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 Painting and Calligraphy Academy, 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, who once heard Qi Baishi's disciple Lou Shibai say: Qi Lao is simple and upright, and treats painters and painting friends of the same era. Always respectful, I rarely heard him belittle other people's artistic achievements, or degrade others for himself. For more than 20 years, he rarely made any comments about the painters of the time. Occasionally, someone asks how is a painter's art? He always said that someone's painting was also very good. He often taught me this sentence: "Don't talk about people's shortcomings, don't talk about your own strengths, laugh when people scold, and laugh at people's reputation." He also once said: "I don't pay attention to others who say I'm good or bad, I'm just afraid that Wu Changshuo will say about me, but he is dead." From this sentence, it fully shows that Qi Lao admires Wu Changshuo.
Lou Shibai inscribed the name of "Baishi Mountain Hall" for Shaobai Gongzi
I once saw a teacher's idle stamp, which was engraved with the words "All paintings will not be able to join". I asked him what he meant. The teacher said to me: "You don't know, Jin Qian'an has a 'Lake Society Painting Club', and Zhou Zhaoxiang has a 'Chinese Painting Club', and the two families are not in harmony, so they want me to participate." I was friends with both of them, so I told them that I wouldn't participate. Once, the 'Lake Society' held an exhibition and hung my paintings. Zhou Zhaoxiang came and asked me why I participated in the 'Lake Society' exhibition. I said they bought the painting, and I didn't send it to them for exhibition. He (Zhou) said, then we will also buy a painting from you to exhibit. Therefore, in order to avoid these boring things, I engraved this seal, stamped it on the presser foot of the painting, and opened an exhibition with whichever one of them, I did not explore it. It's to tell people that I'm not the one they draw at, so it reduces a lot of right and wrong. Otherwise, there will always be good people who will come looking for trouble. "The teacher's approach has taught me a lot. From the time I studied painting until the founding of the People's Republic of China, I did not participate in any art club activities or exhibitions. It was only after the founding of the People's Republic of China and the establishment of the New Chinese Painting Research Society in Beijing that I began to participate in the study and exhibition activities of the art club.
Chen Shizeng and Qi Baishi's old photos, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi's copyright owner), Shaobai Gongzi Tang Fa Zhou
Among the painters of Mr. Qi Baishi's contemporaries, the painting friends who had a close relationship with him can be called Chen Shizeng and Xu Beihong. These two painters played a positive role in promoting the old "change" (changing the style of painting). Chen Shizeng, also known as Chen Hengke, is the eldest son of the famous poet Chen Sanli, a fellow villager of Qi Lao, and has greatly helped Qi Lao's changes. Qi Lao often said to me: "Chen Shi was able to write poetry and painting, and his pen and ink style was very high. He advised me to change the style of painting, but to absorb Wu Changshuo's method of heavy color coloring, to avoid the eight cold and easy winds, I believe it. In 1922, Chen Shi went to Japan to hold an exhibition, and took me a few paintings, a piece of apricot blossom sold for 100 yuan, and a landscape sold for 250 yuan. It's a pity that Chen Shi had no life, I heard that he went to Dalian, who knew that from Dalian he went to Nanjing to mourn his mother, and unfortunately died of dysentery. It was a shame that he was only in his 40s when he died. Qi Lao also recounted his newly written poem to mourn Chen Shizeng, which shows the depth of his feelings. The poem says:
The crying king returned in a hurry, and the few friends were sad.
The old man of Ande is here today, and he draws his sword to kill Qi Huang in front of him.
Qi Baishi's work "Borrowing the Mountain", China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi's copyright owner), Shaobai Gongzi Tang Fa Zhou
Once, Mr. Shiraishi took out "Borrowing the Mountain" to show me, and saw the poem that Master Chen had inscribed for the teacher. Poem:
The bag is engraved to know Qi Jun, and now I see the painting like a seal.
Qi Jun's printing work and clumsy painting are all wonderful and difficult to distinguish.
