Sun Yajun
About Hu Shi's edition of Qi Baishi Annals
Hu Shi's version of the "Qi Baishi Annals" is the most valued chronology of Mr. Qi Baishi during his lifetime, and the compilers of the almanacs are Mr. Hu Shizhi, Mr. Li Jinxi, and Mr. Deng Guangming, which have high credibility and important academic value. It is of great significance for returning to the era of Qi Baishi, breaking through the fog and restoring a real Qi Baishi, so as to understand the survival of Chinese cultural people in that era and spy on the development of Chinese art in that era. Mr. Liu Chuanming, a famous scholar, said when talking about Qi Baishi: "For any artist who is regarded as a genius, the premise of understanding him is to understand his life and times, and the loneliness of the world is the desire and expectation of the world", at the same time, Mr. Liu sighed and said that for the history of Chinese art in that part of the Republic of China, we still lack an objective and comprehensive understanding, and we need a copy of the "Art History of the Republic of China" to make a comprehensive review and summary of the development of Chinese art in the Republic of China period." It is based on this inspiration that we start with Mr. Qi Baishi, return to his time, read the past experience of the old man Of Baishi, and then examine the art of our time today.
There are many books and treatises on Mr. Qi Baishi. Hu Shi's edition of the "Annals of Qi Baishi" believes that its academic value and the documentary value of Qi Baishi's research lie in: First, Hu Shi and Qi Baishi belong to the same era, and according to Mr. Hu Shizhi's annals: "In the autumn of the thirty-fifth year of the Republic of China (1946), Mr. Qi Baishi told me that he wanted me to try to write his biography. Once he came to my house in person and handed me a bag of biographical materials. I am very grateful to his old man for this entrustment, and at that time he agreed to write a biography" ("The Chronology of Baishi, The Preface of Hu Shi"), which shows that Hu Shi wrote the annals as a figure recognized by Mr. Baishi; second, Mr. Hu Shizhi was the pioneer of the New Culture Movement in China, he has always advocated "having a point of evidence, saying a point of truth", as a student of Dewey, the father of American experimentalist philosophy, when he was doing research, he paid attention to "laboratory methods", scientific screening, bold doubt, and careful verification. Therefore, the credibility of the "Qi Baishi Annals" made by Mr. Hu Shizhi is very high. Third, after Mr. Hu Shi finished writing the first draft of the chronology, he gave it to his friend, Mr. Li Jinxi, who also had a friendship with Qi Baishi for fifty-five years, to make up for it, according to Mr. Li Jinxi's record: "Mr. Hu had already written four volumes of the first draft in August of the thirty-sixth year of the Republic of China, when I was leaving Beiping for an incident, and returned from Xiang to Ping in April of the thirty-seventh year, and in June Mr. Hu handed me the whole manuscript. It is best to ask Mr. Baishi himself to correct the original materials; second, the original materials are really not enough, and he needs to replace the paper and pencil with his own mouthpiece", because of this, Mr. Li Jinxi has repeatedly talked with Qi Baishi since July of the 37th year of the Republic of China, and after half a year, he has been casually ordering and supplementing hu shi's original manuscript, and at the same time, Mr. Li Jinxi has always loved to keep diaries, and has never been interrupted for decades, so there are more materials in the annals that use diaries as circumstantial evidence. Fourth, Hu Shi's version of the "Annals of Qi Baishi", after Mr. Hu and Li finished, Hu Shi asked Mr. Deng Guangming, who is a historian, to examine it from the perspective of a historian and seek perfection. In the words of Mr. Hu Shizhi, "This "White Stone Chronology" is probably only 30,000 words, and it is the result of the cooperation between Li Shaoxi, Deng Gongsan and me."
