李小可自幼受家庭影响喜爱中国画，上世纪70年代开始协助父亲李可染创作、生活，并在父亲的指导之下系统研习中国山水画。80年代起先后三十余次深入西藏、青海、长江源头、黄河源头、甘肃等西部藏族地区进行写生及摄影创作，体验生活。近年来多次赴黄山、太行山、燕山等地写生。艺术创作在继承中国画传统和李可染艺术精神的同时，以开放的态度，注重吸取外来艺术的营养，深度地直面生活、时代，从对生活的强烈感受中寻找自己个性化的绘画语言，在重体验的基础上重表现，形成了特殊的水墨表现风格。古都北京、西藏、黄山成为艺术创作“水墨家园”系列的三个重要组成部分，其以鲜明的绘画语言、风格受到专业界的肯定和好评，同时得到海内外收藏界的关注和欢迎。2003年开始创作“藏迹”系列的版画作品，以对藏地特殊视角的人文关注和视觉表现的探索引起了美术和社会各界的强烈反响。多年来积极参与公共美术事业的推广普及，坚持中国山水画的教育，培育出一批中青年山水画画家、学生。策划了很多重要的学术性美术展览，并且特别关注西藏美术事业的发展。2005年以来赞助、策划了“雪域彩练”“大美西藏”等西藏当代绘画展，为推动西藏当代绘画的发展做出努力。2015年8月因纪念抗日战争胜利70周年阅兵仪式，特为天安门城楼主笔创作巨幅山水作品《众志成城》。水墨及版画作品被诸多美术馆、重要机构、海内外藏家等收藏。

李小可1944年12月20日出生于四川重庆金刚坡。1946年随父母迁居北京。1948年全家搬入北京东城区大雅宝胡同甲2号。1960年进入中央美术学院附中学习基础美术。1962年应征入伍，在唐山4582部队服役。1968年至1977年复员分配至北京内燃机总厂锻工车间，打铁近十年。1978年协助父亲李可染赴黄山、九华山写生讲学，随父亲开始系统研习山水画。1979年进入北京画院。1986年至1987年进入中央美术学院国画系卢沉、周思聪人物画研修班学习。1987年参加日本著名画家加山又造短期人物画研修班。1989年在中央工艺美术学院“现代构成”进修班学习。

李小可基于对生活的感受，注重吸取外来艺术的营养，深度直面生活，从对生活的强烈感受中寻找自己个性化的绘画语言，在重体验的基础上重表现，形成了特殊的绘画风格。北京、西藏、黄山成为国画“水墨家园”系列的三个重要组成部分。2005年举办“水墨家园——李小可水墨作品展”（北京·中国美术馆），2008年举办“水墨家园——李小可水墨作品展”（澳门民政总署画廊），2009年举办“水墨家园——李小可水墨作品展”（台北·“国父纪念馆”），2012年举办“水墨家园——李小可水墨作品展”（北京·中国美术馆），2013年举办“水墨家园——李小可水墨作品展”（江苏·徐州艺术馆、广州·广东美术馆），2014年举办“水墨家园——李小可作品展”（上海·中华艺术宫），2015年举办“水墨家园——李小可作品展”（南京·江苏省美术馆、台北·“国父纪念馆”）。
李小可1988年起先后三十余次进入藏区体验、采风，拍摄了逾万张照片。2003年李小可开始探索将这些作品进行再创作，把版画语言与纪实摄影相结合，创作“藏迹”系列版画作品。这些作品成为李小可“水墨家园”系列外的又一新的艺术表现体系。
李小可与藏地建立了深厚的感情，在体验生活的同时，特别关注、支持西藏美术事业的发展，为西藏当代画派的形成做出了贡献。2004年以来赞助、策划了“雪域彩练”“大美西藏”等西藏当代绘画展。
李小可于2004年在北京画院研修生班开始山水画教学，至今已教授了百余名学生，2005年在此基础上成立“李小可艺术工作室”，经过几年的努力已逐渐形成“李家山水”的精神面貌和绘画风格。2013年其在北京大学开设的“李小可导师工作室研究生课程班”任高级研修班导师。
多年来除坚持创作外，李小可致力于宣传李可染艺术精神，弘扬传统文化，自20世纪80年代始，策划、组织了李可染艺术展览二十余次，并举办各类大型学术研讨会，同时编辑出版画集数十本。2007年策划、组织“世纪可染——纪念李可染诞辰一百周年”系列活动，（北京·中国美术馆），编辑出版画册书籍等十九种。

