If you ride a white horse, you won't be able to get to where you live. When I dreamed of Quinoa, my clothes were wet with tears, and I was still waiting under the plane tree in Shacun. In full bloom, it is the Jiangnan of 800 miles of broken intestines, thousands of flowers have been outside the flute piccolo, the oil paint rises and falls, and the heart is sad and panicked. People who love each other are always difficult to stay together, time is in a hurry and hurry, always remember your watery face, how fragrant the songs that pass away with the wind, a letter to the family with a thousand lines of tears, a cold moon, and still shine on your north window. Let the falling flowers dye your long hair! Let the years erode the old time, who is it, who is calling your name, who is it, who is making you sad day and night, and the heart is barren, only one person in your life, no longer pay attention to the red dust and disturbances, miss you, miss you, make people turn white overnight, when you first saw you, you were on the slope full of flowers in your hometown......
Once, the little master was chatting with a high school classmate, talking about grandma's grandmother's bridge or something. The classmate said that his grandmother was from Hanling, Ningbo, and there was a crazy painter in the village who painted all day long. Hey, you can paint nudes, but that's trained in Western painting, not the local cultural soil of the hometown can produce it. When I asked my classmates what the painter's surname was, they replied that his surname was Sha. It's Ningbo again, it's a madman, it's a Western painting, it's its surname Sha, and of course it's Shaqi. Sha Qi's father likes to say, 'When people feel lonely, they think of their mothers, their children. Due to the current disaster in China and Belgium, Sha Qi is full of loneliness and helplessness, and he expresses his deep Chinese complex in his works reverently. His teacher Xu Beihong commented on his paintings: thrilling from afar, and infinite mystery up close. Zhan Jianjun, former chairman of the China Oil Painting Society, spoke at the "Sha Qi 70 Years Exhibition": "He is an almost forgotten painter, but he is also a painter who will forever remain in our art history and inspire us to constantly think about the meaning of art." ”
Body art first originated in Italy and France after the Renaissance in the 15th and 16th centuries, using ancient mythological themes to create art, on the one hand, to express the beauty of the human body itself, on the other hand, to express the truth, good and evil of society and human nature. Its emergence broke the restrictions on the human body imposed by early religious asceticism, and Westerners regarded the human body as the embodiment of purity, sincerity, and beauty.
Human oil painting refers to oil painting that depicts the beauty of the human body, because oil painting has a strong expressive power, it can not only shape the three-dimensional sense of the human body well, but also perfectly express the texture of the human body, and it is also very convenient for painters to carry out long-term detailed depictions, so the vast majority of painters around the world like to use oil painting to express the beauty of the human body.
Sha Qiqi's nude painting is decisive and very gorgeous, the picture is full of comfort and tranquility, the solid color background, the concise picture, in the interweaving of light and shadow to outline the perfect body curve of women. The woman in the oil painting, with big breasts, round waist, shaped abdomen, slender thighs, and lifelike beauties under the brush, is like the woman in the painting standing in front of you.
Sha Qiqi's nude paintings are simple in color and bold in brushstrokes, showing a kind of vigorous and ancient temperament, which is impressive, as if the painter is naturally familiar with the most charming angles of every woman, full of emotion, teasing the heart of every viewer, and showing the beauty of the human body to the fullest, natural and elegant, expressive, and breathtaking.
This painting was created in Jiaxing on September 8, 1992, with a size of 82.8✖️55 .8cm, which was the golden period of his creation, and it was during this period that he created breathtakingly dazzling and shocking great pictures.
Sha Qi (1914-February 15, 2005), born in Yinzhou, Zhejiang Province, was named Yinnian, the word Jiliu, also known as Xianying, and the stage name Sha Qing. In 1937, Xu Beihong introduced him to Professor A. Bastien, President of the National Academy of Fine Arts of Belgium. He graduated from the Royal National Academy of Fine Arts in Belgium in 1939. In 1933, he was arrested for political reasons and sentenced to one year in prison. When he graduated in 1939, he was awarded two "Gold Medals for Outstanding Fine Arts". In 1942, her work "Pied Piper" was collected by Queen Elizabeth of Belgium. In 1983, the "Shashu Painting Exhibition" was held in Hangzhou, Sha Menghai and Wu Zuoren were entitled to the exhibition, and in the nineties, his painting style underwent great changes, with brilliant colors and bold brushes, which attracted the attention of experts and collectors at home and abroad. At 10:10 on February 15, 2005, he passed away due to illness in Shanghai Tianlin Hospital.
