Meeting time: September 17, 2021 morning
Conference venue: Meeting room of Qi Baishi Art Museum
Moderator: Wang Zhijian
Academic moderator: Liao Shaohua
Conference text: Jin Yao
Wang Zhijian (Vice Chairman of Xiangtan Municipal Federation of Literature and Literature, Chairman of Artists Association): Qi Baishi Memorial Hall (Art Museum) is a platform for building national academic construction, because it not only represents a region, it can represent Hunan Province and the whole country, so many artists are willing to walk into the door of the master. They felt satisfied to be able to appear at the Qi Baishi Memorial Hall in their artistic journey. Teacher Qi Xinmin's personal information is also basically known to everyone, and today I will not introduce the guests in detail due to time relations. There were some old Qi's picture books on the table, and we studied, read, and walked into the world of Qi Xinmin. Don't delay too much time before the seminar, let's solemnly invite the host Teacher Liao Shaohua.
Liao Shaohua (Former Member of the Art Theory Committee of the China Artists Association, Professor of the School of Fine Arts and Design of Hunan First Normal University): Hello leaders, teachers and friends! I was invited by Mr. Qi Lao and entrusted by his friend (classmate) Mr. Liu Xilin to be the host. Liu Xilin, a teacher at the National Art Museum of China, was formerly the deputy director of the Theoretical Committee of the China Artists Association. He was unwell, so he commissioned me to attend the meeting about eight or nine days before the meeting. The division commander's trust had to be taken from. Fortunately, I have been to Xiangtan before, and many of you are already friends.
In 2012, at the Shangshang International Art Museum in Beijing, mr. Qi Xinmin held an art exhibition, and the works in that exhibition were 230 pieces. The seminar was attended by 24 experts and scholars. Today, although we are in Xiangtan City, we are also a high-level exhibition from the specifications. It was not easy for Mr. Qi Lao to come here from Shandong to hold this exhibition. And after we compare the works in the album with the works in the exhibition hall, we can find that after 2012, Mr. Qi Lao has created a lot of new works, and there are many new works in this exhibition, so his exhibition is again in Hunan after the sensational Exhibition in Beijing, which is very good for our cultural exchanges in Hunan and promoting the creation of the art world.
I would like to add that Mr. Qi lao, he was not good at words. The words he spoke so long at the opening ceremony today were all heartfelt words. He said he didn't have a title, but he did. He was the honorary president of The Zibo Academy of Painting in Shandong, the honorary chairman of the Shandong Zibo Artists Association, the tutor of the advanced research class of Tsinghua University, and the visiting professor of the Central Academy of Fine Arts. Of course, he attaches great importance to the appointment of Qi Baishi Art Museum, and it is also a respect for the cultural circles of Hunan art circles. The albums that everyone on the table saw were published after the CCTV interview with him in the documentary. Referring to Mr. Liu Xilin's statement, I hope that all experts and scholars will make an evaluation of Mr. Qi's exhibition, give a little encouragement, talk about a little impression or suggestion, and we will communicate together. Next, we have the floor for Teacher Zhou Zongdai to speak.
Zhou Zongdai (famous painter in Xiangtan): Teacher Qi and I are netizens, and I saw his paintings on the Internet five or six years ago, which are very energetic and vital. Seeing him in person today, I admire his health very much. We are all people in the 30s, and we have experienced a lot of common things, and we can talk about it. Teacher Qi's paintings very vividly show himself, he is a cheerful person, very loving life, so the life in his eyes is colorful and colorful. Paint everything, love everything. He made a very good representation of some small animals, such as eagles, horses in the northwest. He was also very open-minded, much more open than we are. The traditional method of using color in Chinese painting is said to be colored with color in the Sheikh's Six Laws. Qi Lao's use of color has greatly exceeded the law of color with class. The color of his paintings is not exactly the color of the object, but the color of the object and the color of the heart. So his paintings have a colorful atmosphere, which shows the world of spring in his heart. So Qi Lao's paintings are full of vitality, and he certainly has no problem living to be 100 years old. I hope that in the future, the Xiangtan Qi Baishi Memorial Hall can still usher in the exhibition of Qi Lao, which is also the happiest thing for our Xiangtan painters.
