國山水畫是中國人情思中最為厚重的沉淀。游山玩水的大陸文化意識，以山為德、水為性的內在修為意識，咫尺天涯的視錯覺意識，一直成為山水畫演繹的中軸主線。從山水畫中，我們可以集中體味中國畫的意境、格調、氣韻和色調。再沒有那一個畫科能像山水畫那樣給國人以更多的情感。若說與他人談經辯道，山水畫便是民族的底蘊、古典的底氣、我的圖像、人的性情。《萬山紅遍》為李可染先生的代表之作，不凡之處便是作者用了大量朱砂來渲染畫面，滿目紅山，意境非凡。1962-1964年間，李可染共創作了七張尺幅各異的《萬山紅遍》。其中三幅現分別藏于中國美術館、中國畫院和榮寶齋；一幅為可染先生家屬收藏；2015年11月，《萬山紅遍》 拍賣最終1.84億元成交。這是屬于李可染共創作的七張尺幅各異的《萬山紅遍》中較小的一幅。創作于1964年，作品取毛澤東《沁園春·長沙》之詞意，氣質雄壯豪邁。
Chinese landscape painting is the heaviest precipitation in Chinese people's feelings and thoughts. The mainland cultural consciousness of traveling in the mountains, the inner cultivation consciousness of taking mountains as virtue and water as nature, and the visual illusion consciousness of being close at hand have always become the central axis of the interpretation of landscape painting. From landscape painting, we can concentrate on appreciating the artistic conception, style, charm and color of Chinese painting. No other painting department can give people more emotion like landscape painting. If we talk about the classics and argue with others, the landscape painting is the national heritage, classical style, my image and human temperament. Wanshan Hongbian is the representative work of Mr. Li Keran. The remarkable thing is that the author uses a lot of cinnabar to render the picture, which is full of red mountains and has an extraordinary artistic conception. From 1962 to 1964, Li Keran created seven "Wanshan Red Times" with different scales. Three of them are now in the National Art Museum of China, the Chinese Painting Academy and the Rong Baozhai. One is collected by Mr. Dye's family; In November 2015, "Wanshan Hongbian" was auctioned for 184 million yuan. This is the smaller of the seven "Wanshan Hongbian" created by Li Keran. Created in 1964, his work takes the meaning of Mao Zedong's Qinyuanchun Changsha, and his temperament is magnificent and heroic.
雷甲寶，國家一級美術師，中國美術家協會山西分會會員，中國書畫鑒定管理中心理事，藝惠藏簽約畫家。雷甲寶，生于1957年，自幼學畫，他的山水畫作品深厚凝重，博大沉雄，以鮮明的時代精神和藝術個性，促進了民族傳統繪畫的嬗變與升華。
Lei Jiabao, a national first-class artist, a member of Shanxi Branch of Chinese Artists Association, a director of Chinese Painting and Calligraphy Appraisal Management Center, and a painter signed by Yihui Tibetan. Lei Jiabao, born in 1957, studied painting at an early age. His landscape paintings are profound and dignified, broad and heavy, and promote the evolution and sublimation of national traditional painting with distinct spirit of the times and artistic personality.
雷甲寶其山水作品深得李可染大師真傳，他的山水畫作品深厚凝重，博大沉雄，以鮮明的時代精神和藝術個性，促進了民族傳統繪畫的嬗變與升華。其山水畫，重視意象的凝聚，所作的山水畫意境，講究從無到有，從有到無，多取材于祖國名山大川，因而融鑄了他的山水大氣磅礴，又不失幽美秀麗。而他性格當中的驍勇憨直和不拘小節的性格特色，豪放不羈中又抒發著極細膩的感情，以致于他的畫作當中，即有一股濃郁的鄉土氣息，也有學院派畫家的大氣灑脫，點線面之間雅俗共賞，濃墨重彩間渾然天成。
Lei Jiabao's landscape paintings won the true biography of Master Li Keran. His landscape paintings are profound and dignified, broad and heavy, and promote the evolution and sublimation of national traditional paintings with distinct spirit of the times and artistic personality. His landscape paintings pay attention to the cohesion of images, and pay attention to the artistic conception of landscape paintings from scratch, from scratch to nothing, and are mostly based on the famous mountains and rivers of the motherland, thus melting and casting his magnificent landscape without losing its beauty. But his character is brave, simple and informal, and he expresses extremely delicate feelings in his uninhibited style, so that his paintings have a strong local flavor, but also an academic painter's atmosphere is free and easy, enjoying both elegance and vulgarity from point to line.
他說：“一個好的畫家并不是要多出名，而是要把繪畫技巧和心靈感情融入到畫作中，要像對待知音一樣，用一絲不茍的態度去研究它，用心靈和它溝通，才能引領導觀者走進畫家在畫作中營造的獨特的生活氛圍和藝術境界”
He said: "A good painter does not want to be more famous, but to integrate painting skills and soul feelings into his paintings. He should study it with meticulous attitude and communicate with it with his soul just like treating his bosom friend, so as to lead the leader to enter the unique living atmosphere and artistic realm created by the painter in his paintings."
此精品字畫長是2.44米，寬是1.07米，在技法上，積墨加積色，層層積染，塑造雄渾之勢。雖然紅為畫面主調，但墨色依然是重要的背景和輪廓襯托。積墨山水完成之后，再蘸朱砂由淺至深地逐步點染。甲寶先生用朱砂如用墨，運用完全相同的筆法和墨法，使得色、墨融合，渾然天成。只見朱砂略淺處，有墨色浮上；中間色調處，則墨色相融；最為明亮處，點以厚重朱砂。整個畫面最終呈現出的色調效果頗有明代剔紅、剔犀漆器的特點，極為莊重雄渾、古樸典雅。在構圖上，呈現出李家山水中典型的“豐碑式構圖”和“門板式構圖”，又巧妙構成了“兩度半空間”。傳統山水畫里，畫面上下總會留出很大空白；然而甲寶偏偏截掉了峰巒和坡腳，采用了不留余地的滿幅構圖。這樣，就迫使觀眾的視線集中于山體，產生如同仰望紀念碑一般的震撼感。
This fine calligraphy and painting is 2.44 meters long and 1.07 meters wide. In terms of techniques, it accumulates ink and color, and accumulates dye layer by layer, creating a powerful trend. Although red is the main tone of the picture, ink is still an important background and outline. After the ink-accumulating landscape is completed, dip in cinnabar and gradually stain it from shallow to deep. Mr. Jia Bao uses cinnabar, such as ink, and uses exactly the same brushwork and ink, which makes color and ink blend naturally. I saw that the cinnabar was slightly shallow and there was ink floating on it; At the middle tone, the ink color melts; In the brightest place, heavy cinnabar is used. The tonal effect of the whole picture is quite the characteristics of picking red and rhinoceros lacquerware in Ming Dynasty, which is extremely solemn and vigorous, simple and elegant. In composition, it presents the typical "monument-style composition" and "door-panel-style composition" in Li's landscape, and cleverly constitutes "two and a half degrees of space". In traditional landscape painting, there is always a big gap between the top and bottom of the picture; However, Jiabao cut off the peaks and slopes, and adopted a full composition without leaving any room. In this way, the audience's eyes are forced to focus on the mountain, and the shock is like looking up at the monument.
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