"The Biography of the Painter" ~ 408
Text/Lu Xiuhui
Qi Baishi (January 1, 1864 – September 16, 1957), originally known as Chunzhi, Zi Weiqing, Lanting, later renamed Huang, the character endangered, the number Of Baishi, Baishi ShanWeng, Lao Ping, Hungry Sou, the owner of the Borrowing Mountain Yinguan, the old man on the Jiping Hall, the rich man of the Three Hundred Stone Seals, his ancestral home was Zhongshan in Suzhou, Anhui, and he was born in Xiangtan, Changsha Province, Hunan Province.
Qi Baishi said, "Our family is very poor!" ”
Qi Baishi was six years old and studied with his maternal grandfather Zhou Yuruo. At the age of fourteen, in order to make a living, he studied the craft of making a living under the guidance of the carving carpenter Zhou Meimei. In order to learn to carve well, he studied "Mustard Garden" in addition to work. Although the painting score is a fragment, it is a rare blueprint for the young Qi Baishi. When Qi Baishi was twenty-four years old, he studied with the folk artist Xiao Qianqian and learned to paint portraits.
When Qi Baishi was twenty-five years old, he met the first nobleman in his life, Hu Qinyuan. At that time, the craftsmanship of Qi Baishi's carved carpenters was already famous in the square area. Hu Qinyuan is proficient in poetry, literature, calligraphy and painting, likes to make friends, and often suffers from social painting and calligraphy. Hunan likes to use bamboo cloth as a curtain, and people who pay attention to it also find someone to paint and write on it, and Hu Qinyuan often does this work. Once, the housekeeper told him that his clients had gone to find a man named Qi Baishi to paint. When Hu Qinyuan came to Baishi shop with the housekeeper to find Qi Baishi, he was painting, and Hu Qinyuan stood behind to watch, feeling that Qi Baishi was profoundly skilled, extremely talented, and a talent that could be created, but it was obvious that the craftsmanship was too heavy and lacked culture. Therefore, Hu Qinyuan took the initiative to invite Qi Baishi to his home to learn poetry and painting. Qi Baishi's "Title Borrowing Mountain Map":
The groans kept coming out of the curtain, and Si Shi could still have this man.
In the painting, the poor people boast, and there are old neighbor pines in front of the house.
Hu Qinyuan renamed Qi Baishi Qi Huang (齐璜), the character endangered, and the number Baishi Shanren (白石山人). Qi Baishi deeply felt the grace of Hu Qinyuan's knowledge, and angrily studied poetry, calligraphy and painting, and made rapid progress in art. In order to help Qi Baishi, who was poor at home, Hu Qinyuan often took care of his work so that he could feel comfortable in his livelihood. The grace of Hu Qinyuan's acquaintance, Qi Baishi still remembers it many years later. When Hu Qinyuan died, Qi Baishi was forty years old, and when he heard the news, he cried loudly and deliberately painted more than twenty paintings and burned them in front of Hu Qinyuan's spirit. Qi Baishi said, "His old man is not only my mentor, but also the first confidant in my life." I have achieved a little today, and the source of drinking water is from the cultivation of his old man's family. ”
When Qi Baishi was forty-one years old, he began a very meaningful journey of "five outs and five returns" in his life. The first time was at the invitation of Xia Wuyi, who left for the north in early October of that year to teach painting in Xi'an. In Xi'an for 3 months, he went to Beijing with Xia Wuyi, and traveled to Huayin and Hongnongrun on the way. In Xi'an, he met Fan Fanshan, who wanted to recommend Qi Baishi to Empress Dowager Cixi as an offering in the inner court, and Xia Wuyi was also willing to donate a county for him, but Qi Baishi refused. It was not until June of the following year, which lasted nine months, that he returned to his hometown. After staying at home for more than half a year, in the spring of 1904, his teacher Wang Minyun invited him to travel with him to Nanchang, and returned to his hometown after the Mid-Autumn Festival. Qi Baishi's "Painting Huayue Diagram Inscription":
The immortals saw that my hand had been shaken, and blamed me for not having disappeared.
Immediately used to portray the mountain, the three peaks are like a sharp pen like a knife.
In July of the following year, a third excursion began, this time in Guilin, and it was not until the autumn of 1906 that he returned to his hometown and stayed outside for more than a year. At the end of the following spring, he traveled to Qinzhou again, lived for more than half a year, and returned to his hometown in Hunan in late winter. Two months later, he traveled to Guangzhou, returned home in the autumn, and returned to Guangdong again not long after, staying until September 1909. These five trips are very important to align with White Rock. Although it is a jianghu that runs for the sale of art talents, most of the time in the field for seven years. Since then, his vision has been broadened, his heart is no longer confined to one place, until Qi Baishi went to Beijing at the age of fifty-five, he rarely stayed in Xiangtan, but ran all over Hunan, with the literati inkers to write poetry, painting and singing.
