"The Biography of the Painter" ~ 418
Text/Lu Xiuhui
Zhao Qi (1874 -1955), a native of Suzhou, Jiangsu Province. Zi Yun, formerly known as Long, changed his name to Tie Han, Qiu Shan Qiao Zi, Yun Shan Zi, Gu Dao Ren, Late Zi Shu, Bald Man, Half Bald Old Man, Bald Venerable, Quan Mei Old Man. The names of the jai are: Nichiren Heart Grass Hall, Ten Springs and Ten Plums Residence, Yunqi Building, and Reading Building. There are also Chunhui Caotang, Si Han Zhai, Wu Xiu Nunnery and so on.
Zhao Qi's father, Zhao Yufeng, made a career in punching boats. As the old saying goes, "There are women who don't marry and punch boats to grind iron and grind tofu"! Punching iron grinding tofu because it is three bitter, punching boats in the wind and waves, at any time there is a danger of capsizing and losing their lives. Blacksmith endured the heat by the furnace day and night, and living was like going to hell. Selling tofu three more sleep five more, doing donkey work, you have to make ends meet for a small amount of money. The mother of the Confucian family, Zhang Shi, was married to the boatman. His mother could recite and read well, and when Zhao Qi was young, his family was poor, influenced by his mother, he liked to read, and liked to scribble calligraphy and painting.
Zhao Qicai began to start with self-study, but because there was no painting score at home, he could only go to the neighboring framed painting shop to observe, and then repeatedly came back after returning home. A little longer, Zhao Qi was introduced by people and met Jiang Xiannong of suzhou medicine bureau, Jiang Xiannong was good at medical skills and gong Danqing. Zhao Qi began to learn flower and bird painting from Jiang Xiannong. Later, he learned from Qin Ziqing and Li Nongru to paint flowers and grass worms. However, what he wanted to learn most in his heart was landscape painting, and in the process of learning, he knew a lot of colleagues, and through their introduction, he studied landscape painting with Xu Zizhen as a teacher. Xu Zizhen is good at painting landscapes, and is also good at medicine and good at socializing. Wu Dayi has a long poem "Seven Friends Song in the Painting", in which yun: "Zi ZhenQi travels to the southern wilderness, and the ancient Song Festival is full of wind and frost." Qin Shuyi returned to his hometown, and Ni Huang yushi and Qi Huang. "That is to say Xu Zizhen." After Zhao Qi learned from Xu Zizhen, he became more and more mature in pen and ink techniques, and his vision was broadened, which had a great influence on his later development in landscape painting.
Zhao Qi's opportunity was still quite good, and he met Ren Xiong's son Ren Pre, who was the youngest of the "four rens", and his landscapes, characters, flowers and birds were all exquisite. Zhao Qi worshiped him as a teacher, and soon after he learned to paint with Ren Pre, he was introduced by Ren Pre to start self-sufficiency with mane painting, and Zhao Qi was only 25 years old at this time.
Zhao Qi's family lived in Fengmen Shiquan Street in Suzhou City. Shiquan Street is a street in the southeast of Suzhou City, starting from Fengmen Anli Bridge in the east and Sanyuanfangkou in the west. Shiquan Street has "Wu Que Guan", the so-called Black Magpie is the magpie, the ancients have "Magpie and pedestrians come", there are guest houses named after the Black Magpie, and the Wu Que Bridge by the Wu Que Bridge is named after the museum. The Wuque Pavilion is built along the Shiquan River, with boats to reach, cars and horses, and land and water are very convenient, which is a lively place. After Zhao Qiyi painted self-sufficiency, he got up early every morning to learn calligraphy first, and then went to the neighboring "Fengyuan" tea house to eat tea. The painter Gu Lu lived in Pingqiao Straight Street and was also a regular visitor to the "Fengyuan Garden". Gu Lu and Zhao Qi's teacher Xu Zizhen were old friends, so every time Zhao Qi saw Gu Lu, he paid homage to the teacher and often asked him for advice. At that time, Zhao Qi was 30 years old, and Gu Lu was already a 69-year-old dying old man.
Gu Lu saw that Zhao Qi was eager to learn and ask, and when the two of them knew in their small talk that he had the heart to join Wu Changshuo, he gladly made a recommendation. Gu Lu was the 9-year-old brother of the elder Wu Changshuo, who was the year of Hua Jia. After Gu Lu told Wu Changshuo about this matter, the two immediately hit it off. In the twenty-ninth year of Qing Guangxu (1903), the 60-year-old Wu Changshuo adopted the 30-year-old Zhao Qi as a disciple. Since then, Zhao Qi has changed his name to Tie Han, and has engraved the seals of "Bitter Iron Disciple Iron Han" and "Broken Lotus Disciple". Zhao Qi lived in Suzhou Shiquan Street, Gu Lu lived in Pingqiao Straight Street, and Wu Changshuo lived by the lime bridge in Tiequan Lane. In 1880, the 36-year-old Wu Changshuo became acquainted with Gu Lu, a Wumen painter, and Wu Changshuo borrowed wu Rangzhi's seal book screen from Gu Lu in his later years, and his back was a pass, so Wu Changshuo admired Wu Rangzhi. In 1902, Gu Lu painted landscape paintings for Wu Changshuo, and in the same year, Chen Shi studied painting with Wu Changshuo.
