书画俱佳。我们重温李耕绘画的意义不仅在于丰满、完善20世纪中国美术史,还在于面对新的社会文化环境,我们应如何继承传统,光大传统。 Reading thousands of books, traveling thousands of miles, is undoubtedly the only way for an artist to succeed. However, there are also exceptions such as Shen Zhou of the Ming Dynasty. Mr. Li Geng, a key introduction in my period, also reported that in his lifetime, his native Fujian Xianyou’s hometown had only had a brief northward tour in his later years. However, the height he attained in his classical figure painting barely exceeded the entire 20th century Its right. However, precisely because of his remote hometown, and more importantly, his alienation from the mainstream painting at the time, his paintings are far from being properly recognized and evaluated. Windy bones odd, free and easy, and skillful, calligraphy and painting superb. We review the significance of Li Geng’s painting not only in its fullness and perfection in the history of Chinese art in the 20th century, but also in how we should inherit the tradition and the tradition of Everbright in the face of the new social and cultural environment.