In 1917, Qi Baishi was fifty-five years old, Hunan was constantly fighting, the squires took refuge, at this time Qi Baishi was also a squire, and when he also wanted to avoid the countryside, Fan Fanshan invited him to Beijing, and he came to Beijing alone on May 12 to survive. This time in Beijing, he became acquainted with Chen Shizeng, who was another nobleman in his artistic career. It can be said that without the appearance of Chen Shizeng, there would be no great success of Qi Baishi in art. A few months later, the hunan military unrest was slightly better, and when he returned to his hometown in early October, his home had been looted. In March 1919, he came to Beijing again, this time deciding to stay longer. The wife was reluctant to give up the family property, or did not accompany her, and persuaded Qi Baishi to take a concubine. Qi Baishi recalled: "I really have an indescribable gratitude. ”
In 1919, near the Mid-Autumn Festival, his wife Chen Chunjun personally came to Beijing to take care of Qi Baishi's marriage to Hu Baozhu. His wife, Chen Chunjun, was the child daughter-in-law of the Qi family, and Qi Baishi, who was twenty and nineteen years old, bore him five children. Concubine Hu Baozhu bore qi baishi seven children. When Hu Baozhu gave birth to his last child, Qi Baishi was already seventy-six years old. Since then, Qi Baishi's two families in the north and south, Chen Chunjun also returned to the countryside of Hunan in the winter of that year.
Chen Shi was once known as Heng Ke, the son of Chen Sanli, and the half-brother of Chen Yinke. In 1917, Qi Baishi came to Beijing to sell paintings and prints on a hanging order at the South Paper Shop of Liulichang. Master Chen had seen Qi Baishi's seal in the Liuli Factory and was very appreciative, believing that Qi Baishi had broken through Zhejiang and Anhui, and that there was another weather, so he specially went to the Fayuan Temple where Qi Baishi lived to find him. At that time, Chen Shi was a teacher of Chinese painting in the Handmade Drawing Specialization Department of Beijing Higher Normal School, and was quite famous in the painting world. For his visit, Qi Baishi was overjoyed. Quickly take out the proud work "Borrowing Mountain Picture Scroll" and ask Master Chen to taste it. After taking a closer look, Chen Shi put forward his own opinion, saying that Qi Baishi's paintings "have a high frame", but they are not exquisite enough and need to be changed. He deliberately gave a poem to show the expectations of Aligning With The White Stone:
Yu Yu carved the seal to know Qi Jun, and now see the painting like a seal text.
Bundles of paper bush silkworms write line feet, the bottom of the feet of the mountains and rivers are 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 joyful, there is no wonder that the right army is ridiculed.
Gago self-portrait self-portrait self-portrait,What a must-do low neck seeking group.
In 1922, Chen Shi was invited by Japanese painters to Japan to participate in the Sino-Japanese Painting Joint Exhibition. He brought 100 of Qi Baishi's paintings, which were well received in the exhibition and became a sensation, and all the works sold out. The Japanese specially went to Beijing to snap up qi Baishi's works in the Liuli Factory, and Qi Baishi became famous in one fell swoop. Throughout his life, Qi Baishi mentioned Chen Shizeng with gratitude, and often said: "I will not advance without a king, and I will retreat without a king." On September 17, 1923, Chen Shi died of illness in Nanjing, and Qi Baishi wrote several poems to mourn his friends.
In 1937, Changsha Shuyi gave Qi Baishi a fortune teller, saying that he was "ding ugly year out of the C luck, hand over the chen luck." 1937 is the year of Ding Ugly, this year will have ominous omens, Qi Baishi listened, and used the method of Shu Yishang to break it: on the twelfth day of the third month of the lunar calendar, chant the Buddha 3 times, wear gold to avoid the children belonging to dragons and dogs. On the twelfth day of March, Qi Baishi covered his three north houses with black cloth and locked them up, and when he was over, Qi Baishi came out and announced that he was seventy-seven years old. This is the method of increasing life expectancy by concealing the sky and crossing the sea, and Qi Baishi has increased from seventy-four years to seventy-seven years old. In this year, the Japanese launched the July 7 Incident, and Peiping fell. Qi Baishi's "Feng Mei Lanfang":
Remember to enjoy the peace first, and the grass clothes are honored to move the secretary of state.
Nowadays, no one in Yan City knows, and XiMeilang calls his name.
In 1940, in the first month of the lunar calendar, Qi Baishi's wife Chen Junchun died, and Qi Baishi told Chen Junchun: "After more than sixty years of getting along, although I have the sand number of the Ganges, it is difficult to say everything about the poor and lowly couple. Although in 1935, when Qi Baishi returned to his hometown with his concubine Hu Baozhu and met his seventy-four-year-old wife Chen Chunjun, Qi Baishi felt that "only my wife Chen Chunjun was pitifully thin." Three days later, Qi Baishi and his concubine Hu Baozhu did not quit. Although Qi Baishi's reason was "I can't bear to meet Chunjun." In fact, he knew that he hated his old wife. When Chen Junchun died, he really thought of his old wife's goodness, and thought of his old wife supporting the family business alone in Hunan. When Japanese people often went to the door to ask for paintings, Qi Baishi posted a confession that "paintings are not sold with the official family", refusing to meet guests, so as to clarify their aspirations.
