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Xu Wei of the Ming Dynasty was a literati freehand painter, and his painting style had a profound impact on the Bada Shanren, Shi Tao, Zheng Xie and Wu Changshuo and Qi Baishi in the modern and modern era.
The surging news learned that following the "Exhibition of Paintings and Calligraphy of Xu Wei", the Shaoxing Museum and the Hunan Provincial Museum recently jointly launched the "Qingteng Gate Under the Gate of The Hunan Provincial Museum collection of Qi Baishi Treasures Exhibition", which is divided into five parts: "One Hill and One Valley Claims to Be Excessive", "Lao Ping Uses My Family Law", "Teenagers Have No Such a Good Red Face", "One Flower and One Leaf Sweeping Mortal Fetus", and "Breaking Away from the Han Dynasty", exhibiting 65 pieces (sets) of paintings and 10 seals of Qi Baishi treasured by the Hunan Provincial Museum. These paintings include flowers, birds, landscapes, and figures, covering their early, middle and late periods, vividly and intuitively showing the evolution of Qi Baishi's art.
Qi Baishi (1864—1957)
Qi Baishi, formerly known as Chunzhi, the character Weiqing, also known as Lanting, later renamed Huang, the word is on the verge of life, the number of White Stone, the owner of the Borrowing Mountain Yinguan, the rich man of the Three Hundred Stone Seals, etc.
Born in a poor peasant family in Xiangtan, Hunan, he worked as a carpenter in his early years. At the age of 20, he began to teach himself to paint with "Mustard Garden Painting Notation", and after more than 50 years old, he resolutely carried out the "decay method", created the "safflower ink leaf" freehand flower and bird painting style, and became the most prestigious, creative and influential Chinese painting master in the 20th century.
As an important museum in Qi Baishi's hometown, the Hunan Provincial Museum ranks among the top in the country in the number of Qi Baishi's works and related collections, which can comprehensively and completely show the complete context of the changes in Qi Baishi's painting art. According to the organizers, the exhibition is divided into five parts: "One Hill and One Valley Claims to Be Excessive", "Lao Ping Uses My Family Method", "Teenagers Have No Such Good Red Face", "One Flower and One Leaf Sweeps The Mortal Fetus", and "Break Away from the Han People's Mortar", exhibiting 65 pieces (sets) of paintings and 10 seals of Qi Baishi treasured by the Hunan Provincial Museum. These paintings include flowers, birds, landscapes, and figures, covering their early, middle and late periods, vividly and intuitively showing the evolution of Qi Baishi's art.
Exhibition site
One Hill and One Gully Claims to Be Excessive (Early 1882-1918)
Qi Baishi worked as a carpenter in his early years, and only after the age of 27 did he worship Hu Qinyuan and Chen Shaofan as teachers, began to formally study poetry and painting, and then worshiped under the door of wang Minyun, a famous scholar in the late Qing Dynasty, and was able to enter the literary circle in Hunan and even the whole country.
During this period, Qi Baishi traveled far away and lived in seclusion for ten years with "five outs and five returns", improving his skills and cultivation, and broadening his horizons and heart. As his self-use seal "one hill and one valley claims to be excessive", Qi Baishi is quite confident in his artistic talent in his bones.
His early painting composition tradition, with elegant colors, simple and natural pictures and full of life, personal characteristics at the beginning, has become a local painting master, which laid the foundation for him to become a master in the future.
