People familiar with the history of the Qing Dynasty know that the Eight Banner Soldiers played an extremely important role in the founding of the Qing Dynasty, and this brave army swept through all kinds of opponents like the Mongolian Iron Horse, they rushed all the way from Outside the Guanwai and fought fiercely, successively defeating countless strong enemies such as the Ming Dynasty Guanning Iron Horse, Li Zicheng Peasant Army, and its Southern Ming Small Imperial Court, and finally entered the Central Plains.
After this famous brigade entered the Central Plains, most of their descendants also became the emperors or nobles of the Qing Dynasty, but these descendants with the "golden key" lost their minds by relying on the war exploits of their ancestors, and threw the spirit of Shangwu out of the cloud of nine clouds, so that at the end of the Qing Dynasty, the Eight Banner Soldiers completely lost their combat effectiveness and could only become a decoration, and people often used "Eight Banners" to describe these delicious and lazy children. However, there are also some descendants of the qing dynasty royal family and nobles, who are not immersed in the dreams of the nobility, but create their own careers on their own, of which the ninth grandson of the Yongzheng Emperor is an outstanding representative
Many people may not be familiar with Qi Gong, but in the art world, his fame is like thunder. His calligraphy and paintings are even more popular in the collection. Among them, on December 18, 2012, Qi Gong's work "Jiangshan Wanlitu" was auctioned for more than 55 million yuan. So what kind of experience did such an outstanding figure who was a descendant of the Qing Dynasty royal family and an artist have? Let's move on!
Qi Gong was born in 1912 in Beijing to a family of Qing Dynasty royal descendants, and according to the genealogical records (Yongzheng Emperor Yin chan - fifth son and prince Hongzhi - one son Yongbi - second son Mianxun - third son Yiheng - fifth son Zaichong - second son Puliang - eldest son Yulong - only eldest son Hengtong - only eldest son Qigong), Qigong belonged to the ninth grandson of the Yongzheng Emperor. Such an identity was placed in the feudal era, but it was a relative of the emperor and the state.
Unfortunately, however, the Qing Dynasty at that time was already in decline, and his family naturally did not escape the fate of decay, and by the time his grandfather's generation did not fall into the same as ordinary families. Unfortunately, a year after Xiao Qigong was born, his father died. He lost his father's love since he was a child, and he developed a good habit of hard work and hard work very early, because he understood that only by reading could he change his fate.
After the abdication of the last emperor Puyi, his grandfather took him out of Beijing and came to live in Yi County, Hebei Province. At that time, although the family conditions were not rich, his grandfather attached great importance to the education of Qi Gong and searched for famous teachers for him.
Due to the flexibility of Qi Gong's brain and hard work, he made great progress in his studies, especially in calligraphy and painting. However, just as his studies were improving, his grandfather died of illness, and he was only 10 years old, and with the help of well-wishers, he barely managed to pay for school, and later he was forced to interrupt secondary school due to financial constraints.
In 1933, Qi Gong met the first noble man in his life, this person was Fu Zengxiang, who was once a protégé of Qi Gong's great-grandfather. When he saw Qi Gong's works, he was very admired, so he introduced him to Chen Yuan, the president of Fu Jen University at the time, under Chen Yuan's arrangement, Qi Gong entered Ren Fu Jen University as a teacher, and three years later he relied on his professional knowledge to serve as a special committee member of the Palace Museum, responsible for the review of the Palace Museum and the appraisal of cultural relics.
After the founding of New China, he successively served as the chairman of the State Cultural Relics Appraisal Committee, the director of the Central Research Museum of Culture and History, the honorary chairman of the Chinese Calligraphers Association, and the founding chairman of the World Federation of Chinese Calligraphers and Painters. Although he held higher and higher positions, he was always down-to-earth, devoted to learning, and practiced calligraphy and painting. In his later years, he continued to exert his residual enthusiasm, actively promoting the popularization of calligraphy and cultivating calligraphy talents for the motherland until his death at the age of 93.