Due to the above reasons, Although Hu Shi's version of the "White Stone Chronology" is only more than 30,000 words, the amount of information is very huge, coupled with the academic standards of Hu Shi and Li Jinxi, this book is definitely a classic in the first White Stone Chronology. Regarding Mr. Qi Baishi's friendship, many people have also discussed it, but everyone's focus is different, the meaning of the expression is different, the "Qi Baishi Annals" is peeping, we want to expound two ideas: First, through the exchanges between Qi Baishi and those figures at that time, it is shown that the exchanges between the intellectuals of the Republic of China generation are the recognition of sympathy, and there is no intention of clinging, pleasing, or even saying against the heart in the exchanges of today's literati, and there is no relationship between them to use and be used; second, Restore Qi Baishi's living conditions as an artist in that era, such as his contacts with Fan Zengxiang of Shaanxi Province, and his contacts with Chen Shizeng, and then explain how Qi Baishi, an artist from a craftsman background, lived in the turmoil of his home country in that era.
In a sense, the exchanges between the literati can represent the cultural ecological environment of an era, and the cultural elites of the Republic of China generation still retain the last spirit of "scholars" in their bodies, which we can see in Mr. Shiraishi's travels. At the same time, although Qi Baishi, who was born as a "craftsman", in that turbulent era, on the one hand, he sold paintings for a living in order to make a living and support his family, but he did not lose his integrity, which is also worthy of our intellectuals today.
Wang Minyun
Qi Baishi and xiangzhong daru wang Minyun
Mr. Qian Zhongshu recorded in his collection of quotations compiled by the Fuzhou poetry critic Chen Yan, "Stone Language", that Chen Yan recounted that after the death of Wang Minyun of Xiangtan, a certain newspaper in Shanghai published a prank of The League: Xuefu Wenzhongzi, like Wu Dalang. In this way, it shows that Wang Minyun's learning is great, but his appearance is strange and ugly. Wang Minyun (王闿運), courtesy name Xiangqi (湘绮), was a leading figure in the early Xiang studies of the late Qing Dynasty, and after the Xinhai Revolution, he served as the curator of the Qing History Museum. He has been engaged in educational work for a long time, successively teaching Chengdu Zunjing Academy, Changsha Sixian Lecture House, Hengyang Chuanshan Academy and Nanchang Jiangxi University Hall, thousands of disciples under his disciples, including Yang Du, Liu Guangdi, Liao Ping, Yang Rui, Song Yuren, Qi Baishi, etc., of which Yang Rui and Liu Guangdi are all figures in the "Seven Gentlemen of Pengshu", which is inseparable from Wang Minyun's teachings, it can be said that Wang Minyun enjoyed a very high reputation in the academic and political circles at that time, and the study style of Chengdu Zunjing Academy changed because of Wang Minyun's teaching. A large number of academic masters such as Liao Ping and Hu Congjian have emerged.
Qi Baishi and Wang Minyun were fellow villagers, but because of their different identities and social status, it was not until Qi Baishi was thirty-seven years old that he worshiped under Wang Minyun and became a disciple of Wang Men. In the Annals, it is recorded that in the twenty-fifth year of Guangxu (1899), Bai Shi was thirty-seven years old, saw Wang Minyun, and worshiped the door as a disciple. Qi Baishi was born in a humble background, reading and literacy all depend on the labor of his grandmother and mother, in order to be able to read and write, the family poverty made him consciously undertake the list of supporting his family very early, he studied painting completely out of the needs of livelihood, so he maintained a peasant habit all his life, diligent in pen cultivation, he had poetry clouds: "Pen is busy like a farm tool, Yantian farmers have not rested", conscious civilian consciousness let him do a "craftsman-style" artist all his life, but also made him maintain a certain distance from the magnates from the beginning. We can understand this from his interactions with Wang Minyun. Mr. Lin Mu said in the article "Xingtang Baiwu Is Not a Public Secretary - Qi Baishi's Conscious Civilian Consciousness": "Qi Baishi's pride of this kind of civilian is directly reflected in his dislike of bureaucrats, and the idea that there are no good people in the official field received from his mother at the age of 6 makes him reluctant to get close to the official field all his life." It was his mentor Wang Xiangqi, a famous scholar in Xiangtan, and Qi Baishi who was also quite uncomfortable because of his official gentry. I worship the old man Xiangqi as a teacher, but I never say to anyone that I am his protégé. Because there are too many officials and nobles in Wang Menda, they are not willing to be juxtaposed under the door wall'" This is the true color of Mr. Qi Baishi, and it is also a rare and valuable quality of an artist, how can the current wind be ranked with Bai Shi Weng?