Wu Changshuo is an immortal figure, and after he came to Wumen, he pretended to live in the Fengyuan Garden of Wu Pingzhai, a collector of Jinshi calligraphy and painting. I enjoyed listening to the famous works of golden stone calligraphy and painting collected by Maple Garden, and benefited a lot. Wu Changshuo also became acquainted with a large number of famous scholars and calligraphers, such as the great collector Pan Zuyin, the great epigrapher Wu Dayi, and the calligraphers and painters Fei Nianci, Yang Jianshan, Gu Lu, Lu Hui, Gu Linshi, Ni Tian, ren pre, and so on. Wu Changshuo made great progress in seal carving, calligraphy and painting, and became a vane of Chinese literati painting. After Zhao Qi entered the "Miaolu" door wall, he was instructed by Master Wu in calligraphy, seal carving, and painting, and his level was also improving day by day.
As the founder of Hai school painting, Master Wu Changshuo's art has had a huge and far-reaching impact on the development of modern and contemporary Chinese painting Many outstanding painters, such as: Qi Baishi, Wang Zhen, Zhao Qi, Chen Shi, Chen Banding, Chen Shizeng, Zhu Qizhan, Liu Haisu, Qian Shutie, Pan Tianshou, Wu Mozhi, Wang Geyi, Zhu Lesan, etc. have all been influenced and inspired by Wu Changshuo's art, they are representative practitioners of Wu Changshuo art, in the study, inheritance and research of Wu Changshuo art, but also for interpretation. Inheriting and leading the development process of modern chinese flower and bird painting has a very important value and role.
Wu and Zhao's two disciples were in harmony with each other, and Wu Changshuo regarded this disciple as very proud, and Zhao Qi's artistic affairs were also becoming more and more mature. Therefore, Wu Changshuo asked him to go to Shanghai, where famous artists gathered, to meet friends and ride the art forest. In the second year of the Qing Dynasty (1910), the 37-year-old Zhao Qi went to Shanghai with the respect of his teacher, and after he arrived in Shanghai, he contacted Duo Yunxuan, Jiuhuatang (Yuji, Baoji), Jinyuntang, Jinruntang, Tianbaozhai and other major note fans to receive the documents on his behalf, and also printed the painting Runge and distributed it to the framing shop. Zhao Qi was only in Shanghai for half a year, and he was a blockbuster, and he continued to receive pieces of paintings, and at the same time, he also got acquainted with Wang Zhen and other famous calligraphers and painters. Zhao Qi returned to Suzhou and informed his teacher of his situation in Shanghai. Wu Changshuo was relieved.
Zheng Yimei said in the article "Zhao Qi, the heir of Wu Changshuo's painting school", that Wu Changshuo moved from Suzhou to Shanghai, and finally made up his mind, not only at Wang Yiting's invitation, but by himself in view of the successful practice of his disciple Zhao Qi. The following year (1911), Wu Changshuo also left Suzhou to sell paintings in Shanghai. Since then, the two masters and apprentices have galloped together in the sea art forest, and Wu Changshuo eventually became the leader of the "Maritime Painting School".
During their time in Shanghai, Wu Changshuo and Zhao Qi often participated in the activities of the Maritime Inscription Pavilion. The Maritime Inscription Museum is a large-scale calligraphy and painting art group in Shanghai at the end of the Qing Dynasty and frequent activities. Its influence from the beginning of its establishment in 1910 to the dissolution of the country due to financial problems in 1926 was not only influential in Shanghai, but also in the whole country. After the establishment of the Maritime Inscription Museum, hundreds of calligraphy and painting jinshi artists have gathered successively, and they often carry out art exchange activities together. At that time, many officials from the Qing court came to Shanghai to work as yugong, and some of them loved and were good at calligraphy and painting, so they successively participated in the activities of the inscription hall. Fewer people come to the museum during the day and gather together at night. Around a large rectangular calligraphy and painting table, there are always crowds of people, there are painting inscriptions and poems, there are comments and discussions, there are mutual conversations about artistic creation experience, until it is close to the night, people leave. The members of the Inscription Museum often bring the precious calligraphy and painting seals collected to the museum for display, and observe and study each other. Sometimes in order to identify the authenticity of an ancient seal, an ancient painting or an ancient handwriting, they argue with each other endlessly, express their own opinions, and the atmosphere of academic controversy is quite strong. The first president of the inscription hall was Wang Xun, and the vice president was Ha Shaofu. After Wang Xun's death, Wu Changshuo succeeded him as the president, and Ha Shaofu and Wang Yiting served as vice presidents.