Mr. Shiraishi also said to Master Chen, "I will advance without you, and I will retreat without you", and they can really be called confidants and friends. Although I have been a teacher for a long time, I have not met Master Chen because he died young.
Qi Baishi and Xu Beihong Group Photo, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi Copyright Owner) • Courtesy of Shaobai Gongzi Tang Fa Zhou
Regarding the interaction between Mr. Shiraishi and Mr. Xu Beihong, I didn't pay attention to it at first. Once, when the teacher asked me to clean up the letters for him, he took me to the small west house in the small courtyard of the west back, where I saw a letter full of laundry tubs (old-fashioned lead-iron large round laundry tubs). The teacher handed me a small bench and asked me to sit down. "You have to look carefully one by one, there are a lot of letters from celebrities, and you separate them," he said. Everyone's put it together and tie it up. Some irrelevant letters are put in a separate place.
Xu Beihong sent a letter to Qi Baishi (1949), the exhibition of the Chinese Qi Baishi Painting and Calligraphy Institute (Qi Baishi's copyright owner), and the courtesy of Tang Fazhou, the son of Shaobai
I followed the teacher's instructions and sat down to read the letters one by one, remembering that among the well-known people were Zhang Shaopu, Luo Fu'an, Luo Gonggong, Zhou Dalie, and some other people's letters, most of the content was greetings, some poems, and some compliments to the teacher and Suo Hua. Among them, there are many letters from Xu Beihong, most of which are on behalf of foreign friends, especially Nanyang overseas Chinese, who order paintings, sometimes involving the discussion of painting theory, which aroused my interest, but unfortunately I did not pay attention to write it down. For all the drawings that have been sent and have been replied to, the teacher will annotate the words "sent or replied" for a certain month or day on the letter. I found out that one of the letters was not annotated and took it to the teacher and asked the teacher. The teacher took the letter and read it for a long time, then said to me with a smile: "You see what is written on it is, "I plan to paint a shrimp in three feet, and the pen will be remitted separately." There must be a remittance letter at the back, you check it. "I thought that the teacher would praise me for cleaning up carefully, but I ran into a gray nose and found trouble. Later, Qi Lao saw that I had sorted out the letter well, so he took out a few letters from Xu Beihong and gave them to me as a souvenir. Therefore, I have a deep impression of Mr. Xu Beihong.
Qi Baishi's inscription Lou Shibai's work "Wild Goose Comes Red", China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner), Shaobai Gongzi Tang Fa Zhou
In September 1936, when the teacher returned to Beijing from Sichuan, Wang Zhuyu, a reporter from Xiaoshi Bao, came to interview. Qi Lao once told reporters: "When I was in Chengdu, a reporter from a certain newspaper visited me, and we only talked in general terms. Unexpectedly, the reporter later sent me a newspaper, saying that I criticized Xu Beihong as promising and criticized Liu Haisu as 'too foreign'. These words are definitely not what I meant. Mr. Beihong has been a good friend of mine for many years, he paints horses and other animals very gracefully, and his paintings of people are even more expressive, I admire him very much. Mr. Liu Haisu is a well-known painting friend I have never met, and his works are also very valuable. These two are well-known people at home and abroad, and I criticize others for no reason, how can there be such a thing? This is a mistake on the part of the reporter who did a good job, otherwise he would have deliberately tried to tell the truth, which is really unreasonable. In short, it is not my conversation, and I absolutely cannot admit it, so please send a correction in the newspaper on my behalf.