Under Wang Minyun's door there are "three craftsmen", namely: "blacksmith" Zhang Zhongbiao, "coppersmith" Zeng Zhaoji, and "carpenter" Qi Baishi. Li Jinxi said in the "Annals": "The coppersmith once recruited Ji, a Hengyang man, when he was in Nanchang to manufacture large balloons by air, he could be two people, let the wind blow, but fell into the water during the experiment." Shiraishi said that he often wears official boots, and each time he expresses his ability to write." Li Jinxiyun: In modern Xiangtan, there are five monsters: a monk, that is, an eight-fingered head, a blacksmith, a carpenter, a smith, and a shepherd boy. The blame is that they are all extremely poor at home, absolutely unable to study, but can learn from themselves and become famous. The first three were all related to Xiangqi successively. It can be seen that Wang Xiangqi is also very strange, regardless of his origin, he can only teach him. Carpenter Qi Baishi's first visit to the master, the master Wang Xiangqi, praised and depreciated him, guangxu twenty-five years, Wang Minyun recorded in the "Xiangqi Lou Diary" on the twentieth day of the first month: "Look at the carpenter's engraving and printing, and send another Zen Mr. Zhang also." On October 18, it was also recorded: "Qi Huang worshiped the door and took the literature and poetry as his wife." The text is still a chapter, and the poem is like a Xue Pan body." Mr. Hu Shizhi expressed dissatisfaction with this, he said: "Wang Minyun said that Bai Shi's poems resemble Xue Pan's body, which is quite close to meanness, but Bai Shi pays homage to the old man of Xiangqi all his life, and he will not fade away until he is old. Although Bai Shi worshiped under Xiang Qi's door, his temperament and life made him unable to learn Wang Xiangqi's set of fake antiques, so Bai Shi's poetry was not poisoned by him."
Hu Shi's words are objective and correct. Ancient poetry, calligraphy, painting and printing are said to be indispensable, and they are also the basic qualities that an artist must have. When Qi Baishi was young, these all went through a set of rigorous training, especially in poetry, and did not become the "Xue Pan Body" that Wang Minyun said. Qi Baishi's "Self-Memoirs" Yun: "Twenty-seven years old, Mu Huqinyuan and Mr. Chen Shaofan are gentlemen with elegant style, and they are teachers, and they learn poetry and painting." Li Jinxi said in the "Annals and Sayings": "Chen Shaofan was in the Hu family, and Qinyuan asked Bai Shi to come and said to him: "Three Character Classic" Yun, Su Laoquan, twenty-seven, start to be angry, read books, you are at this age, just follow Teacher Chen to read." Chen Yun did not collect money for study, and the daily point "Three Hundred Poems of Tang Dynasty" was the beginning of Qi Baishi's training in poetry, and since then it has been out of control, Bai Shi has "Past Events To Show His Children" in his later years: "The village book has no horns and is late, and there was a teacher in the twenty-seventh year. What's the harm in lamps without oil? Self-burning pine fire to read Tang poems". According to Wang Xun's "Baishi Poetry Grass Trek" record, at that time Qi Baishi was already famous for composing poems in his hometown, and he served as the president of the "Longshan Poetry Society", so we can say that Wang Minyun's comments are not enough to explain that Shi poetry is very poor, when I read the annals, I found that Mr. Qi Baishi's poems, sentences contain deep feelings, there is no social work, even if it is a painting inscription poem, it is also after a careful combing, the words are elegant and emotional. His poems cannot be seen by the standards of a poet, but as an account of the artist's life, it is indeed the color of life, and the language is simple and sincere.