Learning process: Sha Qi learned painting from Mr. Xu Beihong in 1937, and in the same year, he was introduced by Xu Beihong to study at the Royal Academy of Fine Arts of Belgium and studied from the painter ABastien. Sha Qi studied painting at the Changming Art School in Shanghai, the Shanghai Art School, the Hangzhou Art School and the Art Department of Central University for nine years, and in 1937, he was recommended by Xu Beihong to study at the Royal Academy of Fine Arts in Belgium. Under the guidance of the neorealist painter Ba Sitian, Sha Qi conducted a systematic study of traditional European painting, won the "Gold Medal for Excellent Art" with outstanding results, and held exhibitions with Picasso and other famous modernist painters, and once became an influential painter in the local area. After returning to China in 1946, Xu Beihong hired him as a professor at the Beiping Art School, but due to illness, he was unable to take office. After that, he lived in his hometown for a long time. The mental illness, although it cast a deep shadow on his daily life, did not diminish his ardent passion for art, where he worked silently for more than thirty springs and autumns, creating thousands of works.
Sick home: Returned home from France in 1946 due to illness. For various reasons, Sha Qi suffered from schizophrenia. In October, under the arrangement of the Chinese Embassy in Belgium, Xia Shaqi returned to China on the French mail ship SanTay. Xu Beihong heard that Sha Qi returned to China and hired Sha Qi as a professor at Beiping Art College (Xu was the principal of the school at that time). Naisa was ill and never made the trip. In 1949, when a European art delegation visited Beijing, he praised Sha Shu's artistic achievements to Premier Zhou Enlai. On May 18, 1983, the "Shaqi Painting Exhibition" jointly organized by the Zhejiang Provincial Museum, the Zhejiang Academy of Fine Arts and the Zhejiang Branch of the Chinese Artists Association was grandly unveiled in Hangzhou. The "Sha Qi Painting Exhibition" had a strong response in Hangzhou and was highly evaluated. Zhejiang Provincial TV and Radio Stations, and "Zhejiang Daily" all reported on it. Art circles from Beijing, Shanghai and other places also visited the museum. The National Art Museum of China also sent staff to observe it, and afterwards collected three works including "Self-Portrait". After the exhibition, the United Front Work Department of Zhejiang Province hired Sha Qi as a librarian of the Zhejiang Provincial Research Museum of Culture and History. On July 7th, the "Sha Qi Painting Exhibition" was invited by the Shanghai Oil Sculpture Studio to be exhibited in Shanghai. Wu Zuoren is the title of the exhibition. Liu Haisu and others sent flower baskets to congratulate. Consuls from France and Japan in Shanghai visited the exhibition. Mr. Fu Hua and Zhang Chongren, the leaders of the oil sculpture room, personally presided over the exhibition and symposium. "Jiefang Daily" and "Wen Wei Po" all had long reports and commentaries, and the response was even stronger. On September 27th, the "Sha Qi Painting Exhibition" was exhibited in Beijing at the invitation of the Chinese Artists Association and the Capital Museum. On the occasion of the 30th anniversary of Mr. Xu Beihong's death, Liao Jingwen organized delegates to Beijing to visit the "Sha Qi Painting Exhibition". After the exhibition, Sha Qi returned to Township 1 Village and devoted himself to painting. In the mid-80s, he painted a large number of sketches with frank brushes and simple colors, and from time to time he used color ink to make some flowers and animals. In the 90s, Sha Qi's painting style changed drastically, combining impressionism, fauvism, expressionism and abstraction, and created magnificent works one after another.
