"The Biography of the Painter" ~ 373
<h1 class="pgc-h-arrow-right" data-track="3" > write that the beauty is expensive in the light and elegant, looking forward to the state of leisure and chastity, change the Qi Zhengfu! </h1>
Text/Lu Xiuhui
Gai Qi (1773-1828), also known as Bo Yun, Xiang Bai, also known as Qi qian, Yuhu Shanren, Yuju Waishi, Yuju Xiansuo, etc. Ancestors of the Western Regions Hui people, Songjiang (present-day Shanghai) people.
Gai Qi's grandfather, Emperor Guangzong, was originally a native of Shunlai (present-day Licheng, Shanxi), and was a famous general of the Qing Dynasty. In the seventh year of Yongzheng, he was admitted to the Martial Arts, and the following year he was admitted to the Jinshi, and was appointed by the attendant Officer Matsue, and his mother died in Ren, so he was buried in Songjiang. Later, he served as the commander-in-chief of Shouchun Town, captured bandits in the mountains, and was invited to enter huating as a widow, and he was allowed to move his family to Songjiang.
Gai Qi's father, Jie Yun (改筠), of the Hui ethnic group, was the son of Emperor Guangzong of The Hui dynasty, a native of Songjiang (present-day Shanghai). Famous Qing Dynasty official. He served as the Governor of Songjiang Coastal Defense, Yamen Shu Office. In the 47th year of the Qianlong Dynasty (1782 AD), in the fifth lunar month of the lunar calendar, Hai Furun, a Huimin in Sanya Village, Yazhou, Guangdong Province, was arrested and imprisoned by the government in Guilin, Guangxi Province, for carrying islamic Chinese scriptures such as the Annals of the Heavenly Fang Sacred Records, which led to the Haifurun Case, which is known as the Qing Dynasty Hui Islamic Script Prison. Changing the preface to the "Records of the Most Holy Saints of Heaven" and getting involved in the "Haifurun Incident", the result was that he was sent to prison and his whole family was also confiscated. Although he was later released from prison, he was politically tainted.
More than a dozen generations of Gai Qi's ancestors have been in the eunuch sea, and in this generation of Gai Qi, instead of inheriting the inheritance of the ancestors, they began to send love to art, devoting themselves to poetry and painting, making Gai Qi a Hui female painter who was "famous for a while". Wang Qiansun wrote in the "Diagram of the Old House of The Village of Qiqian Zha": "My friend changed the Seven Qianqi, grew up in Songnan, and the family was in the north. Since his ancestor Emperor Guangzong of the Great Father's Mansion, Qianlong Zhonglai came to the town of Shouchun. He was naturalized in Huating and became a native of his county. Today, we will pass it on. Changed to the most lonely sex, covered back to the homeland, there is no other ethnic group in the southeast. The village of Zha, the southern township of Wanping, changed the former residence of the clan. In addition to being honest and quite chu generals, the Seven Qians have zhuang and yue yin's thoughts as a figure. "In the Rain":
Jinling sat alone in Jiangcheng, and the doves kept crying.
The dream of the family mountain today, spring wind and rain when the sun is clear.
The water at the head of the lake rises and the bridge is green, and the clouds on the creek come to stick tree rows.
Lonely and unpaid, Bian Zhou looked back at it as if it were love.
The year of Gai Qi's birth coincided with the death of Cao Xueqin, the author of "Dream of the Red Chamber", 10 years ago. At that time, the popular reading material that everyone in the world was undoubtedly "Dream of the Red Chamber". The world situation has changed, and as the feudal ritual shackles have been further relaxed, the social atmosphere has gradually begun to change slightly. But the new conservatism, like a flood, remains turbulent. Lady style from the Tang Dynasty's "curved eyebrows and plump cheeks" to long eyebrows thin, color brushwork to the development of refinement, penmanship is calm and workmanlike, line law is rigorous, this period of the female painting lady modeling by the image is petite, weak figure, light posture, the face type is also obviously different from the previous generation. Gai Qi's "Reminiscence Tour: September 12th":
Take advantage of the ladder clouds to stumble, take the basket on the negative day, and find a move. Introduce the cool environment, like the pine wind ten miles, blow green mountain eyebrows. The emerald light floats between the walls, and the shadow stone beams are west. Watch the beads jump after the rain, the babbling water, wet the monk's clothes.
Forget the machine. Speechless, Ren Ding boiling tea sound, sideburns smoke. Go up to the three-story pavilion, send Xiao Xiao a remnant, and the plum leaves fly sideways. A few rows of new geese in the far sky, the cold color swaying obliquely. Wu Gan's father returned, and Xianyuan was a mangrove fan.