One of the four screens of shanshui Color on paper Length 79.6 cm, width 24.3 cm Early Hunan Provincial Museum collection
The second of the four screens of landscape and water is colored on paper, 79.6 cm in length and 24.3 cm in width, and in the early Collection of Hunan Provincial Museum
The third of the four screens of shanshui is colored on paper 79.6 cm in length and 24.3 cm in width
Four of the Four Screens of Landscape and Water Color on paper Length 79.6 cm, width 24.3 cm Early Hunan Provincial Museum Collection
This "Four Screens of Landscape and Water" is complete in composition and full of life, depicting scenes of rural life, or reading themes for the expression of fishing trees. The first is a large paddy field on the side of the mountain, under which a farmer leads an ox to the field. The second depicts a man fishing in the mountains. The third and second main parts are layered with mountains, and below them depict a scene of a man carrying firewood across a small bridge at the foot of the mountain. The fourth mountain is winding, and one person in the hut at the foot of the mountain is reading a book. The overall pen is weak and should still be in its infancy, such as the pen of the mountain body is more rash, and the trunk is flattened, which cannot show the structure. The calligraphy of the inscription is also relatively immature, and the style of learning He Shaoji's body is not obvious, which should be earlier than the earliest annual landscape painting "Seven Sons of Longshan" (1894) in the "Complete Works of Qi Baishi".
Qi Baishi · Longshan Seven Sons Diagram
Landscape scroll Color on paper Length 124 cm, width 60 cm Early Hunan Provincial Museum Collection
The Landscape Scroll depicts a strategist crossing a bridge with a violin boy to visit friends (or return home) in the autumn. The close-up is a small forest of different kinds of trees, and under the trees is a large slope bank with two human figures on the shore. On the left is a large area of water. The middle view is a house built by the water under the shade of willow trees, and a person is faintly seen in the house. In the distance, it is a towering mountain with a waterfall flowing down from the mountain, on which a platform is exposed. Looking at the whole picture, its composition and pen are in line with the law, the mountain is composed of long cloaks of hemp and moss dots, and the leaves use several different painting methods, rich in variation, and the color is clear, and the pen is skilled.
Landscape map axis Local
This picture and the "Four Screens of Landscape and Water" are examples of Qi Baishi learning from the "Four Kings" landscape that was popular in the painting world at that time. Later, he abandoned this stylized painting method and emphasized the expression of his emotions and experiences, so he was also unique in the field of landscape painting, opening up a new style for future generations.
Ink on paper 18.2 cm in length and 28 cm in width 1901 In the collection of Hunan Provincial Museum
This is the earliest work of the Shiraishi imitation Bada Shanren seen so far. The ancestral hall of Guo Wuzhuang mentioned in the signature should be the ancestral hall of Guo Songlin, the father of Guo Renzhang (Baosheng) in Xiangtan. Qi Baishi was a guest at Guo Wuzhuang Ancestral Hall at that time, and was very happy to see the true handwriting of the Bada Shanren, so he copied it on the fan of Hu Xianpu. Long Gong's Biography of Qi Baishi in Figure 12 "With the Letter with Hu Xian" refers to "... Yesterday, □□ Lao Yu sent Jia Ji, using the Eight Mountain People's True Book Ink Lotus to respond to the great life, consciously and impressively, Qiandi Yongbao used, do not take it lightly. And on behalf of Qianguo's fifth son, he copied the old man's book of the valley, and became a complete Bi."
Among them, the matter of the eight ink lotuses on the fan is consistent with the painting and inscription of this fan, and the painting mentioned in the letter should be this fan (refer to the Complete Works of Qi Baishi).
Female Figure Axis Color on Paper Length 85.5 cm, width 43.8 cm 1901 Hunan Provincial Museum Collection
In the painting, the lady is dressed in a cloak, holding a pear blossom, with her head slightly tilted sideways, and her posture is dignified. The facial characteristics of the characters are similar to those of "Dai Yu Funeral Flower", but the clothing and decoration are not so exaggerated, and there is a little more elegance. The painting time was Xin Ugly (1901), Qi Baishi was 37 years old, on the eve of a long trip, at this time he engaged in professional creation for nearly 10 years, reading, writing poetry, learning calligraphy, painting all year round, and his body was contaminated with more literati atmosphere.