Biography: Born on March 29, 1914 in Shacun, Yinxian County, Zhejiang Province, he was named Yinnian and his name was Jiliu. In 1925, he went to Shanghai with his father and studied at the Ningbo Association Primary School. In 1926, he took a leave of absence due to illness and returned home. In the same year, his father returned from Jinan to the south and helped Mr. Zhu Meixian to establish Minfeng Huafeng Paper Mill and served as the general affairs of Huafeng Factory. The following year, my father renovated the old house. In 1929, Mr. Sha Menghai worked in the provincial government, sent Yinnian to the middle school, and later introduced the Yinnian to Shanghai Changming Art College. In 1931, Sha Wenhan (Sha Menghai's third brother) returned from Russia and instilled revolutionary principles in Yinnian. After the September 18 Incident, Yinnian went to Nanjing with the Shanghai progressive student team to petition and participate in the demonstration parade in Shanghai. In 1932, he studied at Shanghai Academy of Fine Arts with Sha Menghai's fifth brother, Sha Jitong. 1933 Arrested for political reasons and sentenced to one year in prison. Later, Du Yuesheng came forward to pay bail. After being released from prison, he transferred to Hangzhou West Lake Art School to study. In 1934, Sha Menghai served as the secretary of the Ministry of Communications in Nanjing, and invited the father and son to Nanjing, where they took the stage name Qi for one year, and recommended Xu Beihong to learn painting and accepted as an auditor of the Art Department of Central University. In April 1936, he got married in Hangzhou, and in January 1937, he was introduced by Mr. Xu Beihong to study in Belgium at his own expense, and became a disciple of Professor A. Bastien, President of the National Royal Academy of Fine Arts of Belgium. In May of the same year, his wife gave birth to a son in Hangzhou, named Tianxing. 1938 Gold medal from the Royal Academy of Fine Arts of Belgium. In 1939, he graduated from the Royal National Academy of Fine Arts of Belgium, with the best results, and his oil painting, drawing and sculpture are the first choice, and won the rare "Gold Medal of Excellent Art" in the art world. 1940 Participated in the Atriome exhibition with Pigasso and other famous painters. In June, he held an exhibition with the Hungarian painter Trink and others at the venue of Toisondor. The newspapers of the Belgian University have been introduced. Since then, he has held several solo exhibitions at the Petie Galerie and other places. In 1941, he held a solo exhibition at the 50th Anniversary Museum of Belgium (which specializes in collecting and exhibiting world famous paintings). In 1942, when it was re-exhibited at the Pyderates Museum, his masterpiece "The Pied Piper" was acquired by the famous Belgian Empress Elizabeth, who was enthusiastic about the cultural cause of the motherland. 1945 An exhibition was held by Decat, the director of the Belgian Academy of Fine Arts, with the participation of leading European painters, including the masterpieces of Sha Qi. In October of the same year, he held a solo exhibition at the Pythigrati Art Museum, and painted "The Hero", which was presented to the motherland in the name of the Chinese Embassy in Belgium and overseas Chinese in Belgium. At the end of the year, Sha Qi traveled to England, the Netherlands and other places in 1946 Due to various reasons, Sha Qi suffered from schizophrenia. In October, under the arrangement of the Chinese Embassy in Belgium, Xia Shaqi returned to China on the French mail ship San Tav. Xu Beihong heard the news that Sha Shu returned to China and hired Sha Qi as a professor at Beiping Art College (Xu was the principal of the school at that time). Naisaki was plagued by illness and finally made the trip. In 1947, after returning to China, Sha Qi settled in Shacun, Yin County, Zhejiang, where his mother took care of him and recuperated from his illness. Since then, his son has become his spiritual support. In 1949, his hometown was liberated, and in December, Sha Shu and his wife divorced by agreement. In the summer of 1950, his son was taken by his mother to attend middle school in Hangzhou. The following year, he transferred to Shanghai to continue his studies. From then on, the son was raised by his mother and lived with his mother. In 1952, when a European art delegation visited Beijing, they praised Premier Zhou Enlai's artistic achievements. Premier Zhou did not hear of him, so he inquired about Xu Beihong, only to know his experience and attainments, and to know that he was recuperating at home, so he notified the United Front Work Department of the Central Committee and allocated a living allowance every month. In 1954, he was admitted to Zhejiang Provincial Psychiatric Hospital for treatment. In 1960, he was admitted to Nanjing Psychiatric Hospital for treatment. In 1964, his mother died, and Sha Qi was taken care of by his brother-in-law's family. In 