水墨家园
“水墨家园”是我多年来关注与表现的主题之一。如今，很多我们非常熟悉的，与历史、文化、经历、情感紧密相连的家园环境，在你还来不及回首关注时，不知不觉中就消逝了。北京的四合院、北京的胡同、宫墙下的杨柳、皇城外的红墙、老槐树组成的静谧林荫……这一切无不牵动着人们的情思，成为人们情感的依赖与精神的寄托。我期望用自己的水墨语言表现那渐渐逝去的浓烈印象与记忆。
雪域藏迹
为了寻找新的绘画语言和感受，我曾多次到西部藏地。历经黄河源头、长江源头、柴达木、阿里、珠峰、那曲、玛曲、碌曲、夏河……我有了和藏地藏人近距离接触的机缘。藏地的纯净博大、浑厚苍茫，藏人的真切挚热、刚悍和淳朴，都给我以震撼——那是一个让人魂牵梦萦的神秘境地。企图走得更近，可它永远在远方，永远包含着变化、失去与永恒……藏地已成为我不灭的精神家园与创作源泉。
山水黄山
黄山是中国山水画的圣地。1978年，去黄山写生，并有幸遇到了日本著名画家东山魁夷先生。此后曾多次赴黄山写生。2007年，黄山风景区管理委员会成立黄山书画院，特邀我任书画院院长，这更加延续了与黄山的情缘，同时也肩负起了画好黄山、为黄山奉献的责任。黄山与皖南已成为我探索山水画表现的重要契机与内容。
师法自然
“写生”是艺术家将大自然赋予的感动与传统程式化表现形式及个人审美选择连接起来的重要环节，是对自然、传统的再发现、再认识，是山水画基本功练习的重要一环，最具活力与生机。写生使艺术家心灵直面瞬息万变的客观世界，能让传统与当代文化以及个人的表现经验发生碰撞，激发无限的创作灵感，推动审美领域的新发现。
版画作品
藏地留下的逾万张照片，已成为我生命中不可磨灭的记忆。随着岁月的流逝，仍被这些记忆所感动，开始探索用版画语言再现那注满灵动与激情的画面。在创作过程中，如同那世代用不息生命将佛像与经文雕刻在石头上、印制在经幡上的藏人，怀着虔诚的心，把这不灭的记忆不断地迹化，以表达对藏地藏人深深的敬仰和感动。

“水墨”是李小可艺术生涯选择的主要语言方式，也是缘：父亲、山水、中国画的表现……它承载着东方文化的特征。
“家园”是我们所处时代和赖以生存的自然，传统文化同样是一种“家园”。当你走进去时，它会给你带来深深的感动和无限的表现空间。艺术家难的是要把这种感动转化为个人化、程式化的绘画语言，这需要用“艺比天大”的态度去感悟、实践，才有可能实现这个转化。父亲讲“千难一易”“苦学派”“实者慧”表明了这个过程的艰辛；“学步”“问道”“以学为进”是李小可的坚持；“有无之间”是多年来在水墨实践中的感悟；“吸纳”“为我所用”则是李小可对待外来文化和当代视觉经验的态度。他一直努力把传统与自然、生活连接起来，不断寻觅水墨表现新的可能。

