There was Qi Baishi in the world, and the remaining ink still exists in the world.
If you ask Yu Mo where to ask, Baishi Mountain Hall is less white!
Baishi Shantang is a wholly-owned subsidiary of Qi Baishi Painting and Calligraphy Institute in China: it is currently the painting and calligraphy institute with the largest collection of Qi Baishi's works, and is fully responsible for the establishment and development of Qi Baishi cultural and creative brands, Qi Baishi fashion and other brands, and is committed to the content mining, system combing, industry promotion, business innovation, value reproduction and other assets such as Qi Baishi calligraphy and painting, art, seal carving, appraisal and auction, etc., which is an important part of building a product innovation platform based on Qi Baishi culture and art.
Hello Tibetan friends, today we have invited Mr. Tang Fazhou, then the successor of Qi Baishi, the disciple of Qi Liangzhi, the president of the Chinese Qi Baishi Academy of Painting and Calligraphy, the visiting professor of the Tsinghua Academy of Fine Arts, the official image spokesperson of NetEase Group, the specially invited teaching and research director, the contracted painter of Beijing Fine Art Academy and Rong Bao Zhai, the expert of Qi Baishi's calligraphy and painting big data identification, the president of the Shanghai Qi Baishi Art Research Association, and the chief operating officer of Baishi Shantang Culture Media-Mr. Tang Fa Zhou once heard his master Qi Baishi's little daughter Qi Liangzhi say this: Zhou Tieheng, formerly known as Zhou Deyu, is called Tieweng, half-deaf, and gardener. The name of the hall is semi-deaf building, Qingquan Hall, East Huzhai, Yexiang Pavilion, back residence, etc. A native of Ji County, Hebei Province. At the age of 20, he went to Beijing to worship Baishi as a teacher, mainly learning the seal carving art of the old man Baishi. He graduated from Manchuria Medical University in 1927 and studied in Japan. He loved the ancients all his life, and became close friends with Guo Moruo. In his early years, he was a professor at the Northeast Art School, a consultant of the Northeast Cultural Relics Management Office after the New China, a member of the Chinese Artists Association, the vice chairman of the Liaoning Artists Association, and the vice chairman of the Shenyang Federation of Literary and Art Circles. He has research achievements in archaeology, ancient Chinese ceramics, paintings, and ancient musical instruments. There are works such as "Chinese Guqin Hidden Interpretation", "East Kiln Examination", "Gynecology Fuwei", "Reading Painting in the Half-Deaf Building", "Printing Grass in the Half-Deaf Building" and other works.
Zhou Tieheng (1903-1968)
Looking back at the development of modern Chinese art in the past century, the significance of Qi Baishi (1864-1957) and his school to the transformation of Chinese painting is an unavoidable question. Especially after arriving in Beijing in 1917, as Qi Baishi's fame grew, more and more disciples worshipped him. In addition to the students who later came under the art education system of the academy, many private disciples from all walks of life are also an important group to inherit Qi Baishi's art.
As a disciple of Mr. Qi Baishi, Zhou Tieheng was deeply influenced by Qi Baishi in the fields of calligraphy, painting, and printing, and created and transformed on this basis. Most of his works are freehand flowers and birds, landscapes, and they present a simple and unpretentious natural beauty.
First, the teacher and student fate of the source of the law
In 1919, Mr. Zhou Tieheng was introduced by Master Ruiguang (1878-1932), the abbot of Yanfa Temple in Beijing, to kowtow to the old man Qi Baishi, who was living in Fayuan Temple at that time, and officially became one of the early disciples of the old man Baishi.
Hogenji Temple at the end of the 1950s
To have this opportunity to worship under the Baishi Gate, it should be said that it is not unrelated to Mr. Zhou Tieheng's scholarly family background.