1967, during the Cultural Revolution, Sha Qi could not escape his fate and was labeled as a "bourgeois reactionary academic authority". The family's collection of paintings and calligraphy was swept away. Fortunately, at the beginning of the Cultural Revolution, Mr. Sha Menghai donated more than 100 works brought back by Sha Qi from abroad, as well as a painting of Xu Beihong's "Double Cats" in the name of his mother, to the Zhejiang Provincial Museum for collection. In 1980, his son negotiated with Sha Menghai, Shi Yong and Chen Xiuliang to organize an exhibition for Sha Qi, which was guided and enthusiastically helped by Wu Zuoren, Dean of the Central Academy of Fine Arts, Mo Pu, Dean of the Zhejiang Academy of Fine Arts, Quan Shanshi, Director of the Oil Painting Department, and Professor Hu Shanyu. With the full support of the Zhejiang Provincial Museum and the Yinxian County Cultural Bureau, the preparations for the exhibition were in full swing. Beginning in the second half of 1981, under the arrangement of his son, Sha Qi moved from Shacun to his student Yu Yi's family in Hanling Town, Yinxian County, and was well taken care of, and his creation entered a new period of prosperity. In 1982, in order to organize an exhibition, he was invited by Zhejiang Provincial Museum to participate in the revision of paintings in Hangzhou. Until the opening of the exhibition. On May 18, 1983, the "Sha Qi Painting Exhibition" jointly organized by the Zhejiang Provincial Museum, the Zhejiang Academy of Fine Arts and the Zhejiang Branch of the Chinese Artists Association was grandly unveiled in Hangzhou. The "Sand Man Painting Exhibition" had a strong response and was highly praised in Hangzhou. Zhejiang Provincial TV and Radio Stations, and "Zhejiang Daily" all reported on it. Art circles from Beijing, Shanghai and other places also visited the museum. The National Art Museum of China also sent staff to observe it, and afterwards collected three works including "Self-Portrait". After the exhibition, the United Front Work Department of Zhejiang Province hired Sha Shu as a librarian of the Zhejiang Provincial Research Museum of Culture and History. On July 7th, the "Shaqi Painting Exhibition" was invited by the Shanghai Oil Painting and Sculpture Studio to be exhibited in Shanghai. Wu Zuoren is the title of the exhibition. Liu Haisu and others sent flower baskets to congratulate. Consuls from France and Japan in Shanghai visited the exhibition. Mr. Fu Hua and Zhang Chongren, the leaders of the oil sculpture room, personally presided over the exhibition and symposium. On September 27, the "Shaqi Painting Exhibition" was exhibited in Beijing at the invitation of the Chinese Artists Association and the Capital Museum. On the occasion of the 30th anniversary of Mr. Xu Beihong's death, Liao Jingwen organized delegates to Beijing to visit the "Sha Qi Painting Exhibition" In 1984, under the specific care of Qin Jiwei, Sha Qi's household registration was transferred from Zhejiang to his son in Shanghai, and he was hired as a librarian at the Shanghai Research Institute of Culture and History. After the 1985 exhibition, Sha Qi was accompanied by his students and was invited to Mogan Mountain, Tiantai Mountain, Tiantong Temple, Guoqing Temple and other scenic spots to recuperate and paint, until the end of the year to return to Yinxian Hanling. During this period, he created a lot of oil paintings, which were scattered among the people. In 1988, he was invited to visit Jilin to paint. In 1989, he continued to recuperate at the home of Hanling students in Yinxian County. Painted in Jiaxing City, Zhejiang Province in 1992, on April 24, 1992, at the invitation of the relevant departments of Jiaxing, accompanied by Yu Yi's parents (Yu Renliang and Wang Genhua), Sha Qi and his entourage went to Jiaxing and lived in the Jiaxing Thermal Power Plant. According to the painter Zhou Yaqin's recollection: "At that time, in the old thermal power plant in Jiaxing, Shouqiao secretly lived in the "Labor Service Company Apartment" (painting in seclusion) in the thermal power plant. The Sha Qi I saw at that time: wearing an old pale gray cotton coat and an old hat, the deepest image is: reading glasses on the bridge of the artist's nose, one on his ear, the other tied with a small white rope, resting on the other ear, looking just an extremely ordinary person. He was silent, with no expression in his eyes, sitting in front of me; I was thinking, I guess he might be thinking about the wife she lost in her heart! Hahaha...... "According to Shou Xinqiao's wife Bian Banya said: "Sha Qi went to Belgium to study after getting married, during the study period, closed for 12 days to paint nude paintings for the Queen of England, and then returned to China for mental reasons, there was a wife in his hometown, who was pregnant and gave birth to a son Sha Tianxing, on October 1, 1949, his wife filed for divorce from Sha Qi, and his wife married an officer after divorce.