After all, Wang Minyun is a Hongru in the old school, Mr. Baishi's poetry training came late, and he was a halfway monk (at least in the eyes of the old man Xiangqi), and the poetry matter did not pass Wang Minyun's "pass" after all. Wang Minyun he is also a man who prides himself on his life as an emperor in the ups and downs of times, he is a complete "delusional person", and there are very few people in the world who can enter his eyes. He had the madness of a gentleman, and when he was a guest at the palace of Zeng Guofan, the governor of Liangjiang, he talked about the world's major events, and he believed that Zeng Guofan should take advantage of the pacification of the Taiping Heavenly Kingdom to go north and overthrow the Manchu Qing. When his disciple Yang Du entered the WangMen at the age of 21, Wang Minyun wished to pass on what he had learned in his lifetime to Yang and asked him, "I have three kinds of learning here: the study of gongming, the study of poetry, and the study of emperors, which one do you want to learn?" Yang Du chose to learn the study of emperors, and later Yang Du sincerely became a pioneer in the constitutional reform of the late Qing Dynasty. Qi Baishi's knowledge of carpenter-born skills was nothing in the WangMen, which Qi Baishi himself admitted. In the autumn of the thirtieth year of Guangxu, when Qi Baishi was forty-two years old, Wang Xiangqi traveled to Lushan in Jiangxi to the Tengwang Pavilion in Nanchang and invited his disciples to accompany him, during which Wang Minyun said: "Since Zeng Wenzheng went to Nanchang, the style of writing has been silent. This evening must not be without poetry", so he ordered his disciples to write poems, and Mr. Shiraishi recorded in the "Record of borrowing the mountain pavilion": "Jia ChenChun, Bo You Yu Zhang." Mr. Xiangqi of Wuxian County set up a banquet in Nanchang Mansion on The Qixi Festival, summoned disciples to join the sentence, and Qiang Yu and Yan. Yu must not have a good sentence, but the one who is so is not alone. It is known that it is not a root of learning, and the cover is not easy to say."
Wang Xiangqi and Qi Baishi, the two masters and apprentices, are ultimately two people, Wang is Hongru is respected, and Qi is a craftsman to support his family is the first priority. In the end, Qi Baishi still did not exert efforts in poetry learning, devoted his life to the cause of art, and continued to improve to become a generation of masters. But his achievements in poetry are very different from many people in his time, he wrote poetry with local feelings and the true colors of a commoner, and he said in "Baishi Zizhi" when he recounted what he had learned in his life: "There are not many works in his life, and he has written one volume of "Borrowing Mountain Poetry", eight volumes of "Baishi Poetry Grass", forty-two pictures of "Borrowing Mountain Yinguan Map", and three albums. There are still eight volumes of poems, which have not been copied." Now reading Mr. Bai Shi's poems, especially the poetry manuscripts about artistic creation, is even more deafening, benefiting countless future generations, such as Mr. Deng Guangming's supplementary annals of Bai Shi's poems: "The unprecedented release of Ah Chang after the end, a lifetime of strength to hide Qing Xiang." In the chest of the landscape and water wonders the world, delete a pair of copying hands. "Long hate Qing Xiang is not seen, is the immortal is strange is the god fox." Sometimes I also work as a furker, but my peers refuse to call. "From now on, don't smile at the flowers, and praise the autumn to come over the ear wind." Not teaching at all, Jiuquan shamed old Pingweng. ”...... From this point of view, Mr. Shiraishi's poetry manuscripts, like his people, are very pragmatic, and artistically he is definitely an independent special practitioner, which is very similar to that of The Master Wang Minyun.
Qi Baishi
Two nobles in Qi Baishi's artistic career
He Qin of the Qing Dynasty had a couplet to illustrate the rare opportunity of confidant, he said: "Life is enough to know oneself, Si Appropriately regards it badly together", this sentence was written by Lu Xun to his confidant Qu Qiubai, Lu Xun and Qu Qiubai never met, but regarded each other as confidants, after Qu Qiubai's sacrifice, Lu Xun endured heartache, in his last few years, he spent a long time in sorting out Qu Qiubai's posthumous work "The Above Forest of the Sea", this short history is known as a good story in the literary world. In fact, everyone has one or two people in their lives, who can be called "confidants", and in Qi Baishi's life, there are two people, who are both Mr. Baishi's confidants and nobles in his life, they are Fan Zengxiang and Chen Shizeng.
