惜墨如金 — “To be extremely sparing with words, ink, or strokes”

Li Cheng, courtesy name Xianxi, was a native of Chang'an. Originally a member of the Tang Dynasty imperial family, he sought refuge in Yingqiu, Shandong, during the Five Dynasties period, thus earning him the moniker Li Yingqiu. Li Cheng possessed profound knowledge and an upright, extraordinary character. However, his official career was unsuccessful, leading him to immerse himself in nature and maintain an aloof attitude towards powerful figures. On one occasion, a prominent person named Sun, who admired Li Cheng's reputation, requested a painting. Li Cheng flatly refused, forcing Sun to acquire his artwork through other means. When Li Cheng later saw his own painting hanging in Sun's home, he immediately departed in a fit of anger, sweeping his sleeves. This act was seen by literati of the time as a display of noble character.

Li Cheng's landscape paintings were influenced by the masters Jing Hao and Guan Tong. The themes and content of his landscapes were extensive, encompassing forests, marshes, distant plains, treacherous paths, winding streams, waterfalls, precarious bridges, secluded ravines, and various forms of water and rocks, as well as scenes of wind, snow, dawn, dusk, mist, clouds, and clear skies—all pouring from his heart onto his brush.

Li Cheng was particularly fond of snowy scenes and cold forests, leading people to even call him 'Li Hanlin' (Li of the Cold Forests). In his depictions of ancient trees and cold forests, the trees were tough and slender, with small branches strong and vigorous, almost like a warrior dancing, imbued with an unyielding spirit. His mountains and rocks were rendered with few outlines and textures, appearing as if in motion, creating a grand, sparse atmosphere with clear, misty woods. His paintings used ink lightly, faint as if veiled in mist, appearing ethereal and serene. Hence, Li Cheng earned the reputation of 'cherishing ink like gold'.