黎雄才(1910～2001)，廣東省肇慶人，祖籍廣東省高要。當代國畫家、美術教育家，嶺南畫派卓有成就的代表人物。擅長巨幅山水畫，精于花鳥草蟲，畫作氣勢渾厚，自具風貌，被評論界稱為“黎家山水“
Li xiongcai (1910 ~ 2001) was born in zhaoqing, guangdong province. Contemporary Chinese painter, art educator, the outstanding representative of lingnan school of painting. He is good at giant landscape paintings, and good at flowers, birds, grass and insects. His paintings are full of momentum and full of style, which has been called "li jia landscape" by critics.
黎雄才三十年代初的作品《瀟湘夜雨》榮獲比利時國際博覽會金獎，1954年創作的《武漢防汛圖卷》被美術評論界譽為“抗洪史詩”。
In the early 1930s, li xiongcai's work xiaoxiang night rain won the gold medal of Belgium international exposition. In 1954, his work wuhan flood control scroll was praised as "flood fighting epic" by art critics.
黎雄才在山水畫的創作上，以寫生為主，因此他筆下的景色，給人一種很“實在”的感覺。以《山村暮雪》為例，他采用墨和赭石，出手交流 加括弧“維芯”（T130）卻把寒天的意境帶出(6693)。即使他所描(3762)繪的不是荒涼的冬景，觀賞者仍可感到冬寒中的暖意，這大概就是畫者個性在作品中的流露。黎雄才著意以筆墨書寫來表達他所見的景物，作品具有濃郁的“揮寫”之趣。黎雄才在山水一門上的努力，成就了他的“黎家山水”。“黎家山水”一詞，是指黎雄才在山水方面的風格。
In the creation of landscape painting, li xiongcai mainly draws from life, so the scenery under his pen gives people a sense of "reality". Take mountain village twilight snow as an example. He USES ink and ochre to communicate with each other and adds a sphincter "dimension core" (T130) but brings out the artistic conception of cold days (6693). Even if what he draws (3762) is not a bleak winter scene, the viewer can still feel the warmth of winter cold, which is probably the expression of the painter's personality in his works. Li xiongcai intended to express the scenery he saw with brush and ink writing, and his works had a strong interest of "writing". Li xiongcai's efforts on a gate of landscape made his "li jia landscape". The word "li jia landscape" refers to li xiongcai's style in landscape.
他的山水畫是意境深邃的純藝術珍品。他創造的藝術高峰，令世人矚目。他對中國畫，尤其對中國山水畫的探索和實踐是前無古人的。他在教學中常對學生說：師承古法，不能拋開前人搞國畫；師承古法，不能古而不發，發展繪畫藝術，要講純藝術，寫畫的藝術是什么？就是用文房四寶加國畫顏料表達作者要表達的物象質感和意趣，畫什么要似什么，似是似特征，和攝影照片有區別，國畫要有國畫的韻味，要反映出宣紙、毛筆、水、墨和顏料等繪畫材料所產生的特殊效果，給人以藝術感染力。
His landscape paintings are pure artistic treasures with profound artistic conception. He created the peak of art, the world's attention. His exploration and practice of Chinese painting, especially Chinese landscape painting, is unprecedented. In his teaching, he often said to his students: we should follow the ancient ways, we should not abandon our predecessors to do traditional Chinese painting; We should develop the art of painting by learning from the ancient ways. What is the art of writing pictures? It is to use the four treasures of the study to express the texture and interest of the object that the author wants to express with the Chinese painting pigment, what to draw is like what, like is like the characteristics, and different from photographic photographs, the Chinese painting should have the charm of Chinese painting, to reflect the rice paper, brush, water, ink and pigment and other painting materials produced by the special effect, to give people an artistic appeal.
這幅作品畫的是筆下的雨后黃山境界優美奇峻，皴法豐富嚴謹，墨色渾然一體，疏密明暗隱現自然，皆良多趣味，生動而不粗獷， 精密而不纖弱。其溝壑、章法，筆墨，氣脈貫通，意境亦無一不精到。這幅立軸山水，左右兩邊巨石箕踞，溝壑之中溪水若隱若現，峰頂叢木林立，筆縱飛舞，墨色紛披，反映了畫家以造化為師，敢于獨辟新意的創造精神，再現了黃山云霧浮動、高峰聳峙的勝境。[1]黎雄才繼承嶺南畫派傳統，重視表現空間的透視感，前景的松石具體明晰，后景的山峰朦朧淡遠如剪影，最遠處的峰巒則與布著灰云的夜空融為一體，強烈的對比使畫面背景的空間顯得益加渺遠空漠。具有非常高的收藏價值和藝術鑒賞價值！
This work is a painting of the huangshan state after rain, which is beautiful and marvelous, rich and rigorous texturing method, with one integrated black color and natural light and shade, all of which are interesting, vivid but not rough, precise but not delicate. Its gully, zhang method, ink, qi vein through, artistic conception is no less refined. The landscape of this vertical axis, with boulders on the left and right sides of the mountain, streams in the gully, trees bristling on the peak, pens flying in the air, and ink colors flying in the air, reflects the painter's creative spirit of being creative, and reappears the wonderful scenery of huangshan cloud floating and high peak lingering. [1] inheriting the tradition of lingnan school of painting, li xiongcai attaches great importance to the perspective of space. The foreground is specific and clear with pine stones, the background is hazy and distant like silhouette, and the farthest peak is integrated with the night sky covered with gray clouds. The sharp contrast makes the space in the background of the painting seem more empty and empty. Has very high collection value and art appreciation value!
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