Fan Zengxiang
Fan Zengxiang (1846-1931), formerly known as Fan Jia, also known as Fan Zeng, zi jia father, alias Fan Shan, no. Yunmen, late Lyra old man, Enshi people of Hubei Province. Guangxu Jinshi served successively as a political envoy of Weinan Zhi County, Shaanxi Province, and the Governor of Liangjiang. He studied under Zhang Zhidong and Li Ciming, and his poems were vulgar, known as "Fan Meiren", and he was good at writing, and he posthumously left more than 30,000 poems, and wrote "The Complete Works of Fan Shan" passed down to the world. In the twenty-eighth year of Guangxu (1902), Qi Baishi was forty years old, and at the end of this year, when Qi Baishi was working as a special painter in Xi'an, he became acquainted with Fan Zengxiang, who was then the shaanxi emperor. The "Self-Memoirs of Bai Shi" records: "Nong Yin, Zhi Xia Shoutian, Li Ruiqing brothers uncles and nephews, Guo Baosun brothers" "It is the winter of the year, Xia Shoutian was hired by Xi'an as a painter, teaching Yao Wushuang (Xia's concubine, Bai Shi once engraved "Peerless From The Tour") wind and snow across the Baqiao, far away from Mount Hua, at that time, the year will end, zhiFan Zengxiang." Since then, Fan Zengxiang has become a very important figure in Qi Baishi's life, Fan Zengxiang's official status, on the one hand, can make Qi Baishi's paintings quickly approach the high society at that time; on the other hand, Qi Baishi can travel through famous mountains and rivers with the support of the official family and expand his horizons; on the other hand, Fan Zengxiang, because he appreciates Qi Baishi very much, also sympathizes with the suffering of folk artists such as Qi Baishi, so he takes the initiative to act as Qi Baishi's "agent". Various historical materials show that Qi Baishi's painting style also moved from brushwork to freehand during this period, and the real beginning of the transformation of his paintings into economic value also began from this period. About the change of Mr. Baishi's painting style, Lai Jinxi said in the supplementary record of the chronology: "By the age of Forty, he was forty years old, making a long journey, gradually changing his style, and only then did he embark on the freehand flower feather school (the atmosphere created by Wu Changshuo). Min first learned the Bada Shanren, until Min Liu Min avoided chaos twice and settled in Beijing, he created the two-colored flowers of safflower ink leaves, and crabs and shrimp with a few thick and light strokes."
Fan Zengxiang, as a celebrity in the late Qing Dynasty, naturally played a pivotal role in the officialdom, culture, and art circles, and he used his discernment to recognize Qi Baishi, who was erupting artistically, and when he was in Xi'an, he often invited Qi Baishi to be a guest in the palace, and introduced him to the celebrity merchants at that time, which to a certain extent expanded the publicity of Qi Baishi. Czech scholar Bemisha said in the article "Frost Red Three Leaves: Strange and Strange Autumn - > of the Album< of Qi Baishi Grass Worms in the Collection of the National Gallery of Art in Prague": "In 1902, Qi Baishi met Fan Zengxiang through the introduction of his friend Xia Wuyi during his visit to Xi'an. Fan Zengxiang, who is regarded as a literary celebrity, appreciated Qi Baishi's artistic talent and later funded him to study seal carving and painting, while also teaching him poetry writing skills and introducing him to the literary and artistic circles of the time. Fan Zengxiang's help and promotion not only greatly increased the price of Qi Baishi's engraving and calligraphy, but also paved the way for Qi Baishi, who was unknown at that time, to emerge in the northern literary circles. Qi Baishi once lived in Fan Zengxiang's home and was