Mr. Zhou Tieheng was born in 1903 in Yulin Village, Ji County, Hebei Province. Mr. Zhou Tieheng's grandfather named him Deyu and ordered Tieheng to be the word. The iron power of the iron balance can be "weighed" for thousands of years, and the blessing and longevity are long. His father was a Jinshi in the late Qing Dynasty, and his grandfather was a speech official. When Mr. Zhou Tieheng was not out of Hebei, he studied at home school. His father, Zhou Yuexi, was the person who took the Jiachen Enke examination in Kaifeng, and he took the 278th place in the examination. Although it is also put on the same list, it is not allowed to enter the stream, although it is also called a jinshi, but only to Anton is a small lier. Therefore, he came to the Northeast to take office, and his family members brought him with him, and placed his family in Fengtian (now Shenyang), and then took office in Anton, because he taught his children the Five Classics, he brought Mr. Tie Heng to Andong, and the earliest school to study was Yuanbaoshan Public Primary School. Later, Zhou Yuexi was transferred to Rehe, and Zhou Tieheng returned to Fengtian and studied in Nanman Middle School.
Nanman No. 1 Middle School (the former site is located at No. 13, Nanchang Street, Heping District, Shenyang City, now Northeast Zhongshan Middle School)
In his early years, he received traditional culture and modern Western-style school education, which enabled Zhou Tieheng to accumulate a relatively comprehensive and diverse cultural background and knowledge structure very early. Therefore, after apprenticeship with the old man Baishi, he can also learn from all kinds of families, be eclectic, and have his own appearance. Mr. Zhou Tieheng's freehand paintings are the enlightened people who can stand out among the disciples of the old man Baishi in today's art world.
His paintings are full of real body and contain the breath of a scholar. Its aesthetic sources are not only from the influence of his teacher Qi Baishi and private teacher Wu Changshuo, but also the influence of Xu Wei, Chen Chun, Shi Tao, Bada, "Yangzhou Eight Monsters", etc., in addition, it can also be seen that Ren Bonian and even Chen Banding, Pu Hua, Xugu and other factors.
Zhou Tieheng's paintings do not absolutely pursue the elegance, ease, purity and lightness of literati painting, just as he believes that the atmosphere of "painting like a sick man" is the last stream of literati painting, and he has always reprimanded this kind of painting method. In this regard, as Mr. Liu Xilin pointed out:
Qi Zhou's master-apprentice relationship, understanding the advantages of master-apprentice teaching, non-college education can be replaced. The relationship between Qi and Zhou not only demonstrates the immortality of Tieheng's art, but also proves once again that Qi Baishi can be called an art educator. (Liu Xilin, "The Scales of the Net: <半聋楼画集>Appreciation of Reflections", China Art Newspaper, No. 83, September 25, 2017.) ）
Mr. Liu Xilin not only recognized the greatness of Qi Baishi's art education, but also affirmed Mr. Zhou Tieheng's painting achievements.
Qi Baishi carved "Meng Lansheng"
2. Studying in Japan broadens your horizons
As an artist with a traditional literati complex, Mr. Zhou Tieheng often boasts of being a descendant of Lianxi, and admires the sages in his heart. He often admired the canon of the Three Hopes and was self-disciplined, and pursued the ideal of the inner saint and the outer king all his life. After befriending his apprentice Qi Baishi, Zhou Tieheng often asked the old man Baishi with the courtesy of a disciple.
In 1923, Mr. Zhou Tieheng was admitted to the Department of Medicine of Nanman Medical University, and among the teachers of Nanman Medical University, there were not only Japanese teachers, but also many German professors. Through the exchanges with these teachers, their knowledge of the Orient, Europe, and the world was greatly enhanced, and their eyes were opened.
At the age of 26, Zhou Tieheng was selected to study at the Imperial University of Kyushu Island in Japan, and was recommended by Tetsutaro Nishi, a friend who had a good friendship with him and the president of the Japanese Treasure Dong Co., Ltd. in "Manchuria", and stayed at the Xiyuan Temple. During his study in Japan, Zhou Tieheng broadened his horizons and knowledge, and at the same time, he met Guo Moruo and became a lifelong friend.
Two pages of the letter from Qi Baishi to Tetsutaro Nishi
Commentary: Now by Chonggu Zhai handed over two stones, carved eight characters, Cheng asked Runzi, each word two round four corners. Mr. knows best that the rest of the moment is not evil, should not be subject to the gold, Baishi has a home difficult to return, lives in Yanjing, needs coal and rice every day, and accepts the gold of Mr. The last resort! Mr. Xizhe. Qi Huangyi. December 30th.