After the end of the War of Resistance Against Japan, Qi Baishi hung a runge in the Liuli Factory and resumed selling paintings and engravings. In October, painting exhibitions were held in Nanjing and Shanghai, and more than 200 paintings were sold out. However, the "legal tender" depreciated, and 200 sheets were exchanged for less than 10 bags of flour.
For Qi Baishi, after the founding of the People's Republic of China, he ushered in the most prosperous period of politics and art. He served as an honorary professor of the Central Academy of Fine Arts; in 1950, he was hired as a librarian of the Central Museum of Culture and History; on January 7, 1953, more than 200 people from the Beijing cultural and artistic circles participated in the "Celebration of Qi Baishi's 90th Birthday", and the Ministry of Culture awarded Qi Baishi the title of Outstanding People's Artist; served as the chairman of the Beijing Chinese Painting Research Association; in October, he was elected as the first chairman of the council of the China Artists Association; on April 28, 1954, the Chinese Artists Association held the "Qi Baishi Painting Exhibition" at the Palace Museum; in August, He was elected as a deputy to the National People's Congress. On September 15, he attended the first National People's Congress; on April 27, 1956, the World Peace Council announced that Qi Baishi had been awarded the International Peace Prize, and on September 1, the award ceremony was solemnly held in Beijing. Premier Zhou Enlai personally attended the ceremony to congratulate him; on May 15, 1957, he became the honorary president of the Chinese Academy of Painting in Beijing.
Qi Baishi's life, the nobles continued. His "child bridesmaid" was his first nobleman, which made his family tend to be harmonious and beautiful; Hu Qinyuan was also his nobleman, so that he learned to compose poetry; Wang Minyun was also his nobleman, so that his paintings had a literary atmosphere and no longer showed off his painting method; Chen Shi was the most important of many nobles, Qi Baishi relied on, he completely achieved Qi Baishi; Lu Qianya was also his nobleman, from the first time they met in the summer afternoon in Beijing, Lu Qianya successively bought More than 500 seals of Qi Baishi, really because of Lu Qianya's clothing and food parents. Artists can survive. There are too many, too many people who have helped Shiraishi, and relying on him alone will not reach the heights he enjoys in any way. He even found his own breakthrough from Wu Changshuo, and he has poems expressing his gratitude to Wu Changshuo:
Green vine snow far away mortal tires,
Old and old are not talented.
I want nine to be a lackey,
Three doors turned wheels.
On September 16, 1957, Qi Baishi died in Beijing Hospital. On the morning of September 22, a public ceremony was held at Jiaxing Temple, and Premier Zhou Enlai and other central leaders participated in the ceremony.
Qi Baishi's calligraphy, in his early years to learn He Shaoji, after forty years old, met Li Jun'an in Beijing, learned the "Cuan Long Yan Stele", "Cuan Baozi Stele" and other stele versions and imitated the Qing Dynasty Jin Nong, while also attacking Li Yong. The seal book takes the Fa Qin Zhao version, the "Qi Sangong Mountain Stele", the "Tianfa Divine Monument", the "Zen Guo Mountain Stele", etc., and in the later years, the Book of Seals takes the Fa "Ode to the Pavilion" and "Ode to the West Narrow". In the study of calligraphy, he did as he pleased, mainly for his own use, without a clear line, disdainful and mainstream calligraphy, he obeyed Li Yong "like me is vulgar, and those who learn from me die". Advocating learning from the ancients, it is enough to get seventy or eighty percent, and his calligraphy is constantly changing and seeking innovation, which is very different from Shi Xian's calligraphy path. He himself said: "Yu Xing is sixty years old, and he cannot study books, thinking that books do not have to be worked, but they can be elegant enough.".
Lu Xiuhui has a poem "Song for Qi Huang Baishi", poem Yun:
Qi Jun went out of the countryside, and the poetry lived the water source.
The five-foot flat boat shakes, and the painter Landscape Yan.
Ancient sages, sorrowful people who.
The end of the world is lonely, and An can fly in the heart.
Woodworking more than a decade,Old Yuiita.
There is no great cause in life, and calligraphy and painting are laughed at.
Compared with India, the living is cherished.
In beijing's panic, the rest of the technology is not worth much.
When the painting is colorful, it is a great vulgar and elegant blow.
In the vulgar place, this is the heart playing.
Books can wild fox trumpet, how to make the pen sloppy?
Knocking on the strings without hope, let the mountain people grow old.
The poem also leads to whiteness, and the tears and weeping remember the past.
The next slang words, late and late, are poor.
Junsheng is in the new spring, and the clouds are wet in the old autumn.
The flowers bloom every year, and the water flows every day.
How not to make junxi worry-free.