他想艺术是从感动开始的，艺术也是生命所经历的岁月的痕迹。当我们回顾过去，自己好像是人生旅途的一个行者，作品就是这个行者在探索的荒途中所做的“活儿”。

Li Ke, born in 1944, Jiangsu Province, Xuzhou, 1960 was admitted to the Affiliated High School of China Central Academy of Fine Arts. In 1973, father Li Keran began learning landscape. In 1979 into the Beijing academy. 1985 to 1987 into the Chinese Painting Department of China Central Academy of Fine Arts, and participated in the Japanese painter Kayama Yuu held a short seminar. Is now a national artist, member of China Artists Association, member of Chinese Photographers Association, Beijing Academy of Arts Council director, Li Keran Art Foundation Chairman, Mount Huangshan Academy of painting and calligraphy, the Ministry of culture and art evaluation committee, Chinese Tibet protection and Development Association, an association of China painting, China Heshan painting Artists Association vice president.
Li Xiaoke was influenced by the family favorite Chinese painting, in 70s the last century began to assist his father Li Keran creation, life, and under his father's guidance systems Chinese landscape painting. Since 80s has more than 30 in-depth Tibetan area of Western Tibet, Qinghai, the Yellow River, Gansu, the source of the Yangtze River source of painting and photography, life experience. In recent years, many went to Mount Huangshan, Taihang Mountain, Yanshan and other places to sketch. The artistic creation in the painting tradition and Li Keran China inherited the spirit of the art at the same time, with an open attitude, focus on absorbing foreign art nutrition, depth to life, to find their own personalized era, from the strong feeling of the life in the painting language, performance based on heavy experience, formed a special ink painting style. The ancient capital of Beijing, Tibet, Mount Huangshan has become the three important parts of the art creation ink home "series, its distinctive painting language and style by professional recognition and praise, both at home and abroad of attention and welcome. 2003 began to create "Tibet trace" series of prints, to the Tibetan special perspective of the humanities and visual performance of the exploration caused by the arts and the community's strong repercussions. Over the years to actively participate in the promotion of public art undertakings, adhere to the education of Chinese landscape painting, cultivate a number of young and middle-aged landscape painters, students. Planning a number of important academic art exhibitions, and special attention to the development of Tibet's art career. Since 2005, sponsored planning "snow on" "beauty of Tibet" Tibet contemporary art exhibition, to make efforts to promote the development of contemporary painting in Tibet. Because in August 2015 to commemorate the 70 anniversary of victory parade, the Tiananmen gate was the creation of a huge Our wills unite like a fortress. for landscape works ". Paintings and prints by many art galleries, important institutions, collectors at home and abroad.

Li Xiaoke was born in December 20, 1944 in Sichuan, Chongqing diamond slope. With his parents moved to Beijing in 1946. In 1948 the family moved into the Beijing Dongcheng District Yabao alley on the 2. 1960 entered the Affiliated School of China Central Academy of Fine Arts fine arts foundation. Enlisted in 1962 and served in 4582 Tangshan. From 1968 to 1977 demobilized assigned to Beijing internal combustion engine general factory forging shop, blacksmith in recent ten years. In 1978, Li Keran went to Mount Huangshan to help his father, Mount Jiuhua painting lectures, with his father began to study painting system. In 1979 into the Beijing academy. 1986 to 1987 to enter the Chinese Painting Department of China Central Academy of Fine Arts, Lu Shen, Zhou Sicong painting seminar. 1987 to participate in the famous Japanese painter Kayama Yuu short figure painting seminar. 1989 in the central process Academy of Fine Arts "modern constitution" refresher class study.
Li Xiaoke based on the feelings of life, pay attention to absorb the foreign art nutrition, depth to face life, to find their own personalized from the strong feeling of the life in the painting language, performance based on heavy experience, formed a special style of painting. Beijing, Tibet and Mount Huangshan become the three important components of Chinese painting "ink home" series. Held in 2005 "ink homeland Li Xiaoke ink painting exhibition" (Beijing China Gallery), held in 2008 "ink homeland Li Xiaoke ink painting exhibition" (Macao IACM Gallery), held in 2009 "ink homeland Li Xiaoke ink painting exhibition" (Taipei, Sun Yat Sen Memorial Hall), held in 2012 "ink home Li Xiaoke's ink painting exhibition" (Beijing Chinese Gallery), held in 2013 "ink homeland Li Xiaoke ink painting exhibition" (Jiangsu, Xuzhou Art Museum, Guangzhou Art Museum, Guangdong, 2014) held home - Li Xiaoke Ink Exhibition "(Shanghai, Palace of Fine Arts, China) held in 2015" ink home - works of Li Xiaoke Exhibition (Nanjing Art Museum of Jiangsu Province, Taipei, Sun Yat Sen Memorial Hall).
Li Xiaoke since 1988 has more than 30 times into the Tibetan experience, folk songs, shooting more than 10000 photos. In 2003 Li Xiaoke began to explore these works re creation, the combination of print language and documentary photography, creating "hidden traces" series prints. These works become another new artistic expression system of Li Xiaoke's "ink home" series.
Li Xiaoke and hid a deep affection, in the experience of life at the same time, the development of special attention, support Tibet art career, contributed to the formation of contemporary Tibet painting. Since 2004, sponsored planning "snow on" "beauty of Tibet" Tibet contemporary art exhibition.
In 2004 Li Xiaoke training class at Beijing art academy began teaching of landscape painting, has taught hundreds of students in 2005, on the basis of the establishment of the "Li Xiaoke art studio", after several years of hard work has gradually formed a "Lee landscape" spirit and style of painting. In 2013, he opened the "Li Xiaoke tutor studio graduate course class" at the Peking University, any senior instructor.
Over the years, in addition to insist on creation, Li Xiaoke Li Keran is committed to promote artistic spirit, carry forward the traditional culture, since the beginning of 1980s, the Li Keran art exhibition planning, organization meetings, and held various large academic seminars, and edited and published dozens of paintings. 2007 planning, organizing "century can be dyed - to commemorate the one hundred anniversary of the birth of Li Keran" series of activities, (Beijing, China Art Museum), edited and published album books, such as the nineteen.

