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 Fazhou, once heard his master Qi Baishi's little daughter Qi Liangzhi say: settling in Beiping is a turning point in Qi Baishi's life and art. In the ancient capital of Jinghua, he not only saw more treasures of the masters, but also his association with Chen Shizeng, who was also a teacher and friend, helped him to become academically independent. He not only allowed him to create a unique style of freehand flower and bird painting, but also made his landscape paintings that had formed a personal style more distinct and sophisticated, and he magnified the regional characteristics of Guilin and Qinzhou in the "Borrowing Mountain Atlas", and applied the exploration of the inner form and language of the picture to the operation of landscape painting more skillfully.
Shang Hui, born in March 1962 in Xuzhou, Jiangsu, holds a doctorate in art history. Director of the Art Theory Committee of the China Artists Association, Xiaoxiang Scholar Distinguished Professor and Doctoral Supervisor of Hunan Normal University.
One of the sketches of Yangshuo, Guilin, collected by Qi Baishi, Beijing Academy of Fine Arts, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner), courtesy of Tang Fazhou, the son of Shaobai
Style: Yangshuo more than ten miles, there are anglers under the sandstone, the fishing rod is placed in the stone, the person is in the boat, the boat is bamboo, it is very interesting.
It should be said that the landscapes in Guilin and Qinzhou are the main basis for forming the personality of Qi Baishi's landscapes. Qi Baishi once said frankly in the painting "Guilin Mountain" (1924): "When people are ashamed to hear about Jingguan, the sect is ashamed of its ability to praise it. has his own heart and chest armor in the world, and the old man is familiar with Guilin Mountain. ”
Indeed, the relatively independent, rounded peaks and gentle mountains formed by limestone in Guilin and Yangshuo are the main modeling basis for Qibai Shihua Mountain. In the mature period of Qi Baishi's landscape paintings, there are almost no lofty mountains and mountains, famous mountains and rivers, but shallow wild water, flat slopes, bamboo forest huts, and only a few round-headed peaks and peaks in the middle and long distances. This method of painting mountains changed the style of painting landscapes at the time.
Four Seasons Landscape Twelve Screens - Dai Temple Qi Baishi by China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi Copyright Owner) Shaobai Gongzi Tang Fa Zhou Courtesy of the picture
Title: Dai Temple Map. Ishida Weng has seen this picture. The owner of the Yamaginkan.
Seal: Shiraishi Shan Weng (Baiwen) Ten years of hard thinking (Baiwen)
In addition to the changes in the overall structure of the picture brought about by the Yamagata formation, there is also a treatment of vegetation in the near and middle scenes with a specific area. In addition to the luodian mountains and abundant water systems in Guilin, Yangshuo, Qinzhou, and Tieqiao, Qi Baishi incorporated this intuitive feeling into his brushwork, thus changing the traditional landscape tree method and using only banana forests or bamboo forests to construct close and medium scenes.
His "White Banana Book House" (1924), "Basho Book House" (c. 1925), "Banana House" (1925), "Green Sky Wild House" (1925), "White Banana Mountain Residence" (1928), etc., are all various variations of landscape paintings constructed with banana forests, round peaks and study houses as compositional elements, while "Ten Thousand Bamboo Mountain Residence" (1922), "Ten Thousand Bamboo Mountain Residence" (collection of Beijing Fine Art Academy), "Borrowing Mountain Yin Pavilion" (one of the landscape strip screens, 1932), " Mountain dwellings (1951) and others are variations of paintings that combine bamboo forests, round peaks, and huts as compositional elements. The landscape symbols with bamboo forests, banana forests, and round peaks as typical regional characteristics of Guilin purify the picture composition of Qi Baishi's landscape paintings, and also strengthen the geographical and regional characteristics of Qi Baishi's landscape paintings.
Four Seasons Landscape Twelve Screens - Borrowing the Mountain Yin Pavilion Qi Baishi's Painting, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi's copyright owner) and Shaobai Gongzi Tang Fa Zhou
Title: Borrowing the picture of the mountain chanting hall.
The duck and the people in front of the door are idle, and the old sentence is also, only this sentence, which shows the silence of the mountain. White Stone.
Seal: Wooden Man (Zhu Wen)
Qi Baishi's respect for the characteristics of natural geography and landforms changed the brush-and-ink language of traditional landscape painting, especially the four kings Yu Xu in the late Qing Dynasty and early Republic of China. The geomorphological features of Guilin and Yangshuo are typical karst topography composed of limestone, which is the result of long-term dissolution of groundwater in limestone areas. The abundant water content of the limestone cultivates abundant vegetation, and even if the mountain is not large or high, the rock is rarely exposed, so Qi Baishi's landscape painting also distances itself from the brush and ink of the four kings' dry brushes to express the changes of rocks, and even decides to "rub" this the main expressive language of Chinese landscape painting.
The main language he used to paint mountains was either the central line and the slightly restrained line, such as Guilin Mountain (1924), Wanzhu Mountain Residence (collection of Beijing Fine Art Academy), and Taoyuan Landscape (1938), or pure rice dots, such as Rice Mountain (1922) and Mountain Light After the Rain (1925), or wet brushstrokes without bones, which were most used in various variations of Jiaowu Tu. The banana forest and bamboo forest are the main elements that constitute the near and middle scenes of Qi Baishi's landscapes, and they are also important components that reflect the brushwork of Qi Baishi's landscapes.