Liao Shaohua: Mr. Zhou and Elder Qi are relatively close in age, only two years apart, so many artistic ideas are similar. Teacher Qi's painting is often not only a simulated object, but more importantly, it is to express himself. Thank you very much Mr. Zhou.
Zeng Jingxiang (former dean of the School of Arts of Hunan University of Science and Technology): I have also participated in many such seminars, although today Qi Lao and I met for the first time. But I have seen his paintings for at least 20 years, and when I came to the Qi Baishi Memorial Hall to hold an exhibition, I think it was a new wind, a breeze, and a fierce wind for the cultural and artistic circles in Xiangtan. Why is it a fresh air? He pulled the face outside our Hunan group to Xiangtan. We also have many freehand painters in Hunan, such as Mr. Wang Xianshan... They are all freehand painters with distinct styles. But Teacher Qi has a lot of commonalities with everyone, but also has personal uniqueness, so he is a new wind. Today I watched more than a hundred of his paintings. The painters I came into contact with were invariably praised, proving that his work was very powerful. That's the first feeling.
Teacher Qi was born in 1935 in rural Shandong Province, and his family was not wealthy. He was 10 years old when the republic was founded, and he was the age when he began to understand things, and he had a spirit of not being afraid of failure. This spirit is particularly fully expressed in his paintings. His paintings of flowers and birds are different from those of the general northern flowers and birds. Not only is the atmosphere majestic, but it is also very flexible and has the vitality of life, and it has also absorbed many new ideas and new methods of the times. His research on color and subject matter has reached a considerable height. He especially loved to draw cats and sheep. There was also a book dedicated to cat paintings. His sense of line is very strong, and his traditional kung fu is very solid. In one stroke, it is both a form and a god, and his freehand paintings have minimalist pictures and extremely complex pictures. In the technique he is very extensive, not single, looking at his paintings will not produce visual fatigue. Therefore, Teacher Qi's paintings have reached a height that many painters cannot reach.
He said he didn't have a hat, but he actually had a hat. For example, the judges of the China Flower and Bird Painting Association are also hats, that is not everyone can become a judge, he is very modest and low-key. His catalogue is also very low-key, and I feel simple, plain, and real after I turn it over, and there is no crazy talk, no bragging. This book (biography) is well written, writing about his understanding of life, and mentally it is a leap, a height, a role model.
Liao Shaohua: Dean Zeng's speech commented on Qi Lao's innovation from the personal experience of a flower and bird painter, and he proposed the three winds brought by Qi Lao: new wind, clean wind, and wild wind. This is of great significance not only to Xiangtan, but also to Hunan and to the whole country. He believes that the height of Qi Lao is not a height that ordinary people can reach, and I very much agree with this view.
Wei Huailiang (former director of Hunan Provincial Art Museum and vice chairman of Hunan Artists Association): First of all, warm congratulations. It is indeed a good exhibition that is rare to see. The second and most important feeling is a comprehensive presentation of Mr. Qi's artistic creation, which allows us to truly see a good exhibition with both traditional inheritance and the atmosphere of the times, unique ingenuity and unique artistic outlook, and a new look and weather of a new flower and bird painting. In this piece, I feel that the most rare thing is the Aesthetic of Chinese Art. One of the most important contents of Chinese aesthetic art should be the childlike nature. This is a realm that everyone in any art discipline pursues together. Teacher Qi's pen, whether it is an animal or a small scene, comes from life. The flowers and birds he represents, whether they are flowers, birds, or small animals, cats or sheep, etc., are a kind of self-expression of his emotional experience as if he were his own life. This expression has a heritage, for example, the chicken can see all aspects of the traditional Qi Baishi, and there are also some shadows of the peace dove that are difficult to see. But more is Mr. Qi Xinmin's artistic pattern of extracting his own face from his life, which is very rare.
This kind of refinement of his is not a lazy photographic depiction like Gongbi painting, but the small animals or flocks of birds in his pen are integrated into the inner bones. The simplicity and ease of pen and ink make people feel that kind of expression, a little less is not enough, a little more is cumbersome. Some of its paintings are just rubbing and adding a piece of color. Some of the lines are flying white in Chinese paintings. Mr. Qi's expression of modeling and the application of flying white is a direct expression of his understanding of bone method with a pen, plus some colors that are new and fast and moist to form a contradiction. There are contradictory contrasts and combinations to form shapes and pen and ink interests. Some of them seem to be pen and ink and seem to be shapeless, but when the whole is integrated, it comes alive. I think it reflects the kitsch advocated by Mr. Qi Baishi, which is too similar to kitsch, not similar to deceive the world, and the magic lies between similarity and dissimilarity. Teacher Qi is very good at handling between similarity and dissimilarity, and expresses his own unique artistic feelings and personality.