commissioned by him to engrave the seal, and the two later became confidants. After Fan Zengxiang's death, in order to express his condolences, Qi Baishi once engraved 'Old Age Weeping Fan Shan'". ("Qi Baishi Research" Second Series Beijing Academy of Painting Published by Guangxi Fine Arts Publishing House) Mr. Bai Shi has "Borrowed Mountain Picture Scrolls" handed down, which has been painted since Xi'an, when he traveled to Beijing, Jiangxi, Guangxi and other places, and it was thanks to Fan Zengxiang's support and introduction that Qi Baishi had such an opportunity. His friendship with Fan Zengxiang can sometimes be painted together, the painting is composed by Bai Shi, and the poem is titled by Fan Zengxiang, which is hidden in Qi Baishi's "Cordyceps Album" of the National Gallery of Art in Prague, and part of it is the same work of the two. Fan and Qi were friends for a long time, appreciating and respecting each other, and he intended to promote Qi Baishi as the imperial painter of Empress Dowager Cixi. In the twenty-ninth year of Guangxu, Qi Baishi's "Self-Memoirs" recorded: "In the spring and March, noontime please do your duty as a painter, ditto the Beijing master, Fan Shan (Fan Zengxiang) said: 'I arrived in May, the empress dowager loved to paint, and I should recommend the king'" "." However, Mr. Qi Baishi's lifelong character cannot be changed, he does not want to be listed too close to the official family, he prefers to be an old farmer, an old farmer who has been cultivating and painting all his life, so he still politely refused Mr. Fan. He wrote in his "Self-Memoirs": "At the beginning of May, Wen Fanshan had already started his journey, and Huang Pingsheng thought that seeing noble people was a hardship, and he forcibly resigned from noon and wanted to return to the south. Noon: If you have a return, you can't force it. Shou Tian wants to donate a county to the public. ...... Qi Baishi's independent character as an artist is still worthy of our admiration, and the "peasant nature" he has adhered to all his life is his "gentleman's foundation", if he really agrees to be a royal painter or a county clerk, it will be a huge loss in the history of Chinese art in the twentieth century.
As a nobleman in Qi Baishi's life, Fan Zengxiang consciously assumed the role of Qi Baishi's "agent" in their interactions, and when Qi was in Xi'an, when Qi was entrusted to engrave in Fan's house, Fan had customized runge fees for Qi and made it public. Mr. Lin Mu wrote in the article "Xingtang White House Does Not Go Out of the Gongqing": "The famous scholar Fan Fanshan (Fan Zengxiang) personally wrote to Qi Baishi in Xi'an: the commonly used seal, two gold per word. Shi Guang takes the Han ruler as the degree, and Shi Dazhaojia. The stone path is divided into two parts, the words are like grains, and each word is ten gold, which is the real guarantee that Qi Baishi can make a living in peace." Perhaps it was with the help of Fan Zengxiang that Qi Baishi's paintings became the leader of the collector's hands in a short period of time, and his economic conditions were also improved, and the "Annals" recorded: "In the thirty-second year of Guangxu, Qi Baishi was forty-four years old, and he began to set up a field in the Ru family of Cha'en Temple", presumably Mr. Baishi accumulated some money during these four years before he could buy a field and build a house.
Fan Zengxiang played a very important role in the early days of Qi Baishi, and later because of the war, Qi Baishi stayed in his hometown in Hunan for a long time. Later, when he went to Beijing again, his life was also very poor, and he once sold paintings near the Liuli Factory in Beijing for a living. During this time, he met the second noble person in his life, Chen Shizeng.