The period in which Gai Qi lived was the late Qianlong period, the ruins and decay of the officialdom, the constant brutal struggle within the bureaucratic clique, and the rise and fall of the officialdom, unpredictable, and uncertain. Gai Qi was imprisoned because his father changed his son, and the Qing law stipulated that if the family went to prison, his descendants would no longer be able to take the imperial examination. His father's imprisonment had a serious political impact on Jie Qi, and he had no connection with Keju from then on, completely breaking his career dreams. There is only one way left for Jie Qi: to paint poetry by virtue of oneself.
The characteristics of Gai Qi's painting are to inherit the tradition of female painting, learn the brushwork of the ancients, and integrate the stylistic characteristics of female painting in the Tang, Song and Yuan and Ming dynasties on the basis of the strengths of the many families, and learn the tradition from multiple angles. He is not limited to the head of a family, but is extensive. Since the Ming and Qing dynasties, the Songjiang area has gathered literati, calligraphy and painting have flourished, and Gai Qi has been deeply influenced since he was a child, and he has made certain achievements in art when he was a teenager. A little longer, he befriended local celebrities, such as Wang Qiansun, Li Tingjing, Li Junjia, etc., and his poems, books, and paintings were guided by famous masters, which broadened his horizons and further tempered his skills. Fame gradually grew, and admiring painters followed, and his works were not only highly respected in Jiangsu and Zhejiang, but also praised by the princes, nobles, bureaucrats and literati of the Beijing Division. Painters, connoisseurs and writers such as Qian Du, Jiang Baoling, Chen Wenshu, and Chen Hongshou, who interacted with them, sang harmony with each other and exchanged painting skills. Therefore, Jiang Baoling called The change of Qi "when Fang Qi's next pen, a hundred families searched." Gai Qi's "New Year's Tomb Visit":
The east wind frightens cold dreams, and the birds secretly urge people.
Strong injury to the new festival, driving to feel the sunset dust.
There should be tears in the fountain, and there is no spring in the world.
Not all sad, desolate and alone.
Jie Qi absorbed the characteristics of the previous generation of female paintings in the form of gods, beautiful and simple, learned the Ming Dynasty Qiu Ying painting "Fine And Delicate" and Tang Yin's "Elegant Rhyme and Grace", the painting of the ladies, the ink is clean, refreshing, elegant, the color is also a study of elegance, stripped of the fat powder of the small family's Hua Jing atmosphere, and a change in the "quiet girl leisurely state", the Qing Dynasty women's paintings pushed to a new height. In the second half of the eighteenth century, the economic decline of yangzhou made the economic status of Songjiang Province more prominent. Bureaucrats and merchants advocated shangya, which to a certain extent promoted the development and prosperity of calligraphy and painting, so that the literati painters in the Jiangnan region gathered in Songjiang Province, calligraphy and painting were flourishing, there were many literati, and Gai Qi was deeply influenced by it from childhood. At a young age, he was appreciated by Li Weizhuang, who was then serving as the "Su Song Tai Bing Bei Dao" in Shanghai, and made great achievements in art. In the years after the age of twenty, Gai Qi was guided by him in poetry, painting and calligraphy, and because of his role, Gai Qi befriended celebrities and gradually expanded his artistic influence in high society. Gai Qi's "Spring Day Miscellaneous Xing Cambodia Liu Qianzhai":
The Jinjing Building is high and the waves are overhead, and the floating clouds look east and sing wildly.
A spring of heart lace is exhausted, and ten years of Qingming guests have passed.
Good sentences are gradually like fewer good friends, and there are more sorrows than chaotic mountains.
Xipo Noya I will be old, so that Shuangjing can visit Jian'a.
Li Junjia was also an important figure on the road of Gaiqi art, Li Junjia was a rich man and famous bibliophile in Songjiang. The "Wu Garden" in the Li family's home is the place where the Songjiang literati feast, and Li Junjia has always maintained very close contacts with Gai Qi, and the friendship between the two has been maintained for thirty years, and Gai Qi often lives in Li Junjia's "Wu Garden". Gai Qi's most praised "Dream of the Red Chamber" in the history of painting was originally painted by Li Junjia and collected by him, and the two died in the same year (1828).