Qi Baishi engraved the "West Zhe" flat seal for Nishi Tetsutaro
During his study in Japan, Zhou Tieheng not only studied pediatrics, internal medicine, but also pharmacy. Most of the teachers at the Imperial University of Kyushu were Germans, especially surgical instructors, who were good at drawing and drawing anatomical drawings to help him teach, so that Mr. Zhou was able to study European art in depth. He read quite a few books on European painting in German, English, and Japanese in the library, and gained a systematic understanding of Western drawing, color, and related theories.
During his stay in Japan, Mr. Zhou Tieheng also often visited and studied in major museums in Japan, and in addition to the influence of traditional Chinese culture, he extensively absorbed new knowledge, and successively visited Shosoin, the Imperial Museum, Kyoto National Museum and other institutions with Chinese cultural relics collections, and had a preliminary understanding of the preservation of Japan's "national treasure" and "important cultural property" cultural relics, and conducted in-depth research on Japanese paintings. During this period, Zhou Tieheng believed that only Maruyama Yingju, Tomioka Tetsusai, Takeuchi Qifeng, Yokoyama Taikan, Xuezhou, Hashimoto Sekiyuki and other artists were influenced by Shen Quan to varying degrees, and the mantle of Chinese painting was passed on, and the rest of the painters were not enough to discuss.
It can be seen that the experience of traveling in Japan had an important impact on Zhou Tieheng's future artistic development, so that in addition to the long-established tradition of family learning, he broadened his artistic horizons and increased his knowledge by virtue of his overseas study background, which is not without benefit to his future artistic career. Mr. Zhou Tieheng has always taken Zhang Xiangtao's middle school as the foundation, and Western learning as the foundation of his education.
In 1951, some staff members of the Northeast cultural and museum circles took a group photo (Zhou Tieheng stood in the middle of the back row)
3. Teacher-student exchanges: The literary world is connected
In his artistic career after becoming acquainted with Qi Baishi, Zhou Tieheng followed the teachings of Chinese Confucianism, Taoism and Buddhism in the collection of cultural relics, the harmony of qin, chess, calligraphy and painting, as well as the creation of poems and the advocating of seal carving, making him a Chinese-style literati with both modern cultural knowledge structure and traditional culture.
Influenced by Qi Baishi, Zhou Tieheng attached great importance to the cultivation of calligraphy and seal carving, and also drew nourishment from music, medicine, and archaeology, and was a literati painter with a wide range of interests in the modern sense.
In his artistic career, he has made many mentors and friends, and he has also benefited a lot from cultural exchanges, among which the teacher-student friendship with the old man Shiraishi is the first of all. In the close correspondence between the two, in addition to discussing art, Zhou Tieheng also ran for Qi Baishi's various affairs, trying to solve the teacher's worries as much as possible. Qi Baishi also gave guidance and concern to Zhou Tieheng's artistic progress. These situations can be seen from the existing books exchanged between the old man Baishi and Zhou Tieheng and the annotations of the old man Baishi, Zhou Tieheng's inscriptions. Qi Baishi gave considerable recognition to Zhou Tieheng's painting, calligraphy, and seal carving, especially in seal carving.
Zhou Tieheng's old collection of Qi white stone seal carved eleven kinds
After Zhou Tieheng moved to Fengtian with his father, he once called himself "Hebei Zhou Lang", and because he admired Wu Yilao (Changshuo) talent, he said that he was his private disciple. Wu Yi is deaf, Mr. Tie Heng loves ancient music, and humbly said: Kuang, earth, leather, wood, stone, gold, silk and bamboo are eight tones I can listen to half of it, so I call myself "half-deaf", and because I live in the small south gate of Shenyang City, opposite the Bank of China on the second floor, so Yanqi lives in the "half-deaf building", and self-published "half-deaf building" a seal, and a small poem on the four sides of the seal: "lazy to listen to the chaos in the world, half with Xu Zi to live his life." The rooster can't afford to squat and dance, and the bed is a dream for five nights", also known as the "four-tone hall", and in his later years, he called himself "old and deaf". Now it can be known that Qi Baishi also carved many seals for his student Zhou Tieheng, such as "half-deaf" and "half-deaf building small book nest", which can also show the friendship between teachers and students.
