There is an intrinsic connection between Qi Baishi's seal carving art and the formal beauty of freehand flower and bird painting, and the golden stone qi of seal carving art has played an important role in the formal beauty of his freehand flower and bird paintings. First, seal engraving is one of the indispensable elements of formal beauty in the chapter method of its freehand flower and bird painting, and the combination of painting and printing makes the classic form of Chinese freehand painting more perfect; second, there is an inherent convergence and regularity between the knife method and chapter method of Qi Baishi seal carving and its flower and bird brush method and pattern composition. This paper explains the borrowing and mutual penetration of freehand flower and bird paintings on seal carving art by studying the aesthetic elements of seal carving in Qi Baishi's freehand flower and bird paintings, and discusses them in combination with specific works. The aesthetic taste of Qi Baishi seal carving art is applied to flower and bird paintings and makes it an organic whole, so that the quality of the picture lines is enhanced, the cultural connotation is rich, and the expressiveness and formal beauty of the works show their own style.
Qi Baishi's paintings, seal carvings, and calligraphy are all straight in structure, frame, brushwork, and knife technique, and the visual straightness constitutes a major feature of the white stone style. Because the aesthetics and skills of calligraphy and seal engraving are applied to painting, the painting has a golden stone atmosphere, but it is different from Wu Changshuo, taking flower and bird painting as an example, in terms of brushwork, Qi is relatively outward, while Wu is relatively introverted; with the pen, Qi Gang is strong and straight, and Wu Yuanhun is arrogant. It is similar to their respective seal engraving styles. Qi Baishi's flower and bird paintings and their seal carvings are intrinsically related in different periods, as described below.
"Abstract factors exist in all forms of painting, this is because any painting is not a true representation of objective natural objects, there are abstract factors, but only the number of abstract factors"; from the external formal beauty of the similarity or the same and the unity of the inner spirit, it is concluded that the knife method of seal engraving and the brushwork of freehand flowers and birds enhance the taste and realm of the beauty of the painting art form in complementarity.
The use of stone printing materials has expanded the knife method of seal carving, formed a technical system with rich historical and cultural significance, and for Qibaishi, it undoubtedly inherits the method of punching knives, cutting knives and other knives summarized by the predecessors, and in specific practice, it is not conforming to the rules, but making clear trade-offs. Integration of various knife methods, the development of an independent and complete single knife system, strengthen the lyrical role of the knife, in the process of moving the knife, due to the angle of the carving knife, the weight of the force, the knife is different, the carved line changes richly, there is a strong contrast effect, thus strengthening the formation of the knife linear aesthetic effect, Gaga unique, and the predecessors opened up a great distance, but also very different from the people. Qi Baishi is a carpenter who is a carpenter, and the engraving is the same as the knife technique of carpentry carving, and his wrist strength is strong and he is free to cross and line. Such a knife method, in a broad sense, is due to its unique aesthetic personality, and in a narrow sense, it is due to the need for its unique calligraphy.
Qi Baishi's paintings inherit the essence of literati painting since the Ming and Qing dynasties, and integrate poetry, calligraphy and painting into one furnace, thus forming their own unique appearance, and brushwork and ink method are one of the main factors in the success of his painting.
Seal carving art, its tools are carving knives, printing stones, what is the relationship between the line of painting and the line of seal carving? Qi Baishi is a master of calligraphy and painting seal carving, in his works, the aesthetic taste of the lines is the same, and its seal carving in the history of India has the significance of the founding sect, by no means the interest of ordinary literati, Qi Baishi seal carving knife method is unique, the line is thick and steep, undoubtedly has a deep impact on his painting.
In Qi Baishi's paintings, the lines are strong and strong, the pen is slow but brave and decisive, the pen is sharp, and there is always a kind of qiba haoda temperament, the visual impact is very strong, and the golden stone atmosphere is strong. With its solid seal carving knife work, the pen path left on the rice paper in his painting is not a weak stroke, this solemn line is emotional, adding a jerky artistic effect to his painting.