Chen Shizeng
Chen Shizeng, a native of Yining, Jiangxi (present-day Xiushui, Jiangxi), formerly known as Chen Hengke, was a famous artist and art educator. He was born in Shuxiangmendi, his grandfather was Chen Baozhen, the governor of Hunan, and his father was the famous poet Chen Sanli. In 1902, he went east to Japan to study, and returned to China in 1909 to serve as the director of education in Jiangxi. From February 1911 to April 1913, he was invited by Nantong Zhang Xiao to teach at Tongzhou Normal School (now Nantong Normal School) to teach museum courses. In 1913, he went to Changsha First Normal School to teach, and later went to Beijing as an editor and examiner. He is also a professor at Beijing Women's Higher Normal School, Beijing Higher Normal School, and Beijing Fine Arts College. The "Annals" of the sixth year of the Republic of China records: "In the summer of May, I avoided the chaos in the countryside and went to Beijing. Coinciding with Zhang Xun's restoration, Duan Qirui sent a division to the horse factory to discuss, so he went to Tianjin to avoid the army. "In the early years of the War-torn Republic of China, it was not easy to get a glimmer of vitality, not to mention that it was not easy to make a living from art. Qi Baishi said in the commentary "Baishi Shicao Jingshi Miscellaneous Feelings": "When yulu arrived in Beijing on the twelfth day of May in the lunar calendar, there was a war, and on the twentieth day he avoided the army in Tianjin, and the train passed through Huangcun and Wanzhuang and was in a battle, the car could not be stopped, and it was forced to pass through the rain of bullets." This is a dark and dark year of the people's first year, and the experience of an ordinary Chinese person is really not easy. In this year, he avoided chaos in Tianjin, sneaked into Beijing, and fell near the Liuli Factory to know Mr. Chen Hengke. The Shiraishi Self-Description records in detail the process of their acquaintance. "I hung a runge that sold paintings and engravings in the south paper shop of Liulichang, and Master Chen once saw the seal I carved, and specially visited me at the Fayuan Temple. Shi Zeng was able to paint large freehand flowers, with a strong pen and a majestic spirit, and was very prestigious in Beijing. In the box, I took out the "Borrowed Mountain Scroll" and asked him to identify it. He said my frame was tall, but there was less than superb. Inscribed a poem to me, saying, 'Nang Yu carved the seal zhi Qi Jun, and now I see the painting like a seal text.' Bundles of paper from the silkworm to write the foot, the bottom of the foot of the mountain and river chaotic clouds. Qi Jun's printing work and clumsy painting are all wonderful and difficult to distinguish. But I am afraid that the world does not know how to paint, and it seems that it cannot be unheard of. Just as the book is happy and charming, there is no strange retreat to ridicule the right army. Painting me self-painting from ancient times, why should I bow my head and ask for the same group'" After the Fayuan Temple, they were very obedient to each other, so they looked at it as a confidant.
Chen Shi once walked into Qi Baishi's life, and the transformation he brought to Qi Baishi seems to me to be as follows: first, he expanded Qi Baishi's social circle to the academic intellectual elite at that time; second, he made Qi Baishi more confident in his paintings, especially after the Japanese exhibition; third, to a certain extent, changed Qi Baishi's economic situation. At that time, Chen Shi had worked with Li Jinxi as an editor in the Ministry of Education, and the academic intellectual elite had many contacts, and Chen Shizeng's intervention must have made Qi Baishi's social circle expand rapidly, and gradually recognized by the intellectual elite at that time. In the ninth year of the Republic of China, Qi Baishi met the mainstream figures in the cultural circles at that time in Beijing under the introduction of Chen Shizeng, Zhu Wuyuan, Xu Beihong, Lin Qinnan, Chen Sanli and so on. At the same time, Chen Shi was a person who had received very strict traditional and old cultural training, and his influence on Qi Baishi was also reflected in art criticism, and Li Jinxi's diary recorded: "On the 25th of October, Shi Zeng came to talk about the printing of the endangered Weng recently, which was more than longitudinal and horizontal, the ancient clumsiness was insufficient, and the painting style was very high, but those who could appreciate it could comment that it was not everywhere", and in his interaction with Qi Baishi, he could always remind Qi Baishi and make it develop rapidly in art. Of course, for Qi Baishi at that time, the Hunan family was waiting for the money he sent back every month to maintain his livelihood, and he was very concerned about the operation of his paintings.
Chen Shi's help to Qi Baishi can be said to be huge and selfless, and he has introduced Qi Baishi's paintings to foreign buyers many times to the international vision. Qi Baishi wrote about his gratitude to Chen Shizeng in his "Self-Description": "In the eleventh year of the Republic of China, I am sixty years old. In the spring, Master Chen once came to talk: There are two famous painters in Japan, Araki Tomu and Watanabe Chenmu, who wrote to invite him to take his works to the Sino-Japanese Joint Painting Exhibition at the Tokyo Prefectural Arts and Crafts Museum. My painting career in Beijing was not very good, and when I had this opportunity, of course, I was willing to comply, so I painted a few landscapes and handed them to him to take with me." Each of my paintings sold for one hundred silver coins, and landscape paintings were more expensive, two feet of paper, and sold for two hundred and fifty silver coins. Such a price in The country is not to think about it. He also said that the French selected the paintings of me and Shi Zeng in Tokyo to join the Paris Art Fair. ...... Since then, my painting sales career has become more and more prosperous day by day, which is a favor that the master has promoted me, and I will never forget him."