Qi Baishi carved a part of the "Half-deaf Building Small Book Nest" by Zhou Tieheng
In the thirties of the last century, when Zhou Tieheng visited the Palace Museum, he purchased the Palace Museum's color printing spectrum, which was properly sealed and presented to Qi Baishi. The old man Baishi wrote the inscription "Half-deaf Lou Yincao" and made a preface for this inscription. Prologue:
The engraver can change into everyone, get the natural fun, and find a way to carve the ancient monument, and there has always been only Uncle Zhao (Zhao Zhiqian) alone. At the age of forty-five, Shang Shi "Two Kingdee Hall Seals". Zhao Zhi Zhu Wen is close to Juanxiu, which is different from Bai Wen's seal method. Therefore, it has become a little stronger, super vertical into the knife, not sharpened, never imitated, evil finishing, and then look at the ancient inscription method, all of which are the same. After 20 years of hard work, he thought he could engrave it.
Brother Tie Heng was sent by Fengtian to engrave this two, asking for approval of its short and long. Its clumsy vigor is not only excessive, but it can surpass the boring (Zhao Zhiqian). Those who are humble do not know the depths of their kung fu without complacency. Therefore, the inscription is written before the inscription and is also used as a precedent.
Wu Yin (1938) lived in Beijing in the spring and February, Qi Huang.
Qi Baishi's hand-criticized Zhou Tieheng's "Half-Deaf Building Printing Grass" was released by Kaipai International at the 2023 Spring Auction, and the realisation price was 805,000.
From this preface, it can be seen that although there is a praise for the beauty of the disciples, it is also true when it comes to achievements. The old man Baishi not only wrote the preface, but also hand-criticized the 25 prints in the "Half-deaf Lou Yincao", which shows the old man Baishi's love, expectations, encouragement, affirmation, and praise for Zhou Tieheng, which is enough to prove the intimacy of the relationship between the two.
Qi Baishi carved the poor side paragraph
Not only that, the old man Baishi also wrote as many as 35 square prints for Zhou Tieheng's names, numbers, collections, and idle prints such as "Zhou Deyu" and "Tieheng", and wrote inscriptions, pages, and prefaces for "Half-Deaf Building Talks about Painting". The preamble reads:
The person at the head of the painting building is half deaf, and the mouth is also working with his hands.
Someone painted the poor samadhi, come to see the Zhou family in this volume.
The collection and discovery of these materials not only enriches the materials of Qi Baishi's art world exchanges, but also proves the aesthetic orientation and evaluation criteria of the old man Baishi's sealing, which has precious artistic value and documentary historical value.
Zhou Tieheng's old collection of Qi white stone seal carved eleven kinds
Fourth, the style inheritance of self-appearance
Mr. Zhou Tieheng's artistic harmony of poetry, calligraphy, painting and printing is the ideal paradigm of a typical traditional Chinese literati painter, and at the same time, it integrates the influence of Western culture to form a family, and his artistic life is still inspiring today.
In terms of poetry, Mr. Zhou Tieheng believes that whether poetry is open or not is an important indicator of quantifying literati. Therefore, the poem seeks to be clear and elegant, and focuses on "refreshing Yu Kaifu, Junyi Bao joining the army", which is considered to be a compulsory course for becoming a literati painter, and it is also a housekeeping skill for becoming a literati painter. Zhou Tieheng has been famous since he was a child, and under the influence of his father, his poems and essays are all fluent. Later, when I met the old man Qi Baishi for advice, he once made "Song of Dragonfly": "Agate flips and flies wings, sonorous like Langyu." The old man Baishi once commented on Mr. Tie Heng: "It is similar to Li Changji (Li He) who has knocked thin bones so far, especially with his own copper sound." Li Changji is a ghost talent, and he must be cautious when learning." Zhou Tieheng's poems, mostly for the purpose of inscriptions, are magnificent and romantic, and even some aggrieved and secluded, and if you want to talk about his poems, among his peers and modern painters, they can also be in the forefront.