Third from left: Sha Qi, fourth from left: Shou Xin Bridge
And let Sha Qi work in the factory, in the canteen to provide meals, at that time Shou Xinqiao factory director borrowed money to buy some Sha Qi paintings, at that time was 5000 yuan an oil painting, from September 29 to October 2 of the same year, Jiaxing City Cultural Palace and Jiaxing Thermal Power Plant Trade Union jointly held a Sha Qi painting exhibition, exhibiting 45 oil paintings. On September 25th, before the exhibition, Jiaxing Daily published a long newsletter "Passing Years, Elegance is Still Present - Written on the 60th Anniversary of the Shaqi Boating Art Circle". Jiaxing TV station also filmed, and Sha Qi attended the opening ceremony of the exhibition. Previously, Sha Qi had been to Jiaxing many times, but he didn't expect this time to be the last. Later, due to his advanced age, he rarely went out, but he never stopped painting a large number of figures, still lifes and landscapes. In March 1997, due to a stroke, he was taken to Shanghai for hospitalization by his son. Since then, I have put down the paintbrush in my hand. He died at 10:10 on February 15, 2005 at Shanghai Tianlin Hospital at the age of 91.
Personal Achievements:
Sha Qi's success does not depend solely on the serenity and freedom that comes with being a psychopath. When he studied painting in China, his talent for painting was already discovered. He stayed in the European art environment for nearly ten years, and among the many oil painters who returned from studying abroad, he and Li Tiefu were the only ones who had such a long-lasting and in-depth experience of studying Western painting art. For a noodle man, studying abroad was only a preparatory stage for his artistic career, and his main "achievements" should begin at the end of his studies. However, for a variety of reasons, many Chinese oil painters' most high-level works are their classwork in foreign art schools. Their work after leaving the classroom is often substandard. If it were not for an unmistakable chronology of the work, it would almost lead one to mistakenly believe that it was a work made before entering the art academy for professional training. In addition to the limitations of social and historical conditions, the two different cultural and artistic environments of China and the West are also the key reasons for this phenomenon. Genius: Painting is not just a craft, it is a way to express feelings. The plastic arts generated in the systems of different civilizations depend on the systems of different civilizations to exist and develop. The young painters who have returned to China after studying abroad for several years bring back some kind of seedlings that have been detached from their mother soil, and the vitality of these seedlings depends on the artistic talent of the young painters and their perseverance and tenacity in art. Sha Qi does not lack talent, nor does he lack this perseverance and tenacity. Although that was perseverance and resilience that was distorted for health reasons. Painting is not just a craft, it is a way to express feelings. The plastic arts generated in the systems of different civilizations depend on the systems of different civilizations to exist and develop. The young painters who returned to China after studying abroad for several years brought back some kind of seedlings that had been detached from their mother soil, and the vitality of these seedlings depended on the artistic talent of the young facers and their perseverance and tenacity in engaging in art. Sha Qi does not lack talent, nor does he lack this perseverance and tenacity. Although that was perseverance and resilience that was distorted for health reasons. Excellent grades: In terms of academic performance during the study abroad period, Sha Qi belongs to the list of international students with excellent grades. In Li Tiefu, Xu Beihong, Lu Sibai, Wu Zuoren... To this long list of names should be the name of the sandman. In terms of the achievements of the "second entrepreneurship" after returning from studying abroad, Sha Qi is a painter with a unique brilliance, and he can be ranked with Wu Dayu, Wu Zuoren, Dong Xiwen, Wu Guanzhong and others. Many of the paintings he created after his illness were far less powerful than those of his "physically and mentally healthy" peers. As far as his own emotional world is concerned, his special situation seems to be free from the psychological anxiety and extreme inhibition that ordinary people cannot get rid of, and is close to the realm of "sitting and forgetting" and "forgetting knowledge" as Zhuangzi said, that is, forgetting the worldly rituals, laws, interests, and harms and approaching spiritual freedom. In the words of Jacques Maritan, it is the achievement of "poetic intuition" and "poetry's second venture", Sha Qi is a painter with a unique brilliance, and he can be ranked with Wu Dayu, Wu Zuoren, Dong Xiwen, Wu Guanzhong and others. Works of art after his illness: Many of the paintings he created after his illness were definitely not under the artistic power of his "physically and mentally