"Qi Baishi Album" • Exhibition of China Qi Baishi Painting and Calligraphy Institute (Qi Baishi copyright owner) • Courtesy of Tang Fa Zhou, the son of Shaobai
I also saw the preface written by Mr. Xu Beihong for the teacher from the "Qi Baishi Album", which can also explain Mr. Xu Beihong's evaluation of Qi Lao's art. The preamble is as follows:
The way of the husband is the mean, and the solid contains the vast subtlety. Those who are ignorant are regarded as those who are upright, docile and good, while those who denounce the strange and strange are strange, and those who are mad are fierce and fierce, and those who refer to grace and grace are false, attacking each other, and those who have not seen their true are also. There are positive changes in art, but the right ones can know the changes, and the changes are the changes of the positives, not the beginning of the change. The art country uses endlessly, and the magic of art stops at change. For example, the capital is pure and flawless in the whole body, and it is also the author's original wish to expect, and he will go all out, if the form is complete. Such as the harmony of glaze, precision dispensing is not others. That is, the accumulation of his experience, because he knows it with certainty. It is not said that the difference between the fire and the first and the last, the whole body - the color of the pure and flawless vessel, suddenly becomes the strange and strange things of the special color, the imitation can not, its attainments cover all the unexpected, is not the course of the must have, the effect must be good, Gu is the right change. To always get this realm, you must have a superb and broad view, and you must not be a crude and ridiculous deception, such as the so-called specious pseudo-virtue of shallow people.
Baishi Weng is old, and his way is several, from positive to changing, boundless. How do you know it, because its art is vast and subtle. Those who know are also virtuous. The real body is full of non-filipinos, although Weng Su called Shi Tao is also the same as Si example. With all things, the command is determined, and its changes are wonderful. The husband takes the peep out of context, and he will go against it. The disciples of the world attack the appearance of others. And You Beifu only has the appearance of a human being, and he still thinks that he is the best. From this preface, it can be seen that Mr. Xu Beihong admires Qi Lao's painting art very much. I met Mr. Xu Beihong when he came to Peking to preside over the National Art School after the victory of the Anti-Japanese War. The first time I met Mr. Xu at his teacher's house was when Mr. Xu and his wife Liao Jingwen came to visit the teacher. Later, when I was socializing with my teacher, I met Mr. Xu many times. I also accompanied the teacher to visit Xu's house.
Qi Baishi and Xu Beihong's collaborative work "Pu Ye Swimming Shrimp" • Exhibition of China Qi Baishi Painting and Calligraphy Institute (Qi Baishi copyright owner) • Courtesy of Shaobai Gongzi Tang Fazhou
I was more impressed by the fact that when Beiping was about to be liberated in 1949, we did not know much about the policies of the Communist Party of China at that time, and because of the propaganda of the reactionaries, people were panicked and at a loss. Some people advised Qi Lao to go to Hong Kong for a while to take refuge, or to return to the south. The teacher was 88 years old at this time, and he was hesitant to stay. But in the end, he finally accepted Mr. Xu Beihong's advice, and only then did he get rid of his doubts and decided to stay in Beiping to welcome the liberation. Through these things, I know that the friendship between Mr. Xu Beihong and Qi Lao is quite deep. Not only do they admire each other in terms of artistic achievements, but Mr. Xu is also a propagandist of Qi Lao's art abroad.
Qi Liangzhi's old collection: On September 14, 1936, Wang Shizi was welcome to take a group photo, and the only photo of Qi Baishi and Zhang Daqian in the same frame was courtesy of Shaobai Gongzi Tang Fa Zhou
In 1936, the painter Zhang Daqian traveled from the south to Beiping to see his teacher first. I happened to be at the teacher's house that day, and I saw Zhang wearing a robe and a horse coat, although he was over 40 years old, he had a long inky black look. He talked and laughed with the teacher, and it didn't make me feel that he was arrogant to the teacher. When he left, I took the teacher to see him off, and he said goodbye. When Zhang Daqian held an exhibition at the Water Pavilion in Central Park (now Zhongshan Park) for the first time, he personally invited Qi Lao to visit, and I accompanied Qi Lao to the park to see the exhibition. There were many landscape paintings on display at the venue, and there were several figures and flowers. At that time, the teacher also ordered a painting. After returning, the teacher said that this person is very smart, and his pen and ink are unique, and he is very similar to Shi Tao. After a while, Yu Fei went to Teacher Qi and talked about the lawsuit between Zhang Daqian and Xu Yansun, and said that both parties hired lawyers to sue in the court, because some people said that Zhang Daqian looked down on the painters in Beiping at that time, and some people said: "Daqian can enslave everything." I was also very angry when I heard it, and after Yu Feiyan left, the teacher picked out a large Laiyang stone seal for me to polish, and engraved the seal of "I enslave one person". I said, "He (Daqian)" enslaves everything, what is the matter with you carving "I slave to one person"?" The teacher said: "Some good deeds just like to play with right and wrong, pick and choose, and make everyone uneasy. I am the man who despises legends and despises everything. "The teacher's approach to this matter taught me a lot. Therefore, this is the reason why I am reluctant to talk about others lightly about everything right and wrong, except for my own experience and solid basis.
