李鳳廷 Li Fengting

李鳳廷 (1883-1967)，字鳳公，1883年生於廣東東莞。李氏幼年隨父親李肇榜 (19世紀) 學畫，擅畫花卉、山水、人物等。他的畫風師法古人，花鳥仿宋人，山水學仇英 (約1494-約1552)。他尤其愛好李公麟 (1049-1106) 的繪畫，因此自刻「龍眠家法」印章。除國畫外，李氏又研習西洋畫法，亦工詩詞，旁及篆刻、鑒賞等。

1911年李氏在廣州創辦水彩畫函授學校，次年創立廣東鑄像公司兼任總技師，為廣州石膏塑像藝術的先導。1921年他任廣東省第一屆美術展覽會國畫審查員，並於1923年與趙浩公 (1881-1947) 等人創辦「癸亥合作畫社」，於1925年重組為「國畫研究會」，以推動國畫創作。李氏後來任職廣州市立美術學校國畫系教師、全國第二屆美術展覽會廣東預展國畫審查員。他於抗戰期間移居香港。著有《鳳公畫語》、《調色法》、《中國藝術史》等書。

出處：
《廣東書畫錄》。香港：香港中文大學中國文化研究所文物館，1981，頁253。
李健兒《廣東現代畫人傳》。香港：儉廬文藝苑，1941年，頁31-32。
謝文勇《廣東畫人錄》。廣州：廣州美術館，1996年，頁135-136。
朱萬章，陳雅飛《守望傳統：廣東國畫研究會，一九二三至一九三七年》。香港：香港中文大學文物館，2006，頁46。
〈廣東「國畫研究會」主要畫家及藝術風格解讀〉，當代嶺南，2007年：http://www.ddln-art.com/huabao/3/page-15.html

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Li Fengting (1883-1967), zi Fenggong, was born in 1883 in Dongguan, Guangdong province. Li learnt painting from his father Li Zhaobang (19th century) at his young age, and became especially proficient in painting flower and plants, landscapes and figures. His painting style was based on past masters. His flower-and-bird paintings emulated Song painters, while his landscape paintings are based on the styles of Qiu Yin (c. 1494-c. 1552). He particularly appreciated the paintings of Li Gonglin (1049-1106), so he carved a seal stating “Family method of Longmian” (Longmian is Li Gonglin’s sobriquet). Apart from Chinese painting, Li also studied Western painting. He was also engaged in poetry and had some knowledge of seal-carving and connoisseurship.

Li founded a watercolor painting school in Guangzhou in 1911. In the next year, he established the Guangzhou Sculpture Casting Company, which was a precedent for the art of plaster cast sculptures in Guangzhou. In 1921, he was a juror for Chinese painting at the first Guangdong Province Art Exhibition. In 1923, he founded the Guihai Art Cooperative with Zhao Haogong (1881-1947) and others, which became the National Painting Research Society in 1925, in order to promote Chinese painting. Li later became a painting teacher at the Guangzhou Municipal School of Fine Arts and a juror for the Guangdong preview of Chinese painting for the second National Art Exhibition. He moved to Hong Kong during the Second Sino-Japanese War, and was the author of several books, including Fenggong huayu (Fenggong’s Words about Painting), Tiaose fa (Method of Colour Mixing) and Zhongguo yishu shi (Chinese Art History).

References:
Guangdong shuhualu (Records of Guangdong Calligraphies and Paintings) (Hong Kong: Xianggang Zhongwen daxue Zhongguo wenhua yanjiusuo wenwuguan), 253.
Li Jian’er, Guangdong xiandai huaren zhuan (Biographies of Guangdong Modern Painters) (Hong Kong: Jianlu wenyi yuan, 1941), 31-32.
Xie Wenyong, Guangdong huaren lu (Records of Guangdong Painters) (Guangzhou: Guangzhou meishu guan, 1996), 135-136.
Zhu Wanzhang, and Chen Yafei, Shouwang chuantong: Guangdong guohua yanjiu hui, 1923-1937 (Guardians to Tradition: the Guangdong Painting Society, 1923-1937) (Hong Kong: Xianggang zhongwen daxue wenwuguan, 2006), 46.
“Guangdong Guohua yanjiu hui zhuyao huajia ji yishu fengge jiedu” (Interpretation of the Primary Painters and Their Artistic Styles from the National Painting Research Society in Guangdong), Dangdai lingnan (Contemporary Lingnan) (2007), http://www.ddln-art.com/huabao/3/page-15.html