Ink home
"Ink home" is one of the themes of my concern and performance over the years. Today, many of us are very familiar with the history, culture, experience, emotions closely linked to the home environment, in your time to look back attention, unknowingly disappeared. The quiet Beijing courtyard, Beijing Hutong, palace under the willow, outside the imperial city walls, the old tree lined...... All of these affects people's emotion and spirit, become dependent on people's emotional sustenance. I hope to use my ink language to express the strong impression and memory that gradually fade away.
Tibet trace
In order to find new painting language and feelings, I have repeatedly to the western tibet. After the source of the Yellow River, the source of the Yangtze River, Mount Everest, Qaidam, Ali, Nagqu, Maqu, Xiahe, luqu...... I have a close encounter with Tibetan Tibetans. Tibet's broad, vast and pure, real hot, Tibetans just defended and honest, gave me the shock -- that is a mysterious place that everyone dreams. Trying to get closer, but it is always in the distance, always contain change, loss and eternal...... Tibetan land has become my immortal spiritual home and creative source.
Landscape Mount Huangshan
Mount Huangshan is the sacred place of Chinese landscape painting. In 1978, to Mount Huangshan sketch, and had the honor to meet the famous Japanese painter Mr. Kaii Higashiyama. Since then many times to Mount Huangshan sketch. In 2007, the Mount Huangshan Scenic Area Management Committee of Mount Huangshan Academy of painting and calligraphy, I was invited to the Academy of painting and calligraphy, and the continuation of the Mount Huangshan more love, but also take up the picture of good Mount Huangshan, Mount Huangshan dedication responsibility. Mount Huangshan and Anhui has become an important opportunity for me to explore the landscape painting with content.
learn from nature
"Painting" is an important part of nature gives artists will be moved with the traditional stylized forms and personal aesthetic choice connected, is the natural and traditional discovery and understanding of landscape painting, is an important part of the basic training, the most vigor and vitality. Sketch makes the artist's mind face the ever-changing objective world, can make the traditional and contemporary culture and personal performance experience collide, stimulate infinite creative inspiration, promote the new discovery of aesthetic field.
Print works
Tibet left more than 10000 photos, has become an indelible memory of my life. With the passage of time, still deeply touched by these memories, began to explore the reproduction of the filled with inspiration and passion pictures in print language. In the process of creation, the statues and scriptures carved in stone, printed on the flags of Tibetans as the generation with endless life, with a sincere heart, the eternal memory of continuous track, in order to express Tibet deep admiration and moved.

"Ink painting" is the main language way of Li Xiaoke's art career choice, also is the margin: father, landscape, Chinese painting performance...... It bears the characteristics of Oriental culture.
"Homeland" is the nature of our times and survival, traditional culture is also a "home". When you go in, it will bring you deeply touched and infinite performance space. It is difficult for artists to transform this kind of movement into personalized and stylized painting language, which needs to be realized and implemented by the attitude of "art is bigger than the sky". My father speak of "thousand difficult easy" and "bitter" school "real wisdom" indicates that the painstaking process of "learning"; "asked" to learn "into" is the insistence of Li Xiaoke; "no" is the sentiment in Chinese ink painting for many years; "absorb" "use" is Li Ke towards foreign culture and contemporary visual experience. He has been trying to connect the traditional and nature, life, and constantly look for new possibilities ink performance.
He thought that art started from moving, and art is the trace of life. When we look back on ourselves, we seem to be a traveler on the journey of life, a work that the traveler has done on the road of exploration ".