healthy" peers. As far as his own emotional world is concerned, his special situation seems to be free from the psychological anxiety and extreme inhibition that ordinary people cannot get rid of, and is close to the realm of "sitting and forgetting" and "forgetting knowledge" as Zhuangzi said, that is, forgetting the worldly rituals, laws, interests, and harms and approaching spiritual freedom. In the words of Jacques Maritan, it was "poetic intuition" and "poetic experience" that led him to paint paintings that resonated with people's art. Sha Qi's mental illness kept him away from political movements, and at the same time, from political persecution, from the ideological intolerance that pervaded the art world, and from the precepts of "three prominences", "three combinations", and "red light", which was actually a kind of collective madness. Sha Qi did not consciously participate in the artistic exploration of a certain genre in modern times, nor did he have any contact with the avant-garde art groups in China in the 30s and 40s, and did not hear his views on European modern art, as well as the "Dulan Society" in Shanghai in the 30s, the "China Independent Art Society" in Guangzhou, and the "Independent Art Exhibition" in Chongqing in the 40s. In terms of organization and speech, he is not a trendsetter of modern Chinese art thought. However, from the perspective of artistic practice, the cadres who advocated modern art in the early 20th century, such as Ni Yide, Pang Xunqin, Liang Xihong, Zhao Beast, etc., were all limited by the environment, and they were able to fully develop their art in the embryonic state and implement their artistic ideas throughout. In contrast, Sha Qi, who naturally entered the world of modern art through his personal temperament, is much more durable and in-depth in his artistic practice, and much richer in his artistic achievements. has always maintained an independent artistic stance: Lin Fengmian and Wu Dayu, who have always maintained an independent artistic stance, are also different from Sha Qi's artistic process. Lin and Wu are sober explorers who have always maintained an independent artistic position, and Lin Fengmian and Wu Dayu, who have always maintained an independent artistic position, are also different from Sha Qi's artistic process. Lin and Wu are sober explorers, and their works are the completion of their doctrines and ideals. Sha Qi's art is a natural overflow when life encounters setbacks, and his paintings are the products of "can't help but do" and "can't do something for themselves", so he has a unique feeling of always doing what he should do and always stopping at what he can't stop. This is obviously admirable but unlearnable. Many art historians and art critics have discussed the lack of "originality" in modern Chinese art, and it is true that all kinds of modern and postmodern styles are often motivated by the following and imitation of Western art. But Sha Qi's art is not among them, Sha Shu is the person who watered the tree of art with his own life encounter. Detached from the social benefits of art: In the 20th century, there was too much concern about the social benefits of art. This is of course an overkill for the literati art that has been detached from the real society in recent centuries, but the price it has paid is to weaken or even lose the most valuable independent and free character of art. After the fifties, the mainstream art world relied on political authority to demand from artists, not in fact, it was not the sincerity of personal thoughts and feelings, but the choice of which personality mask the individual chose. It is in this context that the Sandman appears in the history of art. Thanks to his presence. It is impossible not to face up to the complexity of the inner world of Chinese artists in the 20th century. It can be said that in the 20th century Chinese art scene, people who were in a state of schizophrenia replaced him with too much concern about the social benefits of art. This is certainly an overkill for the literati art that has been detached from the real society in recent centuries, but it has paid the price of weakening and losing the most valuable independence and freedom of art. After the fifties, the mainstream art world relied on political authority to demand from artists, not in fact, it was not the sincerity of personal thoughts and feelings, but the choice of which personality mask the individual chose. It is in this context that Sha Qi appears in the history of art. Because of his appearance, it is impossible not to face up to the complexity of the inner world of Chinese artists in the 20th century. It can be said that Sha Qi, who is in a state of schizophrenia, issued a painful cry of "moving the heavens and the earth" for his peers and peers. According to the traditional Chinese algorithm, Sha Qi is 90 years old. The old painter finally completely put aside the reality that had given him great joy and boundless pain. This is a relief for Sha Qi. If there have been great artists in China in the past 100 years, Sha Qi should be a great artist who deserves to be.
