Birth Time Verification
Li Keran’s date of birth comes from public art-history sources: 1907-03-26, with Xuzhou, Jiangsu as the birthplace. The hour used here is marked as candidate hour, and the local record keeps candidates across the twelve Chinese hours. Among the candidate hours, Zi and Hai make Water and Wood too heavy, pushing the chart toward pure study and lineage. Wu, Wei, Shen and You can bring Metal or Earth, but they lose some of the early self-drive visible in his artistic path. The Yin hour gives Ding Wei, Gui Mao, Jia Xu, Bing Yin. Jia Wood born in the Mao month is overstrong and supports a Yang Blade reading. Bing Fire as Eating God in the hour gives the excess Wood an outlet into image-making, while Xu and Wei Earth leave room for the weight in his landscapes. The Yin hour is used because it explains repeated brushwork training, respect for teachers and the strong personal style that came forward late in life.
Core Analysis
Read with the Yin hour, Li Keran’s BaZi is Ding Wei, Gui Mao, Jia Xu, Bing Yin. Jia Wood is born in the Mao month, and Wei in the year plus Yin in the hour further support Wood. The local calculation reads the day master as overstrong, with a Yang Blade pattern. Metal and Earth are helpful, while more Wood is not. The strength of a Yang Blade pattern is stamina. It does not change direction easily. Its trouble is the same quality turning stubborn. The repeated ink buildup and compressed density in Li Keran’s paintings feel like strong Wood needing Earth to contain it and Metal to cut its form. Bing Fire in the hour stem gives Wood a way out, so the image gains light and heat. Xu and Wei Earth matter a great deal: when Earth arrives, the landscape gains mass. After 1953 he entered the Wu Xu Indirect Wealth luck cycle. Earth was favorable, and his style matured; the density and spatial weight of the landscapes became clearer. He died in 1989, during the Yi Wei luck cycle and Ji Si year. Yi Wood added more peer force, Wei Earth sat in the major cycle, and Si Fire drew out Eating God energy. At an advanced age, Wood, Fire and Earth all moving together can be read in traditional life-limit analysis as heavier physical depletion.
Traits
Dense Brushwork
Xu and Wei Earth are favorable, so the image can sink down and carry the weight of mountains and stone.
Self-Training
The Yang Blade pattern and strong Wood point to long practice and little fear of slowness.
Expressive Heat
Bing Fire as Eating God in the hour gives the painting light and warmth.
Strong Lineage
Gui Water as Resource appears in the month, making early study and major teachers important.
Timeline
Each year shows the event, luck pillar, annual pillar, relations, and interpretation for direct comparison.
Entered the National Art Academy in Hangzhou
Li Keran entered the graduate program of the National Art Academy in Hangzhou and was influenced by Lin Fengmian and others.
In the Xin Chou cycle, Xin Metal as Direct Officer is favorable because it can cut and discipline overstrong Wood. In 1929, Ji Earth as Direct Wealth and Si Fire as Eating God both helped Wood release and take form. Art study moved from interest into method, discipline and image structure.
Studied under Qi Baishi and Huang Binhong
Around his teaching period at Beiping Art College, Li Keran studied under Qi Baishi and Huang Binhong, clarifying his brushwork direction.
The Ji Hai cycle draws Hai Water into the Mao-Wei Wood structure, making lineage and tradition heavy. In 1947, Ding Fire as Hurting Officer appeared, pointing to bolder brushwork expression. Strong Resource brings teachers; Hurting Officer brings voice. That is exactly the year of taking in masters and rebuilding a personal method.
Began extensive sketching from life as the landscape style thickened
Li Keran went deeply into sketching from life, and his landscapes gradually gained a dense, vast personal character.
Wu Xu brought favorable Earth, bringing forward mountains, land and spatial weight. In 1954, Jia Wood as Peer strengthened personal style, while the Wu-Xu half Fire combination increased expressive output. This period turned strong Wood into image and used Earth as landscape mass.
Late artistic standing continued to rise
Li Keran’s late works and artistic standing received broader recognition.
In the Yi Wei cycle, Yi Wood raised peer reputation, while Wei Earth remained favorable and helped the value of his work become visible. In 1986, Bing Fire echoed the hour stem and Yin Wood echoed the hour branch, lighting up the late style again. Wood was strong, but Earth could carry it, so reputation and prices could rise.
Died in Beijing
Li Keran died in Beijing on December 5, 1989.
The Yi Wei cycle added more Wood through Rob Wealth, while Wei Earth repeated the year branch and touched digestion and stamina. In 1989, Ji Earth as Direct Wealth and Si Fire as Eating God appeared together, so Wood, Fire and Earth all moved. For an elderly Jia Wood native, release through Fire and depletion through Earth appear at the same time, which traditional life-limit reading treats as a clear increase in physical burden.
FAQ
Why does this Li Keran BaZi reading use the Yin hour?
The birth date is stable, but no direct hour record has been found. This page compares twelve hour candidates. The Bing Yin hour best explains strong Wood, Eating God expression, teacher lineage and the late formation of a personal style.
What is the core pattern in Li Keran’s BaZi?
With the Yin hour, it is read as a Yang Blade pattern. Jia Wood born in the Mao month is overstrong and favors Metal and Earth. Metal cuts form; Earth gives weight, which matches the feel of his landscapes.
Why did Li Keran’s painting style become so heavy?
Xu and Wei Earth are favorable and can contain overstrong Wood. In BaZi terms, once Earth arrives the image can carry weight, which makes the Wu Xu Earth cycle after 1953 especially important.
How is Li Keran’s death in 1989 read here?
He was in the Yi Wei luck cycle and the Ji Si year, with Wood, Fire and Earth moving together. At an advanced age, strong Wood being released by Fire and depleted by Earth is read as heavier physical consumption.
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