The expression of life in his pen is integrated into his own inner innocence, innocence and innocence. It is a unique pursuit of true feelings and beautiful expression of life and nature, and it also caters to Mr. Wang Chaowen's original statement that art should first give people beauty. Mr. Qi's works are undoubtedly beautiful. We felt very comfortable watching it and very personal with him. These works are not like those painted by an eighty-six-seven-year-old man. Very modern, very new, very youthful, full of youthful vitality. This state is like the body of an old man. As an artist, the most rare thing is that the childlike heart is always there. I think it's very rare.
On the other hand, in Teacher Qi's flower and bird paintings, we can see that he has the consciousness of creating a realm. He is not simply a folded flower or a folded flower bird. Each work is both pen and ink and artistic. That realm allows people to associate the beauty of nature, the beauty of life, the infinity of beauty and the oriental aesthetic meaning he pursues through his works, the realm of long meaning. All of Mr. Qi's big works are a big weather pattern, the pen and ink are thick, the colors are bright, but the overall impression that comes out is full of oriental aesthetics and youthful atmosphere, elegant and popular appreciation, which is very rare. Thank you very much to Mr. Qi Xinmin for bringing such a good artistic feast to Hunan, and also thank you very much to the Qi Baishi Memorial Hall. The "Dream Hibiscus" series is very well planned. Because I am the director of Hunan Art Museum, the most important function of our art museum is to brew the best spiritual feast for the audience. Art for the people, how to serve the people? It is necessary to really plan a lot of activities. Then the whole exhibition I also thank the team behind the scenes for their concerted efforts. Under the leadership of Director Wu, I hope that your academic character and academic pursuit will continue, do better and better, wish us the prosperity and development of the cause of flower and bird painting, and wish Mr. Qi Lao's health and longevity, and evergreen art!
Liao Shaohua: Mr. Wei Huailiang is not only the highest leader in the art world, but also a very accomplished flower and bird painter. In addition to highly praising Qi Lao's artistic characteristics, his speech also interpreted it from an aesthetic point of view. Thank you, Director Wei.
Chen Xiaoqi (former director of the Qi Baishi Memorial Hall and national first-class artist): In the history of Chinese art, from the perspective of large-scale freehand paintings of flowers and birds, there must be his reason for being able to really be famous for thousands of years without being forgotten. For example, the Bada Shanren, why is the painting of the Bada Shanren so good, he actually has four words "lonely and lonely". Why is Pan Tianshou's painting so good? He is strangely clumsy and precipitous. Why is Qi Baishi's painting so good? Why are our teachers' paintings so good? I think he is naïve romantic, rustic contemporary. I am a relatively dull person, and there is no difference between reading ordinary works and not watching them. But after I saw this exhibition, I immediately sent this exhibition to many good friends. Teacher Qi's exhibition is really a very good exhibition. I think Mr. Qi's paintings come from tradition, but they are not limited to tradition. Because some works cannot enter the world of others. If you look at some people's works, there is a smell of staleness, without a hint of life. But this is not the case with our exhibition of Teacher Qi, whose pen and ink lines are very deep center strokes.
The second is that it stems from life and is higher than life. Teacher Qi's portrait of a child is as innocent and full of childlike fun, and more importantly, he does not have the rationality of ordinary painters, he is more emotional. I think this is a quality and an expression that is difficult for a painter, and I sincerely express my respects to Mr. Qi Lao and learn from you.
Liao Shaohua: Many friends will feel that it is worth the trip when they come to see this exhibition. Indeed, many paintings are simple and innocent, both traditional and pioneering, and the personality of the works is very distinct.