Most of the friends in life, but there are very few slanderous friends, in a word, everyone loves to listen to good words. However, Qi Baishi and Chen Shizeng were two people, Chen Shi was Qi Baishi's defamation friend, but also Qi Baishi's propagandist, without Chen Shi's propaganda in Japan, there would be no Japanese to shoot propaganda films for Qi Baishi, and his name moved overseas. Therefore, Chen Shizeng's death was a very huge blow to Qi Baishi. In the twelfth year of the Republic of China, Chen Shi died in Nanjing at the age of forty-eight. Qi Baishi once wrote a poem to mourn this deceased friend: "The return of the weeping king is too hurried, and the friends are few and sad." The old man of Ander is here today, and Henchen draws his sword and kills Qi Huang."
Lai Kam Hee
Conclusion
Although the times are different, the hearts of the people in the world are the same, and human nature has not changed. There are thousands of disciples under Wang Xiangqi's door, and there is no shortage of talented people, Xiangqi is originally a person of temperament, and it is also commendable that he brought Up Qi Baishi in distress. Qi Baishi has almost always advanced in learning and learning in his life, but as a disciple of Wang Men, he undoubtedly added a glorious link to Qi Baishi in the predicament, although Qi Baishi was unwilling to admit it. But we have reason to believe that that era was even more snobbish than now, the success of any artist is caused by many factors, Qi Baishi's success is not only because of his own works, but more importantly, his life has many friends who are willing to help him, and the addition of these people makes Qi Baishi become today's Qi Baishi. Of course, Qi Baishi's "peasant consciousness" and his "craftsman consciousness", which are often despised, are precisely his independent personality charm. He is very pragmatic, because of his humble origins, he has known how to manage himself all his life, and he also knows how to protect himself in the chaotic world, and at the same time he does not lose his peasant nature. The value of the artist needs to be recognized, but blindly unprincipled attachment, flattery, and even detract from his own personality to seek economic accommodation, which is something that Qi Baishi despises.
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Mr. Luo Jiakuan, Yungu, Luo Qi, Zhenru Jushi, a native of Chengdu, Sichuan, studied under the masters of Chinese painting Chen Zizhuang and Guo Man hoe, and the Bashu Guoxue Taidou Chen Wushi and Mr. Lan Jusun. Mr. Luo Jiakuan is a re-disciple of Mr. Xie Wuliang. National first-class artist, cultural scholar, Chinese painting artist, philanthropist. He once served as the first president of the Huaxia Painting Academy of the China Disabled Persons' Federation, the vice president of the China Disabled Calligraphy and Painting Association, the president of the Red Calligraphy and Painting Academy of the Construction of the Old District of China, and the academician of the Art Exchange Institute of the China Association for Friendship with Foreign Countries. He is currently a distinguished professor of Shanxi Datong University, the artistic director of the Gongwangfu Brand Operation Center of the Ministry of Culture, the West China Metropolis Newspaper, the cover media art consultant, the consultant of Chenganda Cultural Development Co., Ltd., and the honorary dean of The Sichuan Jiakuan Culture and Art Research Institute.
Sun Yajun, ZhenrenTang, young writer, calligraphy and painting critic, studied under Chinese painting artist Mr. Luo Jiakuan. Obsessed with literature, like to read, firmly believe in the ancient precepts of literature to carry the Tao, advocate the style of the may fourth generation of traditional scholars, and adhere to the independent writing direction. He is currently the executive director of Sichuan Jiakuan Culture and Art Center, the director of the New Media Center of the Guanxue Research Institute of Northwest University, the academic host of Sichuan New Literati Painting Institute, the executive editor of Shidao magazine, and the author of essay collections "Scholars of the Republic of China" and "On the Road".