Supplement: Sha Qi (1914-2005) Sha Village, Yinzhou District, Zhejiang Province (formerly Yin County), named Yinnian, Yu Jiliu, also known as Xian Yi, stage name Sha Shu. In 1929, when his family moved to Hangzhou, Sha Menghai worked in the provincial government and introduced Sha Shu to Shanghai Changming Art College. In 1930, Wen Han (Sha Menghai's third brother) returned from Russia to propagate revolutionary ideas to Sha Qi. After the September 18 Incident, Sha Qi went to Nanjing with a contingent of progressive students in Shanghai to petition and participate in demonstrations in Shanghai. In 1932, Sha Menghai's fifth brother Sha Ji studied at the Shanghai Academy of Fine Arts. In 1933, he was arrested for political reasons for participating in anti-Japanese activities to save the country and was sentenced to one year in prison. After being released from prison on bail, he was transferred to Hangzhou West Lake Art College to study. In 1934, Sha Menghai recommended him to study painting from Xu Beihong and accepted him as an auditor of the Art Department of Central University. 1937 Introduced by Xu Beihong. He went to Belgium to study at his own expense and studied under Professor A. Bastien, President of the Royal National Academy of Fine Arts of Belgium. In 1939, he graduated with excellent results, and his oil painting, sculpture, and sketch were all first, and he was awarded two "Gold Medals for Excellent Art". 1940 Participated in the Atriome exhibition with Picasso and other famous painters. Since then, he has held several solo exhibitions at Petite Galerie. 1941 Solo exhibition at the Museum of the 50th Anniversary of Belgium. In 1942, the masterpiece "The Pied Piper" was collected by Queen Elizabeth of Belgium. In 1945, an exhibition was held by Decat, the director of the Belgian Academy of Fine Arts, with the first participants in Europe. First-class painters, masterpieces by sand men are also listed. In 1946, due to various reasons, he suffered from schizophrenia, sometimes good and sometimes bad. Under the arrangement of the Chinese Legation in Belgium, Sha Qi returned to China with illness. After Xu Beihong heard the news, he immediately hired Sha Shu as a professor at Beiping Art College, and Nai was able to make the trip due to illness. In 1947, he settled in his hometown of Shacun, Yinxian County, Zhejiang, and was taken care of by his mother. In 1952, when a European art delegation visited Beijing, they praised Premier Zhou Enlai's artistic achievements. After Zhou Enlai inquired about Xu Beihong, he knew his experience and attainments, and knew that he was recuperating at home, so he notified the United Front Work Department of the Central Committee and paid him a monthly living allowance. In 1954, he was admitted to Zhejiang Provincial Psychiatric Hospital for treatment. In 1960, Mr. Sha Menghai donated more than 100 Sha Qi paintings to the Zhejiang Provincial Cultural Management Committee in the name of his mother and transferred them to the Provincial Museum. In 1962, Sha Qi's mother was taken care of by Sha Qi's brother-in-law's family because of her advanced age, and Sha Qi also went with her mother. In 1964, he was admitted to Nanjing Psychiatric Hospital for treatment, and Sha Menghai donated a picture of two cats painted by Xu Beihong to the Zhejiang Cultural Management Association in the name of Sha Qi's mother. In 1967, his mother died, and Sha Qi's life continued to be cared for by his eldest brother-in-law's family. During the Cultural Revolution, he was labeled a "bourgeois reactionary academic authority" and his living allowance was reduced. Hundreds of works stored in Sha Menghai's house were burned by the rebels. Fortunately, the paintings that Sha