Liu Jianhua (Specially Appointed Theoretical Researcher of Qi Baishi Memorial Hall in Xiangtan City): Mr. Qi Lao is not only a simple peasant in the land of Qilu, but also has the confucian and elegant atmosphere handed down from Confucius's hometown. From his paintings, I can see the old peasant atmosphere and the elegant atmosphere. In particular, I saw his paintings of cats and animals. Like a naughty old kid. He was the digger of the independent portal, and he dug the well down and the spring came out. So I have a lot of respect for the old man. Thank you Elder Qi and salute Elder Qi.
Wu Jian (Director and Secretary of Qi Baishi Memorial Hall, Art Museum): The curatorial team of our museum has done a long period of brewing and consideration, and has also gone through a long period of communication and exchanges, whether from the academic or exhibition taste, we have made a very in-depth discussion. We Qi Baishi Memorial Hall adhere to the awareness and attitude of academic and fine quality, which is the starting point of this exhibition and our foothold, and also the essence and significance of our exhibition.
I think teacher Qi's paintings have three aspects to talk about. The first is that Mr. Qi Lao's works come from the classics. No matter which line, which shape, which picture qi lao's work, the elements and atmosphere revealed are a classic. The ancient classics have eight big, white stone, and some elements of Xu Qingteng. The more classic it is, the more it reflects the creator's ability. So I think that when we look at the classic elements of the old works, we can deeply move us. So when we do an exhibition, we have to do a representative classic exhibition.
The second Qi Lao's work comes from innovation. Qi Lao's sense of composition, color concept, the processing of pictures and the creation of atmosphere, as well as the use of creative techniques have a lot of innovative language. His works reflect the contemporary, simple and particularly vivid, thick and flexible, ancient and clumsy and particularly shining.
The third is that our qi lao's works also stem from the fact that life is higher than life. Qi Lao's eighties have a rich and profound experience of this life. His perception, his eyes, his life, his perception are all reflected in his pen and ink, and in his pictures, the breath of life is particularly strong. The words of his inscription are very vivid and grounded. We carefully savor every word of our elderly Qi, every work, that cat, that sheep, that piece of reed, that sunflower seems to be all around us, always reflecting a certain fragment of our life, or a certain aspect.
When I talk to Elder Qi, he always has a very young mentality to communicate with us. There is no such gesture of an elder, we are together is a particularly fun mentality, feel very kind. A famous artist, a person so intimate. I believe that the successful holding of this exhibition is an influence and touch to the entire flower and bird painting circle in Xiangtan. In particular, our Huxiang culture needs the cultural docking and collision of the north, and we look forward to this exhibition to bring more thinking to everyone and bring more insights to everyone.
Liao Shaohua: From the speech of Director Wu as the organizer, it can be found that the Qi Baishi pavilion group has a great vision in academic exchanges, and holding these activities under the current situation that the epidemic has not completely subsided not only requires a high academic vision, but also dares to take responsibility. As a retired teacher in college, I am very touched by this. I agree with him that qi lao's works come from the classics, from the traditions, from life, and reach a new height.
The state of Qi Lao's painting should be a realm of freedom and relaxation. Because sometimes when we start painting, we think about whether this painting can be painted well? I felt his freedom to relax and was a very good inspiration for our creations.
Li Yisong (Dean of the School of Art of Hunan University of Science and Technology): I studied oil painting and am a layman for flower and bird painting. But Qi Lao's works, I saw in prints decades ago. Although I came from a western painting background, I have a great admiration for traditional Chinese traditional Chinese art, including those grotto art sculptures, and those traditional things. Seeing Qi Lao's works today, I admire Qi Lao's works very much for their unrestrained and atmospheric. The ink of the painting is all precipitated mature ink, and the color inside is also the accumulation of color, which is also the kind of mature color, that is, the accumulation of color to be painted layer by layer, from which it can be seen that Mr. Qi Lao has been influenced by art classics. Teacher Qi's paintings retreated a few meters, and the big weather came out, and All of Qi Lao's paintings were anthropomorphized. Anthropomorphism is the highest state of the Chinese tradition, similar to the Eight Greats. It is more refined and summarized, more expressive and freehand writing mood, which is the kind of subtlety and charm of the oriental people in it, not made. This exhibition, every painting is an education for me. Your exhibition is placed in Xiangtan, which is a great spiritual wealth for us in Xiangtan. On behalf of the School of Arts of the University of Science and Technology, I welcome you to have the opportunity to come to us to give lectures and guidance, and we also ask students and teachers to come and study.