"My Slave Regards One Man" Qi Baishi was included in "The Complete Works of Qi Baishi, Volume VIII: Seal Carving" in 1935, page 61
Another thing is that when I accompany my teacher to the art school, he always sits in the classroom and rarely goes to the faculty lounge. When it was time to take a break, I asked him why he didn't go and sit in the lounge. He told me that when I am usually together, I will inevitably lose my words and cause unnecessary trouble. He said: "In the past, Xiao Zhiquan scolded me for painting as a 'chef brushing the stove', and I also joked with him that your painting is 'cleaning the boat'." I asked the teacher what it meant to "wipe the boat"? The teacher said that the masquerader is rowing, and he has to repair the boat every year. Repairing the ship is a delicate job, and he is afraid that the cabin will not leak well, so he must carefully wipe the oil and greasy, and always wipe it slowly. This is the only time in more than 20 years that I have heard a joke from my teacher about a painting friend at that time.
Qi Baishi cooperated with Chen Banding "Tianzhu Bee", China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner) • Courtesy of Tang Fa Zhou, the son of Shaobai
Mr. Shiraishi has a good attitude towards the painter Chen Banding. He once said: "Some people say that Banding is always scolding me, but I don't believe it." On the contrary, I asked Ziru (the third son of the old man Baishi) to worship Banding as a teacher, and I wanted to learn his kung fu well. You also have to look at more of his paintings. "It is true that Qi Ziru was in Beiping, and he once worshipped Chen Banding as his teacher. From this point, it can be seen how much respect the teacher has for his friends
Qi Baishi, Wang Mengbai's character work "Lady on the Back" China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner) Shaobai Gongzi Tang Fa Zhou courtesy of the picture
The painter Wang Mengbai has taught with Mr. Shiraishi. I heard that in the past the king was dissatisfied with the teacher, but by this time the king had long since passed away. Once, someone brought a half-sided painting of ladies painted by Wang Mengbai, and asked Qi Lao to paint the same. I thought that the teacher would not paint the same, but the teacher did, and then inscribed: "This painting was asked by a friend to Linwang Mengbai, and it was slightly changed." Those who know can see the king and the two pictures, and they know who is right and who is wrong. The elderly are willing to respond to their wishes. After the painting was finished, the teacher hung both paintings on the wall for me to see and asked, "What is the difference between these two paintings?" Because the teacher was drawing, I was watching from the sidelines, and I knew that the teacher had made some changes when he drew the belt. I said, "The lady painted by Wang Mengbai is loose because the belt is not tied; In this painting of the lady painted by the teacher, the belt is tightly bound, which is reasonable. Its right and wrong lie in this one. The teacher smiled with satisfaction and said, "Your eyesight is not bad!" Although he thought that Wang Mengbai's painting of this girl was not very good and lacked, he did not criticize me to belittle him. This shows that the teacher has respect for his contemporaries. I was also inspired to understand that if I were to be at the grave, I needed to be critical of other people's paintings.