Menghai gave to the Zhejiang Provincial Cultural Management Commission in the name of his mother before the Cultural Revolution have been preserved. In 1968, the eldest brother-in-law Tong Quangen died. In 1969, Sha Qi returned to Sha Village, and the Sha Village Brigade arranged for his neighbor Sha Lianghong's family to take care of Sha Qi's life until he went to Hangzhou in 82. In 1980, Sha Menghai offered to donate the paintings donated to the museum and hold an exhibition for Sha Qi, which was supported by the Central Academy of Fine Arts, the Zhejiang Academy of Fine Arts, the Zhejiang Provincial Museum, and the Yinxian County Cultural Bureau. In 1982, in order to hold an art exhibition, he was invited by the Zhejiang Provincial Museum to go to Hangzhou to participate in the painting repair until the opening of the exhibition. During this period, in order to take care of Sha Qi's life, his son Sha Tianxing proposed to invite Yu Yi, a young man from Hancen Town, to accompany him, which was enthusiastically helped by the Yu family and the support of the Yin County Government. On May 8, 1983, the "Sha Qi Painting Exhibition" co-sponsored by the Zhejiang Provincial Museum, Zhejiang Academy of Fine Arts and the Zhejiang Branch of the Chinese Artists Association was held in Hangzhou. On July 7th, the "Shaqi Painting Exhibition" was invited by the Shanghai Oil Painting and Sculpture Studio to be exhibited in Shanghai. On September 27th, the "Sand Painting Exhibition" was invited by the Chinese Artists Association and the Capital Museum to be exhibited in Beijing. In 1984, Sha's household registration was transferred from Zhejiang to Shanghai Son's Office, and he was hired as a librarian at the Shanghai Research Institute of Culture and History. In order to facilitate Sha Qi's recuperation and artistic creation, Sha Menghai and his son agreed to temporarily foster Sha Qi in Yu Yi's house, and his son was responsible for all the expenses. In 1985, for more than ten years, Sha Qi accompanied by Yu Yi to visit and sketch scenic spots in Jiangsu, Zhejiang and Northeast China, and created a large number of figure paintings and still life paintings. In the nineties, his painting style has undergone great changes, with brilliant colors and bold brushstrokes, which has attracted the attention of experts and collectors at home and abroad. In 1997, due to a stroke, Sha Qi was taken by his son to Shanghai for hospitalization. Since then, I have put down the pen in my hand. In 1998, the "Shaqi Oil Painting Art Seminar" was held in Shanghai and Beijing, jointly sponsored by the China Oil Painting Association, the Research Department of the China Academy of Art and the Carmen Art Center in Taiwan. In 1999, the large-scale western volume "Sha Qi Noodles Collection" was published by the Carmen Art Center in Taiwan. In 2001, "Retrospective Exhibition of Sha Qi's 70 Years of Works" was exhibited at the National Art Museum of China, Shanghai Art Museum and Taipei Museum of History. In 2004, the "99 years large-scale album "Sha Qi Painting Collection" was published by the Carmen Art Center in Taiwan. In 2001, he was exhibited at the National Art Museum of China, the Shanghai Art Museum and the Taipei Museum of History. In 2004, the special exhibition of Chinese contemporary art masters series (oil painting) The Light of Life - Sha Qi 90 Flower Art Retrospective Exhibition" was exhibited in Zhejiang Museum and Zhejiang West Lake Art Museum. At 10:10 on February 15, 2005, he passed away due to illness in Shanghai Tianlin Hospital. At 10 a.m. on May 29, 2006, the unveiling of the memorial statue of the famous oil painting master Mr. Sha Qi and the burial ceremony of the ashes were held in Shanghai "Fushouyuan".