由于时代的要求与主观的愿望,李可染50年代的写生致力于墨法与物象的对应,主要表现在两方面:一是避开以往的程式化语言,面对不同景象,采用不同的用墨方法;二是墨法与素描、水彩技法相结合。此时期的墨法主要体现在三点上:1954年前后以湿墨、破墨为主;1956年前后大量使用干墨、浓墨、积墨法;1959年前后焦墨线条、干墨侧笔的成熟运用。 Due to the requirements of the times and the subjective desire, Li Keran’s sketch in the 1950s devoted himself to the correspondence between Mo Fa and the objects, mainly in two aspects. One is to avoid the stylized language in the past and to adopt different ink methods ; Second is the combination of ink law and sketch, watercolor techniques. Mohism at this period mainly reflected in three points: around 1954 with wet ink, broken ink-based; extensive use of dry ink before 1956, thick ink, plot ink method; 1959 coke ink lines, dry ink side of the pen Mature use.