Liao Shaohua: Dean Li's speech was very good. I paint landscapes, and I may use a little more ink to paint landscapes, and water is also used when rendering. The treatment of wet ink and scorched ink is a common problem regardless of whether it is painting figure painting, landscape painting, flower and bird painting. Mr. Qi Lao is a northerner, but he also has a lot of wet ink when painting flowers and birds, and we southerners may indeed use it a little more. Geographical and climatic influences. This is really difficult to grasp, just now some of our teachers mentioned that kind of flying white, flying white inside a lot of wet ink evolution, different regions in the north and south are concerned about this technique, very inspiring to us.
Xiao Hongliang (painter of Changsha Painting Academy, special painter of Qi Baishi Memorial Hall): Qi Laohao! Yesterday afternoon you were painting here, and I looked at your old pen. I saw Qi Lao's exhibition. I would like to make three points. The first is the significance of the exhibition at the Qi Baishi Memorial Hall. Elder Qi, you said that you came to make a pilgrimage, I also painted flowers and birds, and the people who painted flowers and birds admired and revered Baishi from the heart. Second, to hold an exhibition at the Qi Baishi Memorial Hall is to have courage, because xiangtan can be said to be the dojo of Qi Baishi. Why? Because there are a group of freehand painters who are very particular about pen and ink, such as Wang Xianshan, who is very close to here and has held exhibitions here. It is really difficult to hold a freehand exhibition in Xiangtan, but Qi Lao's exhibition was very successful. From my point of view, in the development of freehand flower and bird paintings, Qi Lao you are definitely a representative figure. From your painting, there are Qi Baishi things and eight big things, and the feeling of pen and ink may have more eight big things. Because this difference from Qi Baishi is probably your greatest success, I say that it is very meaningful that you are holding an exhibition here. The second is that from the perspective of the whole pen and ink system including the feeling of the picture, my feeling is that the first one is the line. Because I also combined you with the eight majors earlier, there are many embodiments in your lines, and there are such atmospheric things. Elder Qi has a harvest side in the pen and ink, which is introverted and related to people's education.
Why did Qi Lao choose this form of pen and ink at this age and with this kind of social experience? Especially in this form of pen, I guess it is related to your education. Because there is tolerance and restraint in your paintings, it is not easy to do in pen and ink. Your paintings are also innocent and sunny. In terms of color, Qi Lao's color is the color of Chinese painting, although he is full of Western feeling in the painting, but it is more of the charm of the East, which I think is really difficult. Everyone speaks of contemporaneity, and this contemporaneity is certain. Because of its contemporary nature, the development of freehand flowers and birds is particularly meaningful. Finally, I would like to talk about a little thinking, because in the exhibition hall, I told Teacher Liu that what I was looking at was a comparison between Qi Lao's things and Mr. Zhang Zhi'an's paintings. They are all about the same age. The reason why I think about this question is because people of your age generally have limited understanding of Chinese painting. So I just thought about a question is that people of your age group, can we find a few individual cases to analyze, to judge the artistic style of people of this age group, and to extract the uniqueness of Qi Lao from these artistic states.
Liao Shaohua: Teacher Xiao himself also paints flowers and birds, so he is very targeted. Painters of the same age may think about the same problems more. However, in the process of practice, there will be differences in the entry point.
Wang Qizhi (Deputy Director of Qi Baishi Memorial Hall): I would like to say four words about the success of this exhibition. The first word is the pine in Qi Lao's painting. Just now Teacher Liao said that it is very easy to relax, and the corresponding is tight. If it is so tight, then pay special attention to the shape is very tight and accurate. Teacher Qi's paintings deliberately do not pay attention to the accuracy of the shape, or the compactness and precision. I have seen a lot of objects drawn without outlines, and it is possible to set off the shape through this background and through some other things, and it is very easy and free to feel the shape.
The second is writing, freehand writing. In fact, the most representative of Chinese culture in Chinese painting is still a kind of freehand spirit. The creation of our contemporary Chinese paintings is often a lack of freehand spirit. Teacher Qi's paintings are integrated into the typical Chinese freehand spirit, very free and unrestrained. There are calligraphic threads, but not all of them are rigid calligraphy lines, which are very free and flexible.