In the art of seal engraving, in addition to the chapter law, the knife method is mainly relied on to finally complete the artistic creation of the seal carving work, so the knife method is the key factor that determines the success or failure of the work. On the one hand, different knife methods can express the structural beauty of the seal method, on the other hand, the notch left by different knife methods has different aesthetic tastes, which is the fun beauty of the knife. It can be seen that the rich knife technique reflects the beauty of the text structure and lines, and shows a unique and interesting feeling given by the author. Qi Baishi seal carving knife method is unique, taking the law general seal, anxious to seal, "the line of the seal carving has a kind of majestic weather, a rough, hazy, natural beauty, the simplicity of the calligraphy line, the steep and clumsy structure, the flying of the spirit, the high ancient of the charm, etc. are the expressive content of the golden stone atmosphere." ”
Qi Baishi's seal carving, in the use of knife techniques, pursues pleasure and opposes artificial modification. He once had a poem: "It is sad to do erosion and cut, contrary to the world's ability of my generation; the fast sword is broken into a dead thing, and the kun knife cuts off the mud marks of jade dew." "Fast sword to break jiao", "Kun knife to cut jade", single knife straight in, how painful! From his seals, you can feel his style of making the knife like a pen. This kind of single-knife straight-in knife method, specific to the line form of the seal, there will be mottled, dignified and vast line, which is the golden stone taste of the seal carved line. The "single knife method" used in Qi Baishi engraving is to carve out the light on one side of the line and the hair on the other side, and it is also affected by the stone quality, and the effect of the carved line is also different. This kind of knife method, "accurate, fierce, stable" as its main point, the strength of Qi Lao's wrist, the strength of the weather, and the influence of this feature of its seal carved lines on its freehand painting are self-evident.
Qi Baishi infiltrated the simple and vast golden stone qi in the seal carving into the brushwork of the painting, and the lines that constitute the image under his pen, "let the pen do it", the temperament, the traditional "cone painting sand", "house leak marks" Fun is not very obvious, the boat bridge, the house and even the character's clothing pattern, etc., to be cheerful and refreshing, rare and twisty strokes; the paintings of plums, orchids, bamboo, chrysanthemums, flowers, insects, vegetables and fruits, birds, frogs and crabs, etc., the lines are always straight and powerful, this straight, straightforward brushwork, so that the picture is calm and thick, there is no floating and rash atmosphere Therefore, it is rich in a strong and strong golden stone taste, such a painting style, such a pen and ink, and its single-handed, fierce and sharp knife technique. For example, Qi Baishi's "Sketch of the Grass Canopy" made in his later years, in addition to the three lotus ponies, the lotus stems and water weeds are written in straight lines, which are strong and strong, and the true strength is pervasive, which is similar to the sword method of its seal carving. "Residual Lotus" a painting, for the "female" glyph structure, the picture of the lotus stem interlaced with each other, complex but not chaotic, as far as the whole chapter is concerned, the branch stem and the residual leaf contrast is strong, the ink color changes naturally, the branch stem is written with a pen calm and linear old-fashioned, the residual lotus is endless, proudly standing momentum is vividly expressed, if there is no high-quality line, this work will definitely not have such a touching artistic charm. Like seal carving, try to see some of Qi Baishi's classic works, such as "Repentance Wutang", "See Xian Si Qi", etc. In addition to the unique chapters, there is no lack of beauty in the view of the lines, and it is an indescribable abstract beauty.
The line of painting and the line of seal engraving have their commonalities in aesthetics, especially the line used for painting, under the pretext of printing power, the texture of the line will have a golden stone atmosphere, jerky and spicy, elastic and tough, which can be deeply felt in Qi Baishi's paintings. Of course, the seal engraving of the knife line and the brush to draw the line of pen and ink, due to different tools, different carriers, the two are still different, the lines on the painting, to through the ink color, slow and so on rich changes, you must change the brushwork in a timely manner to shape the shape.
Lotus Kingfisher 35.6x106.7cm
Lotus Double Duck 33.5x136cm
Red Lotus Chart 62X137
Qi Baishi 33X134cm
Hongri Shanshui 32X97 .6cm
Red leaf knows figure 43X108cm
Monkey 24x27cm
Floral album fourteen open 41x28cm
3,000 years each 48.6X178cm
Yellow Flower Double Butterfly 33.5x100cm
Yellow chrysanthemum flower 135.5x35.5cm
Group of swimming fish 42x142cm
Jiu Qiu figure 168x30cm
Chrysanthemum 32.5x100cm
Unfortunately silent thirteen open 23.7x29.4cm
Old and strong, 42x100.5cm
Ink Pen Landscape 59.7x175cm
Mud shrimp figure 34x136cm
Bird 34.5x100cm
Family Portrait 33.7x106cm
Shrimp swarm 35x103cm
Crab 35x102.5cm
1000 miles a day 57X121cm
Shanshui 78.6x70cm
Shoujiu 34.5x103.7cm