Zhou Tieheng imparted his experience to the younger generations at home
In terms of calligraphy, on the occasion of the Republic of China, the stele study flourished, and no one of the literati did not worship the stele. Mr. Zhou Tieheng's gesture when he was enlightened was Zhao Dong, and for a long time, the wind vane was the beacon of the stele, and it was also used for reference from time to time under the influence of the times.
Since the end of the 40s of the last century, he was invited by the Ministry of Northeast Chemical Affairs to serve as a consultant of the Northeast Cultural Relics Management Office, during which he obtained more than 10 kinds of epitaphs of the Northern Wei Dynasty, such as "Yuanyou Epitaph", "Yuan Yuanhua Epitaph", "Yuan Yuan Concubine Li Yuanhua", "Yuan Yu Epitaph", "Yuan Shou'an Epitaph", "Yuan Yi Epitaph", "Yuan Luo Epitaph" and so on. I love it very much, and I have searched for the exquisite copy of Wei Monument, and I have been learning from the cold and summer. Mr. Zhou Tieheng uses his own experience and perspective on Wei Beibei to construct his own stele to learn the language.
He is committed to the intrinsic intimacy of literati painting, and his strict approach to calligraphy is to be in harmony with the format of his paintings. Therefore, his calligraphy is written with the pen of Wei tablet and seal, and the body is based on the law of the Ming people. In addition, because his father used to take the imperial examination, Zhou Tieheng is also good at Xiaokai. It can be seen from his book "Half-deaf Building Talking about Painting", "Qingquan Anecdotes", "Gynecology Decision", "East Kiln Examination", etc., all of which are fly-headed small Kai Gong records, and their diligence is no less than that of Tang Zhi.
Zhou Tieheng demonstrated the method of painting for his friends
In terms of painting, the consistency between Mr. Zhou Tieheng's painting techniques and calligraphy is typical, and his painting is based on his calligraphy. Just as he once said, "the painting method is related to the calligraphy law" and "the direct calligraphy and painting method", these two classics come from Shi Tao and Wu Yilao, and also reflect his painting aesthetic standards. In his early years, he painted part-time and wrote part-time, with the habit of engraving. Since the age of 50, he has perfected the wonderful realm, from the light to the muddy. From the light and easy state of traditional literati painting, it has become a majestic trend of personality and publicity, which is in opposition to the "easy" and "light" emphasized by Dong Qichang's Nanzong literati painting. The subject matter in his paintings is not the same as that of the ancients, flowers, birds, fish and insects, landscapes and figures, the posture is extraordinary, the composition is either tight and complex or refined and thrifty, and the creative use of the brush breaks the observance of various complicated techniques and procedures, but replaces it with a typical writing brush. The pen and ink are vertical and horizontal, super shaped, and the color is heavy and light ink, all of which are handy.
Zhou Tieheng exchanged painting art with his colleagues
In terms of seal carving, Zhou Tieheng first studied under Mr. Lu Xiaoxuan, starting with the Han seal, followed by Zhejiang and Anhui. Since entering the old man's door in Baishi, the method of carving the old man's seal is the rule. At the same time, it is not only bound by the seal style of Baishi Weng, just as he says that he is an old private disciple, and his seal carving is also a self-explanatory appearance. After years of unremitting pursuit and exploration, it has made remarkable achievements in seal carving, just as Qi Baishi commented on it, "the engraver can change into everyone, get the fun of nature, and find a way to carve the ancient monument, there has always been only Uncle Zhao (Zhao Zhiqian) alone."
Qi Baishi is a part of the "carpenter apprentice" carved by Zhou Tieheng
It can be seen that Zhou Tieheng integrated his learning into his calligraphy, paintings, poems, texts, and seals, and his Chinese calligraphy and painting were closely integrated with brush and ink, and he never used non-brush painting tools such as brushes, watercolor pens, and brushes. The writing is simple and generalized, all from the calligraphy, the penmanship is unpredictable, and there is God's help.