The third word is fun. Teacher Qi himself is an interesting old man, and his paintings are equally interesting. Draw some small animals, for example, you say that the chicken is on the body of the old hen, dressing the puppy; and there are also inscriptions, whether the black chicken and the white chicken can lay eggs, it is a good chicken. The middle of this picture is full of childlike fun, full of a natural natural interest.
The fourth word is new. There are many aspects of new, one is schema new. I think that a very classic painting is a completely new schema, which is completely different from the traditional freehand painting. These paintings are not traditional, they are very new, they are something he has explored himself. Even the techniques are new, and there are many flexible applications. I don't color it but I can see the shape of the object. Some directly use white powder on top of white paper, and some are to create some strange textures, etc., all of which are flexible applications of some specific new techniques. Of course, these new ideas I think all stem from new ideas. There is a new concept based on the present, not satisfied with the tradition, out of the tradition, completely an innovative spirit, so that other aspects, the picture appears a new face. I simply said these four words, and many teachers said that I agreed, thank you.
Liao Shaohua: These four words that Director Wang said. The last "new" serving is heavy. Every generation will have different ideas, or different considerations, but it's really hard to take that step. Can you go? How to go? What effect? Teacher Qi's move is first of all to achieve a new concept. Ideas are not new and nothing else can be implemented.
Jin Yao (Master of Chinese Modern and Contemporary Art History): Hello teachers, my name is Jin Yao, I graduated from the Nanyi Art History Major, the graduate student is the direction of Chinese modern and contemporary art history, is the graduate student of Teacher Liu Xilin, here is to learn from the teachers. I have benefited a lot from the speeches of the teachers just now. As a post-95 age group, I would like to talk about the feelings of aligning teachers' works. First of all, I very much agree with the "fun" mentioned by the previous teacher. We young people look at works, and we especially like to see whether the works are interesting and whether they can attract people. Looking at the teacher's drawings, I think the first word is interesting. "Interesting" is reflected in the content expression of the painting. For example, the dog in "Wang Wang", the feeling of painting a cat as a child inviting parents' pets in "Mother-Child Love" is particularly interesting. Interesting in terms of content, it is also interesting in terms of the state presented on the whole picture.
In the second aspect, I think Teacher Qi's paintings are particularly bold, just like Mr. Li Keyan said, "precious people are bold", "boldly put down the pen, carefully clean up". Teacher Qi's boldness is reflected in the first composition on the screen. We find his paintings, many full of compositions and juxtaposition compositions. Teacher Qi's early famous work, the birds in 1992's "Chaohui" are painted side by side. But side by side, it is particularly interesting, so this composition is also very bold. The other is its color. The jumping colors are very attractive. Teacher Qi's paintings use very bright yellow colors, green colors, and blue colors, but his colors are not bright, not vulgar, and not messy when presented on the whole picture. The whole feeling is very harmonious, and this color makes us feel very comfortable.
Finally, the third point I would like to talk about is mainly to talk about Teacher Qi's paintings, which are powerful for us young people. The first of these forces is his line, and Director Gangwu says that his pen comes from the classics, using some calligraphic pens. I personally feel that one of his strengths comes from the power of the line, from what Sheikh calls the bone pen. There is a kind of vitality in this kind of pen, which is a manifestation of physical life. Another aspect is the sense of power of the image of the work. For example, the sunflowers he painted, including many flowers, this kind of picture is naïve and romantic for teachers to see. But for a young man like me to see him I think he gave me a sense of strength. This kind of brilliant picture, when we young people like us go to see it, will make us optimistic about life, rather than melancholy to cope with life, so we will be willing to hang up such a painting at home. Because every time I see him painting, no matter how tired I am at work today, I am willing to meet the rising sun every day with the best mentality.
From the three aspects of fun, boldness and sense of power, Mr. Qi's paintings have made me learn a lot. His paintings reached the level of Qi Yun Si Jing pen and ink mentioned by Jing Hao in the Book of Brushwork. Teacher Qi came to the Qi Baishi Memorial Hall to hold an exhibition of flower and bird paintings, which is a inheritance of his Qi Baishi flower and bird paintings. Thank you.