Qi Baishi · Dai Yu funeral flower diagram
Ling Xiao Hua Tu Axis Color on Paper Length 134.8 cm, width 32.8 cm Early Hunan Provincial Museum Collection
"Ling Xiao Hua Tu Axis" is a combination of work and writing. The vines of the lingxiao flowers are written in a more extensive and powerful line, while the flowers and leaves are first colored and then outlined. It can be seen that at this time, Qi Baishi's line kung fu has been strengthened. The feeling of painting is no longer too difficult, and the outline of the leaves is more casual and free than the neatness of the flowers. In the composition, he emphasizes the contrast between virtual and real, the old stem is obliquely out from the left side, and the flowers are concentrated in the upper right corner of the picture, as if exposing a corner, which is playful. This painting fully implements Hu Qinyuan's view of flower and bird painting: "The stone should be thin, the tree should be curved, the bird should live, and the hand should be familiar." Intention, layout, pen, color, style must have a law, everywhere should be in accordance with the rules. "Although this painting is exquisite, it is more of a decorative interest.
Landscape scroll Color on paper Length 75 cm, width 40 cm 1909 Hunan Provincial Museum Collection
From the beginning of 1909 to the summer, Qi Baishi traveled for the sixth time and went to Qinzhou, Guangdong Again, to paint for Guo Baosheng. During this period, he went to Dongxing, and this picture was written in Dongxing in the same year, and the time and address are consistent with the records of Qi Baishi's "Diary of sending gardens" (refer to the "Complete Works of Qi Baishi").
The style of this landscape painting has changed compared with the style of Qi Baishi when he was in his 30s, the composition is condensed and concise, the left side of the picture is a mountain stone, next to a courtyard hut, sitting in the house, a large tree in the courtyard, the middle scene is a hazy mountain range, and the distant view is a flock of birds flying high. Pen and ink also tend to be simple, the mountain body only outlines the outer outline, filled with light ink, there are very few pencils, and the distant mountains are only represented by light ink color blocks; the same is true of the painting method of the tree, two strokes draw the trunk, and the leaves are pointed out with thick and light changes. The whole painting has a hint of literati playing ink, and you can see the shadow of the Eight Greats and Jinnong landscapes. During his long-distance travels, Qi Baishi imitated more works of famous Ming and Qing artists in his exchanges with friends, and quickly applied them to his own creations.
Yu Le Tu (partial) Ink on paper 23.8 cm in length and 93.5 cm in width 1915 Collection of Hunan Provincial Museum
This "Fish Music Map" depicts the scene of twenty-two large and small fish swimming in the water, with different postures and lifelike attitudes, the largest of which is the fish, rolling its eyes, which is a tribute to the Bada Shan people. During this period, Qi Baishi was deeply influenced by the Eight Great Powers, and he later had a poem: "Qingteng Snow is a distant mortal fetus, and the old and the old are not talented." I wish that jiuquan would be a lackey, and the three houses would come under the wheel. "Among them, the snow is the eight mountain people."
Bada Shanren · fish
Lao Ping's own use of my family method (change period 1919-1928)
Because of his cold and simple painting style of literati paintings, Qi Baishi heeded the advice of Chen Shizeng and carried out the "Decay and Change Method" for ten years with the confidence of "Lao Ping using my own family method".
Teenagers don't have such a good red face (heyday, 1929-1948)
After the "Decay and Change Method", Qi Baishi became a late and creative ware, and the next twenty years were the heyday of his paintings.
Works on display
One flower and one leaf sweeping the mortal fetus (late 1949-1957)
After the founding of New China in 1949, Qi Baishi, who was ninety years old, still maintained abundant creative energy, and sometimes masterpieces appeared.
Break away from the Han Chinese (the seal carving style of "daring to create alone")
Qi Baishi's history of seal carving is almost the same as his paintings, and there are countless chapters carved in his life, and he even believes that his achievements in seal carving are no less than painting.
In addition to the original pen and ink works, the exhibition installation art uses 3D printing technology to vividly reproduce the meaning of Qi Baishi's famous painting "Ink Shrimp" with modern technology, bringing the audience a different artistic experience.
(Some of the content of this article is comprehensively compiled from the relevant materials of Shaoxing Museum.) ）
Editor-in-Charge: Li Mei
Proofreader: Yan Zhang