His paintings are mostly painted with Wu Changshuo's seal brushwork, then how thick and clumsy, focusing on "writing" and gold and stone gas, and absorbing the old man of Baishi to split the heavenly oracle brushwork into the painting, to get the old spicy and clear shape of the god. As Zhou Tieheng said when discussing his painting brush: "Give the grass brush of the green vine of many teachers, the brush of the winter heart, the brush of the old man, the pen of the division of the Qi teacher, and the expression of re-mastering." This also reflects the difference between its freehand flowers and birds and the difference between the predecessors and the present.
Fifth, one flower and five leaves, Liaodong inheritance
In the forties of the last century, Mr. will study Da Dizi's "Quotations on Shi Tao Painting", and write "Half-deaf Painting Yi", and call himself "a painting of the old man". At the end of the fifties, after Mr. Zhou Tieheng was hired as a visiting professor at the Lu Xun Academy of Fine Arts, he called himself "Irrigation Gardener" and appointed himself "Dongfeng Xinshe". There are also more than 100 aliases, such as: Yexiang Pavilion, Yexiang Pavilion, Titian Sea House, Shenyang City Guest, Zhan Chengtang and so on. It has opened a chapter of art education in Liaoshen area, and has inherited the artistic outlook and artistic propositions of the Qi Baishi School with its own teaching practice.
Group photo of all the librarians of the Shenyang Research Museum of Culture and History (Zhou Tieheng is the fourth from the left in the middle row, and Shen Yanyi, the sixth from the left in the back row)
Since the 20th century, the argument that Chinese painting is at the end of the road has been rampant, and the rejection of traditional literati painting, especially freehand literati painting in the Ming and Qing dynasties, has directly affected the creation of modern literati painters. At this time, the East-West Cultural Controversy, the May Fourth Movement, the New Culture Movement and other currents of thought also broke out, and then the tide of revolutionary ideas in the art world swept across the country. Kang Youwei and Chen Duxiu were the first to encircle and criticize Chinese painting. Although there are traditional forces such as the Nationalists, cultural reform is the trend of the times. Many people in the art world have studied abroad, so the call for the transformation of Chinese painting with Western realism is very high. Subsequently, the realism advocated by Xu Beihong was unstoppable. However, Zhou Tieheng, who has worked hard to adhere to the tradition, is not moved, and is still pursuing pen and ink and charm. With his in-depth understanding of Western scientism aesthetics, Zhou Tieheng also agrees with realism in painting. However, due to the teaching of Qi Baishi, the instruction of the old man Baishi, and the cognitive education of people of insight about Chinese painting, he had an inevitable choice of the inherent value of traditional literati painting.
Literati painting is a painting that should be more closely connected with cultural people, and strive to strengthen it with techniques towards the metaphysical path. The formation of techniques should be subordinate to the Tao, and the success should be determined by heaven. Therefore, traditional literati painting pursues a sloppy brushstroke, and contains a large number of literati feelings in a simple form. The interest of traditional literati painting reflects the literati's learning, temperament and skills, that is, the integration of skills and Taoism. It is the manifestation of technology, and it evolves into the Tao. Without the literati's cultural nature, it is impossible to talk about literati painting! Today's self-proclaimed so-called literati painters are mostly undisciplined and uneducated, and they are empty shells of vulgar brushwork and ink.
Although most of Zhou Tieheng's works express the themes cherished by traditional literati and the themes of his own literati festivals, there are also many new themes and new contents that conform to the development of the times, express the themes of the lower classes of folk customs, and praise the new China and the new content. Its freehand flowers and birds are strong and strong in style, unbridled, not only with the pen and ink exquisitely, but also more fully play the richness of color, the five colors of the ink halo, the emphasis of the highlights, the volume of shadows, pay attention to the composition, space, volume, color, virtual reality, pay more attention to the light and shadow and texture. The emphasis on water marks and reflections, excavating the content and form that have never been expressed before, and improving the expressiveness of Chinese painting has improved considerably.