Basho Book House Qi Baishi, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner) Shaobai Gongzi Tang Fa Zhou courtesy of the picture
Qi Baishi abandoned many traditional tree methods, and expressed the banana forest in the form of white drawing, which fully reflects Qi Baishi's calligraphy skills, and the red soil under the banana forest is made of thick ink or light ink dots, thus forming the formal meaning of points, lines and surfaces. The book house is the cultural landscape of Qi Baishi Guilin's landscape, which adds the humanistic atmosphere of the natural landscape of the landscape, and constructs the leisurely, simple and tranquil pastoral artistic conception of the work.
In fact, the various variant paintings such as "White Banana Mountain Residence" and "Green Sky Wild House", which can best reflect the local scenery of Guilin, are Qi Baishi's high generalization and refinement of the landscapes in Guangxi, where the round peaks, banana forests, and farmhouses are the three landscape symbols he extracted from the local scenery of Guilin, and these three landscape symbols also constitute his unique carrier of brush and ink language. In this regard, he also masturbated: "There were no mountains in Yangshuo, and the mountains and peaks were inclined to help. With a smile, he faced the giant hands, tiling and wiping the dead work. ”
Qi Baishi's refinement and condensation of Guilin's vernacular scenery is not only the pursuit of visual form, but also the symbolic consciousness of local culture. This is a conscious or unconscious exploration of the visual forms and cultural symbols of landscape painting, which began with "Borrowing Mountain Atlas". The various variant paintings representing Guilin's landscape represented by "Baijiao Mountain Residence" have undoubtedly become the most unique works of Qi Baishi's landscape paintings, and are the stylistic symbols of Qi Baishi's landscape paintings.
Autumn Water Cormorant Picture by Qi Baishi, Exhibition of Qi Baishi Painting and Calligraphy Institute in China (Qi Baishi Copyright Owner) Courtesy of Shaobai Gongzi Tang Fa Zhou
In addition to the typical local scenery of Guilin such as "White Banana Mountain Residence" and "Green Sky Wild House", he also painted many Hunan and Chu farmhouse scenes. In works such as "Borrowing the Mountain and Yin Pavilion" (one of the screens of the landscape, 1932), "Ducks Wandering in the Willow Pond" (1929), "Sorrowful Narrow Road" (1929), and "Cormorant in Autumn Water" (collected by the Beijing Academy of Fine Arts), the picture does not have mountains, but shallow water in ponds, wild fowl on the willow banks, and huts and boats. Most of these scenes were painted after he settled in Beiping, and they are his psychological descriptions of his hometown and even the surrounding natural environment such as "Baishi Old House", "Xingtang Old House", "Baimei Book House" and "Borrowing Mountain Yinguan" where he lived in his hometown. These elements are very refined and pure, and they are authentic hometown customs, not mixed with any foreign scenery.
Narrow Road Walk Qi Baishi Painting and Calligraphy Exhibition of China Qi Baishi Painting and Calligraphy Institute (Qi Baishi copyright owner) Shaobai Gongzi Tang Fa Zhou Courtesy of the picture
Style: Where is the drunkard idle, worried about the narrow road tree shade, painting the mountain and easy wine no one wants, and the disciples on the other side visit Zifeng. He is the brother of Shi Po and is made in Yanjing. Qi Huang and Baishi Mountain Weng are inscribed.
Seal: Lao Bai (Baiwen)
Qi Baishi respects the truth of his own emotions very much, so these scenery seem to be easy, but the emotions conveyed are very rich; Qi Baishi also respects his own visual feelings, so this sincere and simple nostalgia deeply penetrates into the aesthetic object of visual experience. It can be said that the expression of visual authenticity is the basis and destination of his simple feelings. It is precisely this kind of ease of scenery that really gives his composition a new configuration: in the vertical narrow banner, the visual reality seems to be presented in the form of a bird's-eye focal perspective, a pond with wild ducks or cormorants floating in the near foreground, a willow bank in the middle ground, a shallow slope floating in the distance, and a hut scattered on the plain. The picture is concise and the landscape is far-reaching.
The godson is painted by Qi Baishi, collected by the National Art Museum of China, the exhibition of the Qi Baishi Painting and Calligraphy Institute of China (Qi Baishi's copyright owner), and the courtesy of Tang Fazhou, the son of Shaobai
The scenery of this mountainless water village has formed Qi Baishi's brushwork style of scattered but not lonely, peaceful but not ordinary, cordial but not sweet and vulgar, and he uses the pen in the center and the wet brush without bones, seeking the formal meaning of the picture, the line, the surface, the virtual and the real, the dry and wet, and the shades, so that these symbolized wild waters, willow banks, shallow Zhu and huts constitute an internal formal relationship.
It should be said that the simplicity of this composition is entirely due to the meticulousness of the internal structure of the picture. In this sense, the uniqueness of the spatial relationship of Qi Baishi's landscape paintings also reflects the influence of the specific regional characteristics of the Xiangchu region on him, as well as his generalization and refinement in this specific space and the excavation of the internal formal laws. (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, Wang Tianchi, Wang Wennong, Yang Xiuzhen, Tang Fazhou and other Qi Baishi's descendants are worth more than 100 million calligraphy, paintings, seals and authentic works, can also accept NFT, digital collections, metaverse, cross-border brand cooperation, cultural empowerment resource integration and other operations, 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)