"Dream of the Red Chamber" 50 paintings, for the transformation of Qi's dedication. The image of the lady in the pen is soft and thin, and has a unique style. This "Dream of the Red Chamber" was written relatively early, but it can be published and distributed very late. Sources: The book was drawn from about 20 years in Jiaqing, with an interval of more than 60 years. Because at that time, Qi Qi's "Dream of the Red Chamber" picture was shown in Li Junjia, the lord of the Fengya League, who lived in Shanghai, Li Yunjia thought that "the treasures and secrets are very strange, and every picture of Qian celebrities inscribed on the poem, at that time, was planned to be engraved in the world." However, in the ninth year of Daoguang, Li Junjia and Gai Qi died one after another, and "the atlas was passed on to the outside world." In the thirteenth year of Daoguang, he was restored by Gu Chunfu, a disciple of Jieqi, but somehow it was lost in Nanchang, and Guangxu was purchased by The Residents of Huaipu for three years, and it was not published until the fifth year of Guangxu. Gai Qi's "Title Wu Xi Zhou Hundred Butterfly Figure":
Teng Wang's picture xie family poem, a kind of wind and a period of infatuation.
It is not a preference for butterflies, envy him to occupy all the good flowers.
In his lifetime, He traveled extensively, successively to Shanghai, Hangzhou, Wuxing, Suzhou, Changshu, Wuxi, Jinling, Yixing, Liyang, Dangtu, Yangzhou, and Yuanpu. During the travel period, he and the literati and painters everywhere have calligraphy and painting entertainment, poetry gifts, and sightseeing in the mountains and rivers, enjoying the famous scenic spots in the rivers and lakes, so that their vision and mind have been broadened and enriched, which has a certain impact on their artistic creation. Qi Qi is good at painting characters and flowers and bamboo, especially the most famous female paintings, and there are many of them.
The number of relics of the female paintings of The Qi Dynasty is the most abundant, and Zheng Ji wrote in the Concise Volume II of the Dream Residence Painting Study. On Xiao Pin said: "Writing beauty is not expensive to be delicate, but noble is elegant and beautiful, and there is a state of leisure and chastity in the hope." The female image of the female image created by Jie Qi is basically in line with the setting of the original female image of "Dream of the Red Chamber" in terms of appearance, temperament, age and personality, and adds his own understanding of the characters in the book. His aesthetic represents the recognition and support of all levels of society in this period for the female paintings with the theme of such works. The paintings of The Lady of The Transformation qi have created many of these images of ladies with the nature of appreciation and divorced from social reality, and the creation of this kind of female painting subject with almost no feudal moral constraints is due to the influence of the era environment in which The qi was in at that time and the social habits.
Gai Qi's female paintings mostly use the way of setting colors with the brush to express the image of the ladies in the painting, and the soft elegance of the gongbi paintings is unified with the aesthetics of the female image, which has become the best form of his female paintings, and at the same time, he uses small freehand to express the lining, which has become an important supplement to his female paintings and added rich cultural connotations to the picture. The colors of the paintings of the women of The Qi Dynasty are mostly light colors and thin dyes, the tones are light and soft, and there is no strong contrast between the colors, so as to convey the faint atmosphere of gloom and ethereal loneliness in the picture.
In terms of the hooking technique, in order to adapt to the pursuit of "xiuya" of the female painting characters, Jie Qi summed up the experience of the predecessors, not sticking to a specific method of using the pen, but using gossamer to express the smooth and delicate skin of women and the soft texture of the dress, the lines are symmetrical and free, and at the same time combined with the iron line drawing to express the flowing texture of the belt, with the pen light and concise, slender and delicate and not weak, giving people a sense of soft and dynamic, vividly expressing the delicate and leisurely manners of the women. At the same time, the ink color of the lines under Qi Qi's pen can also change subtly with the difference in texture and color, and the thickness and lightness, thickness and thinness complement each other, reflecting the delicate and soft feeling, while the collar and skirt of the dress are outlined with thick ink to highlight the texture of the clothing.
Lu Xiuhui has a poem "Seven Songs for The Transformation of Qi", which reads:
It was once a preface to the Jin Dynasty, which was full of rivers and lakes.
My heart was weakened for a long time, and my voice was startled to help.
In the painting, a new path is opened up, and the poems are given.
Don't cheat this bone, the beauty is idle and entertained.
Painting female genealogy, rolling curtains lonely.
The pen end of the Mandarin duck dream, awakening Qiu Yusu.
The spring breeze is reversed, and the self-pity is haggard.
Paper and pencil are lonely poems, and Lin Gui is deep and shallow.
"The Red Chamber" is safe and secure, and the pen is thin and thick.
Emei Miaojiao, Tianlu collected the pot.
Xiuya smoke palms, swaying Qunzhi Lake.
In the thick and light outline, see soft and moist.
The pitiful woman is like a child, and does not dare to provoke affection.
Pine wind and dustless moon, will not seek abundance.