Zhou Tieheng talked with friends in his later years
Zhou Tieheng's creative outlook and the formation of his own style are inseparable from the development of his concept of art and his unique artistic proposition. Mr. Tie Heng has always been confident in character, self-confidence in learning, and self-confidence in talent, and he once said that "the so-called thinker is the crystallization of character, knowledge, and talent", so Chen Hengke's literati painting qualifications are ready. His flower and bird paintings have inherited the freehand traditions of Xu Wei, Bada, Shi Tao, Wu Changshuo, and Baishi Old Man to varying degrees, and his landscape brushwork also has traces of Shi Tao and Wang Hui. Although his teacher Qi Baishi was noncommittal to orthodox literati paintings such as Dong Qichang and the Four Kings, Zhou Tieheng still recognized Zhao Mengfu, Dong Qichang and the Four Kings aesthetically. It is precisely because he likes it that he once spared no expense to buy and collect the Qing Palace's scattered "Shengzi Zhaolie Women's Thorn Tiger Picture Scroll", "Dong Qichang Cursive Ancient Poetry Scroll", "Qian Weicheng Four Prefaces and Spring Picture Scroll" and so on.
The difference between Zhou Tieheng and Qi Baishi's aesthetics of traditional painting may be due to the difference in teachers' education and family education. Zhou Tieheng's paintings are related to traditional education, then to the expression of emotions, and then to the sense of ease, and finally become the dominant aesthetic orientation of his paintings. Zhou Tieheng believes that the vulgarization tendency of modern literati painting can be traced back to the era of the "Eight Monsters of Yangzhou". The commodification of the paintings of the "Eight Monsters of Yangzhou" has tended to the extreme, which is one of the direct reasons for its vulgarization. The internal reasons for the vulgarization of the Shanghai School paintings, which were directly influenced by the "Eight Eccentrics of Yangzhou" in modern times, are also directly related to commercialization. It is undeniable that in the development of the aesthetics of modern literati painting, the connotation of literati painting is indeed changing, and it is gradually moving towards the commercialization of painting, which has affected the aesthetic orientation of literati painting and has a tendency to vulgarize. The reason why the tradition of literati painting has changed in modern times is that the aesthetic variation of traditional literati painting in modern times is mainly manifested in the weakening of "Yi". Therefore, his works are also constantly changing, and the brushwork is becoming more and more vigorous and spicy, and gradually becoming calm and happy. However, its transformation is not influenced by the outside world, but according to the process of its own painting, step by step, step by step, not expected to reach quickly, only expected to be elegant.
Qi Baishi is Zhou Tieheng's printing edge
Zhou Tieheng believes that the flower and bird paintings of Zhao Uncle and Ren Bonian and other predecessors are lost in the atmosphere of makeup and fat powder, and the rich and noble style is too strong, and there is a suspicion of catering to the market. In response to this phenomenon, Zhou Tieheng's paintings deliberately strengthened the intensity of brush and ink, which was quite vigorous and full of life, and was intended to sweep away the weakness and loneliness of traditional literati painting. Zhou Tieheng's sketching and modeling abilities have promoted the many expressions of the subjects he loves. Compared with Wu Changshuo, Qi Baishi and other previous artists, his works have added a lot of content: trees, flowers, birds, scales, insects, different postures, each with its own feelings.
Some of Mr. Zhou Tieheng's works in the early 60s also show the political form of this time, and he has also left too many slogan-like diagrams in his paintings. For example, he studied works such as "Mao's writings" and "self-reliance", but the brushwork of these paintings is also excellent. These paintings break the limits of literati painting and extend the brushstrokes to the living space of the time, reflecting that his painting creation has to be confined by the flow of the times. However, in terms of aesthetic expression, it also presents diversity.
Aftermath
Throughout Zhou Tieheng's career with Qi Baishi's artistic interactions, Mr. Zhou Tieheng's artistic success is certainly related to his family heritage, Qi Baishi's guidance from famous teachers, and his own diligence and systematic Chinese and Western cultural education, but we cannot ignore an important factor, that is, his support and comprehensive care from his virtuous helpers. According to the recollection of Mr. Zhou Weixin, the son of Zhou Tieheng, Zhou Tieheng suffered two unwarranted disasters during the Japanese puppet period, but his wife went first and actively rescued him, and finally got him out of the sea of suffering.