Portrait of the old man Shiraishi in Fujiwara Lengshan, China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner) Courtesy of Shaobai Gongzi Tang Fazhou
As for foreign painters, Qi Lao also has great respect. In my teacher's stamps, I saw the seals of "Qi Feng" and "Cuiyun", and he talked about the art of these two Japanese painters. The teacher said, "Although Japanese southern painting is similar to mainland painting, it has its own Japanese flavor, and Takeuchi and Komuro Suiyun are also my friends, and their paintings are very clever." Again, I accompanied my teacher to see someone's oil painting exhibition. He said to me, "You can see that the landscapes and people depicted in these Western paintings are very realistic, and the good thing is that the colors are varied. If I were to go back 30 years, I would have to learn this way of drawing, but unfortunately I am old now.
In 1934, Qi Baishi inscribed a photo of Ito Weixiong, an exhibition of Qi Baishi Painting and Calligraphy Institute in China (Qi Baishi's copyright owner), and a photo courtesy of Tang Fazhou, a young white son
To sum up, the teacher not only had a modest and cautious attitude towards domestic painters at that time, but also had great respect for foreign Japanese and Western painters. It can be said that the old society's vice of literati belittling each other and belittleing each other, the teacher was not infected. This has taught me a lot. Later, when I traveled to various places to give lectures, I firmly remembered that "it is very shameful to exalt oneself by belittling others." Therefore, when I give a lecture, I first explain to my classmates that I am a master of freehand painting, and in the freehand painting method, I only specialize in studying and inheriting the Qi Baishi school, and I am the youngest and most stupid of the Baishi disciples, so there must be limitations in terms of artistic techniques and theories, and you can only take what you need and listen critically, and you must not and should not use what I say to judge other different schools of painting, let alone use what I say to deny others or make arbitrary comments on others. When I am lecturing, I don't want you to ask me to comment on a particular family or someone's art. This is what I think I have inherited not only from Mr. Shi's artistic techniques, but also from Mr. Shi's attitude towards painters who have achieved great artistic achievements. In a word, it is what Du Fu said, "Zhuan Yiduoshi is your teacher". This is what teachers often admonish us.
Qi Baishi, Chen Banding, Wang Xuetao, et al., "Dajitu", China Qi Baishi Painting and Calligraphy Institute Exhibition (Qi Baishi copyright owner), Shaobai Gongzi Tang Fa Zhou
In short, Qi Lao's artistic achievements, according to my experience, can be summarized in the following aspects:
The first is the achievement of Qi Lao's artistic achievements, first of all, because he is humble and studious and works hard all his life. Except for ten days when he mourned the death of his mother and did not paint for a few days when he was seriously ill, he was engaged in painting for many years.
The second is that his creative method conforms to the spirit of realism, so he is ashamed of his predecessors and dares to be original. As he said, "If you want me to do my own way, I want to have my own law." Although it is not popular, it can also be slandered, and it is not ordinary.
Third, he was good at critically absorbing the brushwork of literati painting, without accepting the decadent mood of the declining literati, and at the same time did not abandon the fine tradition of folk art.
Fourth, do not get carried away by fame and fortune, and firmly guard the simple nature of the working people.
What is particularly valuable is that Qi Lao's thoughts and feelings are love life. His creative ideas are in line with the good wishes of the people, so he can portray a hundred flowers and convey the spirit of a hundred birds, and always give people a vigorous and healthy and beautiful enjoyment on the majestic picture of pen and ink
I think these points are the main factors that have led to the great achievements of Qi Lao's art in his life, and they are also the guide for my life's creation. (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, one line, only do real calligraphy and painting, gather the heads 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 paintings and calligraphy, looking for cooperation with high-end painting and calligraphy brokers, partners, regional leaders, mainly operating Qi Baishi's painting brush before his death, Qi Baishi's special rice paper for painting shrimp, Qi Baishi's graphite block, Qi Baishi's 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 China Qi Baishi Painting and Calligraphy Institute, paid tribute to the 160th anniversary of Qi Baishi's birth and reproduced the microcosm of Qi Baishi's 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 heirs worth more than 100,000 million of calligraphy, paintings, seals and authentic works can also accept NFT, digital collections, metaverse, cross-border brand alliance, 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)