Nostalgia is a human destiny, inescapable. It often appears in poetry and takes shape in painting, deepening this cultural memory and fostering a corresponding cultural consciousness. Over the years, it accumulates and is passed down, which is why the sentiments in poetry are endless, the imagery in painting boundless, and it remains unforgettable for eternity!

Li Yun has a painting called 'Sketch of an Ancient Village'. The inscription on the painting reads, 'In dreams, nostalgia is painted at the village entrance,' expressing just such a sentiment. Even in dreams, homesickness clings, showing that it is deeply hidden in the human heart, always exerting influence and serving as a reminder.

Li Yun painted many ancient villages and old houses, reflecting the rural nature of his choice of subjects. In this era of social transformation and rapid change, cultural figures, including painters, are sensitive and contemplative. With the alternation of the old and new and the shift in ideas, at such times, painting old houses with a rural flavor or ancient villages with a long history is essentially an act of perseverance. In this choice, the understanding of tradition, emotional closeness, and sense of responsibility all play a role.

This deep, rustic local character makes it natural and reasonable for nostalgia to be expressed through such rural emotions. Looking at the painting, the houses are tightly packed, and the sense of nostalgia is strong. Old houses and ancient villages represent history and time, containing invisible or forgotten stories and people. By seeking them out, one can discover the value of culture and life, and the meaning of that pursuit lies here. By preserving our roots and knowing the direction of our homeland, we can better establish ourselves and find our place in life.

Li Yun's paintings, in terms of composition, emphasize a certain structural quality. Houses with white walls and black tiles are often depicted with block-like structures, and the compositions are generally full. The sky and ground are minimal, with walls and rooftops filling the view. The walls are rubbed and stained to create a mottled effect, conveying a sense of age; the rooftops are outlined with numerous tiles and shaded with ink, which gives a sense of form while also creating contrasts of emptiness and density, as well as physical texture, with the walls. The color scheme mainly consists of black and white, interspersed together. However, white is more of a feeling, varying in shades and applied with rubbing or dyeing in ink. This overall results in a grey tonal quality. The interplay of black, white, and grey gives the entire painting a simple, pure, and profound appearance, while also highlighting and unifying certain compositional elements.

From Li Yun's paintings, one can also see the influence of a certain modernity, with the emphasis on and expression of texture being a good example. Here, it is no longer about the traditional interest in the varying thickness and dryness of ink, but about achieving a certain texture in the ideal effect. For instance, in the "Distant Home Series," the walls, with their deliberately processed texture, display a more concentrated and vividly expressive textural effect. Compared to traditional ink, this effect feels fresh, carries unique significance, and naturally conveys a sense of the contemporary era. Naturally, modernity and past traditions are not entirely opposed or clearly separated but represent a reasonable reference and effective enrichment. Li Yun's paintings never depart from the proper language of brush and ink; rather, they achieve a high level of integration with modernity, which in turn influences changes in modes of expression at the technical level.

During the Yuan dynasty, Ji Yi wrote a poem titled 'Shui Diao Ge Tou • Rising and Falling Through History,' which includes the lines: 'Looking back at my old homeland, all the scenery is desolate.' Li Yun inscribed these lines on a painting. In fact, it is not only the long-past 'old scenery' that is desolate, but also the heart that is moved and reflective because of it. This is why there are memories and attachments that remain both in the heart and on paper. The homeland, or one’s native land, is always beautiful, whether in the past, present, or future; similarly, the threads of nostalgia that arise will accompany a person, bringing wistful longing and remembrance, while forever embracing hope!