When Zhang Daqian was in Shanghai, Zhao Qi often returned to him. Once, the two of them talked about the scene in Shanghai during the banquet, and they couldn't help but be full of sorrow, and the two talked for a long time, unconsciously hanging on their faces drunk. When Zhao Qi resigned, Da Qian repeatedly retained and said, "I write small poems for Jun, and Jun helps me to drink and rejoice, how?" Zhao Qi agreed and drank three cups in a row. Da Qian took the pen and ink and brushed it on a fan to dot it into two poems:
The new eye on the lake is easy to collect, and the Flat Lang dinghy is floating in the sky.
Baby Zun drank three thousand hu, drunk and went to mention the Yellow Crane Tower.
The trees are long in autumn, and the wind is late and cool.
Red dust filled the city, and the wild old man was still busy with the quiet place.
In 1922, Duo Yunxuan printed a collection of calligraphy and paintings for Zhao Qi, "YunZi Yu Mo", which was signed by Wu Changshuo. Zeng Xi's inscription Yun: "Mr. Ziyun is a disciple of Miao, which is a calligraphy and painting, and it is impossible to distinguish between them. To write about landscapes, seals for grass, flowers for stones, and then he left the scenery to capture the gods. The Book of Long History, re-passed on to Lu Gong; Ishida Landscape, Hengshan Andheng mountain. Congratulations for Mr. Ziyun, and he for Miao. Connoisseur Chu Deyi inscribed yun: "Mr. Miao Lu is famous at home and abroad for his calligraphy and painting." Zhao Qi is a disciple of Mr. Gaozu, and his calligraphy and painting are the true legend of Miaoweng, and the landscapes and flowers are all exquisitely crafted, and they are almost indistinguishable in the paintings of 'Yi Si Tang' (Wu Changshuo). Zheng Yimei said in "Xiaoyang Qiu": "In his old age, Changshuo was tired of Si Dao, and came from the outside to ask for it, and asked Ziyun to do it for him." Ziyun believes in hand dyeing, and everything is not as good as zhi. He also used his remaining strength to make grass, li, landscape, and win the will of Zheng Gukou and Shi Tao. Pegatron saw it and sighed to himself. ”
In 1932, the "1.28" incident, the Japanese attacked Shanghai. The turbulent situation, coupled with the absence of Wu Shi for many years, Zhao Qisheng's heart of returning, sent people to rebuild the "Yunqi Building" on the old mansion of Suzhou Shiquan Street, renovated the house garden, and planted beautiful trees everywhere. There are ten plum trees in the garden, and there are ten wells near the house where he lives, and he has been listed as "the residence of ten springs and ten plums". In the autumn of the following year, Zhao Qi left Shanghai and returned to his hometown of Suzhou. In Shanghai, Duo Yunxuan, Jiuhuatang and others are responsible for the business. During the War of Resistance Against Japanese Aggression, he once fled with his family to xiangshan village in the west of Suzhou City; after the victory of the Anti-Japanese War, he went to the garden with the calligrapher Xiao Hui'an and other excellent garden, or filmed music or listened to the commentaries.
After the founding of new China, Zhao Qi was hired as a librarian at the Suzhou Museum of Culture and History. When Wang Geshu went to visit and ask for his brother as a master, Zhao Yunyuan gave Wang a copy of the Seal Book that Wu Changshuo had written for him in 1914.
Zhao Qi followed Ren Preshi, who was not only good at painting, but also good at seal engraving. Zhao Qi's part-time work seal began here. He wrote in the preface to the "Seal of the Qiao People of the Mountain": "Yu Shao is good at painting and calligraphy, especially xi is a seal, and Chang and Zhiyin is sealed." ”
Zhao Qi is good at painting flowers, landscapes, and is also good at seal carving, and can also cursive. Books, paintings, and seal engravings all have the charm of Wu Changshuo without attacking his appearance, and the method of Xu Wei, Shi Tao, Shi Xi, and Bada Shanren is to paint heroically and his reputation is growing day by day.
Lu Xiuhui has a poem "Song for Zhao Qizi", a poem cloud:
Wu Men returned to Ning Ri, Yong Huai Lu Jun.
The white hair thought about it for a long time, and the tears smelled in the wind.
The boat is close to the water, drawing notes idle clouds.
Both are respectable, and there is no difference in subsistence.
Also remember the master as the ding, the old works can be burned.
The carving insects want to be gods, and the peaks fall into the green.
Yuehua truffle step, resident Scenery Qiongzhi Kaoru.
Zhai Xuan powder wall characters, the name of the self-fictional.
Empty mountain new chant wine, Standing morning text.
The brush of the flowing years is bitter, and the plum smells of the end road.