Liao Shaohua: Jin Yao, as a young and scholar, is a famous teacher and a high disciple, and he is more accurate in looking at problems. Speaking of strength, I would like to add here that Teacher Qiu Ping (Mrs. Qi Teacher) told me in the exhibition hall: This time there are five pieces of Qi Lao's "Sunflowers" in the exhibition. It represents the mental state of Qi Lao's different ages, or some kind of sustenance for life, but it is actually a manifestation of strength. I went through five paintings of Sunflowers, and there was no sense of decadence in them, no frustration with life, and it was worth learning.
Qiu Ping (Mrs. Qi Xinmin): In addition to thanking or thanking, thank you to the working team of Qi Baishi Art Museum, to Director Wu, Teacher Liao, Chairman Wang, and to all the teachers here. I'm here to give you a bow.
Wang Zhijian (Vice Chairman of Xiangtan Municipal Federation of Literature and Literature and Chairman of Artists Association): Today is a good day, and we have ushered in the solo exhibition of Teacher Qi Xinmin. This exhibition has high specifications, high level and great impact. Teacher Qi Xinmin and I had a relationship a long time ago. More than ten years ago, I discussed art together in his hometown of Zibo, and Mr. Qi has achieved high achievements in art creation, and his art works can be said to be a pioneering style. His works have a deep foundation in tradition, reflecting his understanding of Chinese culture, and the in-depth study of traditional Chinese art can be said to be a great harvest in his personal art.
New, is to create a new look, he broke the pattern of Chinese painting, let the new concept sublimate. The artistic symbols in its pictures, whether it is lines, ink blocks, or dots, are all completely new. It is rare to have such a pioneering and innovative artist in the Chinese painting circle, and there are relatively many people in the clouds. Teacher Qi spoke his own words in the paintings, saying his own characteristics and personality. I am what I am. He will not be vague, he will not take other people's things for his own use, but to do his own things to the extreme, this is his new.
Then Teacher Qi's drawing path is very wide, just now everyone has talked a lot, very pertinent, I also agree. Whether in flowers, birds, figures, scenery, etc., he shows his personal quickness of thought, and he has a deep observation of the world's things and some phenomena and beautiful things in nature can be incorporated into his paintings. Whether it is cats, dogs, birds, peacocks, chickens, including horses, all of which are permeated in his blood, his broad path is entirely the result of his talent and the long-term beating of his life on him. Painting Chinese painting, especially freehand ink painting, it is difficult to achieve a certain realm without the ability to control, especially if Teacher Qi has such a high cultural realm, I think it is a new generation.
Teacher Qi came to Xiangtan this time to exhibit at the Qi Baishi Memorial Hall, it should be said that he will not return empty-handed, Teacher Qi is very respectful and awe-inspiring to Mr. Qi Baishi, and when he comes to Xiangtan, he can feel the cultural connotation of Mr. Qi Baishi, and provide him with broader inspiration and guidance for his creation. Therefore, he should have a new leap in the art creation of Chinese painting in the future, and I also hope that Teacher Qi's art will continue to achieve a leap forward.
In the end, I think Teacher Qi is a very hard worker. Each work is very in-depth, and it takes a long time to create it. I also personally hope that Teacher Qi will express his personal feelings and artistic conceptions in his artworks, and at the same time complement each other, people will live a long life and art will live a long life.
Liao Shaohua: Dear teachers and friends, Chairman Wang Zhijian's speech just now gave a high evaluation of Mr. Xin Min's art and character. All the experts, scholars, and painters have expressed many impressions and insights, which are very pertinent and in-depth.
As moderator, I would also like to make some comments. Summarizing the characteristics of Mr. Qi Xinmin's works in this art invitation exhibition, it can be evaluated with the four words of "elegant and energetic". Gao is the work of high style and great momentum; elegance, in addition to elegance and elegance, in ancient China, there are also the meanings of the right way and the road; jin, referring to his works generous, heavy, rough, simple. And the generous is small, thick and flexible, rough and exquisite, simple and powerful. Yi is his bold and innovative work, elegant and elegant, extraordinary, and has perfected the form of Yiyi. All statements also referred directly or indirectly to these features.
Teacher Qiu Ping's speech and Chairman Wang's speech expressed the complete success of the seminar affectionately, thank you!
Appreciation of works