In 1950, in the Northeast Cultural Relics Management Office, because someone falsely accused the then director Wang Xiu, he was guarding and stealing. Because Mr. Tie Heng and Wang Xiu had a close relationship, Gu was also connected and detained in the Shenyang Forbidden City. It was his wife who directly approached the Ministry of Culture of the Northeast People's Government at that time, and appealed to the leaders at that time, such as Zhu Guang, Han Guang, Liu Zhiming, and Zhou Huan, which not only made Mr. Tie Heng happy, but even Director Wang Xiu was cleared. In daily life, Mrs. Zhou not only provides favorable conditions for Mr. Tie Heng's creations, but also is the first judge. After marrying into the Zhou family, he devoted himself to taking care of the family and living in an orderly manner, and never let Mr. Tie Heng worry a little about his life, so that he could create with peace of mind. From beginning to end, Zhou Tieheng's works are never sold to others, and most of them are given away when they know each other. Mrs. Zhou was particularly respectful and supportive of the literati mentality, and once supported her husband in buying Qing Dynasty goods and selling them to achieve her collection ambition. Eight children of the Zhou family, only due to cultural turmoil stopped the college entrance examination, one son and one daughter failed to take the college entrance examination, and the remaining six all graduated from college, which was very proud at the time, and it can also be seen that the Zhou family's poetry and book heirloom style and Mrs. Zhou's virtuous lady who governed the family well.
The tomb of Zhou Tieheng and his wife Xia Yubing in the art garden of Guanling Mountain in Liaoning Province
(To be continued) collection of calligraphy and painting, just look for the "Baishi heirs" of Qi Baishi Painting and Calligraphy Institute, all rights reserved, on-site creation, Qi Baishi painting school, a hundred years of inheritance, a lineage, only do authentic calligraphy and painting, gather the length of the family, on-site creation, can be customized according to the requirements of the collector, can take a group photo! perennial sales of high-end calligraphy and painting, looking for cooperation with high-end painting brokers, partners, regional leaders, the main operation of Qi Baishi before his death with the same painting brush, Qi Baishi painting shrimp special rice paper, Qi Bai graphite block, Qi Baishi self-made pigment formula, Qi Baishi's painting brush grass insect secret method, Qi Baishi's little daughter Qi Liangzhi's father Qi Baishi's calligraphy and painting relics exhibition and Qi Baishi's little daughter Qi Liangzhi's self-collection of calligraphy and painting special auction, Qi Baishi's heirs, Tang Fazhou, president of the Chinese Qi Baishi Painting and Calligraphy Academy, pays tribute to the 160th anniversary of Qi Baishi's birth and reproduces Qi Baishi's microcosm of the world calligraphy and painting exhibition, as well as the operation of Qi Baishi, Qi Liangzhi, Qi Liangchi, Qi Liangmo, Qi Bingyi, Qi Jingshan, Qi Bingzheng, Qi Zhanyi, Qi Huijuan, Qi Shouyu, Qi Yuwen, Qi Lixia, Qi Yuanlai, Qi Folai, Qi Shuilian, Qi Yanjun, Li Keran, Li Kuchan, Lou Shibai, Guo Xiuyi, Wang Senran, Wang Xuetao, Lu Guangguang, Wang Shushi, Tang Fazhou and other authentic works of calligraphy, painting and seals worth more than 100 million yuan can also accept NFT, digital collections, metaverse, cross-border brand cooperation, cultural empowerment resource integration and other operations, and welcome powerful network companies to bid. (Pictures and texts are selected from: Qi Baishi's Descendants Calligraphy and Painting Network) (The pictures in this article are selected from: Qi Baishi in the eyes of Qi Liangzhi, Qi Baishi Painting and Calligraphy Academy, Qi Baishi's Descendants Calligraphy and Painting Network)
Note: The above pictures and texts are excerpted from the lecture "Shaobai Gongzi Fun Talks about Qi Baishi" Speaker: Tang Fazhou
Jia Chennian [Year of the Dragon] compiled in East China Shanghai Qi Baishi Painting and Calligraphy Institute (Shanghai Pudong General Institute)