《李白行吟圖》是研究梁楷的專家學者們共同認定的真跡，同時為梁楷最具代表性與最傑出的畫作。梁楷曾任南宋畫院最高級「待詔」一職，擅花鳥竹石、一水、尤長儒、釋、道人物畫；畫風上，當時院人敬伏其精筆，卻以「減筆」傳世。 《李白行吟圖》能在人物畫中脫穎而出，自有錯綜複雜的原因。其題材為唐代千古絕唱的人詩人李白。為呈現李白才藝橫溢、器宇軒昂，高逸狂放之氣質，梁楷以布白的背景與三角的結構，強調畫中主人翁的獨特與永恒。而該圖最具特色者，在於梁楷突破傳統線條與白描之窠臼，特出新意，開創「減筆」畫風。減筆隱了「逸格」、文人「墨戲」、與「禪意」的樸實自然之美。但是，筆者以為「畫如其人」，畫中李白之所以氣韻生動，乃在於畫家主體生命至虛靜的修為觀照與反射；亦即《李白行吟圖》是梁楷與李白的神靈合而為一，或許是梁楷自身的寫照。 梁楷的「減筆」，標幟著叛逆精神，突破傳統，勇進的創造自己鮮明性格與與體現真我生命。正因此，影響了南宋及元代以後的禪宗繪畫，並激發後世許多標新立異的畫家。

The Poet Li Po Walking and Chanting a Poem is recognized by specialists and scholars as a real work by Liang K’ai (13th century), and the most representative and distinguished one. Liang K’ai worked as Tai-chao (待詔), the highest position, from 1201 to 1204, in the Painting Academy in Hancho is South Sung Period. He was famous in paintings of flowers and birds, bamboo and stones, landscape, and especially know in figures of Buddhist, Taoist, and the lofty gentleman. His capability of illustration surpassed that of his colleagues in the Academy; however, he was well-known for his progress of simplicity and understatement of painting in artistry. The Poet Li Po Walking and Chanting, a collection of Tokyo National Museum, becomes well-know of many reasons. The most important reason is the poet Li Po himself. Although his life was full of frustration in the era of political upheaval, he was very much in peace with himself sometimes in his late years. Liang K’ai represented the character of Li Po, the transcendent elegance of lofty gentleman, the spirit of Zen, and the poetic idea of the poet. He managed to capture those essences by simplicity and understatement of the work. Simplicity means the fundamental lines of a figure. Understatement means the empty space carrying more implicit meaning. That style was a rebellion against the main stream of painting. In this way, he manifested his own character and exerted influence on Chinese artistry.