As an artist, you must have the following conditions: developed aesthetic sensibility, creative imagination, rich emotions, skillful artistic expression skills and spatial imagination, and most importantly, a heart. The works of artists with kindness and sincerity are probably the most touching!

As everyone knows, Zhouzhuang in the Suzhou area of ??Jiangsu Province turned out to be an unknown rural family. It was only because of the work "Double Bridges" sketched by the painter Chen Yifei in Zhouzhuang that it aroused strong public interest in the society. It caused a sensation, and Zhouzhuang's popularity suddenly became famous at home and abroad, until Zhouzhuang became a tourist attraction, which played a positive role in promoting the development of Zhouzhuang and brought huge economic benefits. At the same time, Mr. Chen Yifei has effectively promoted the development of art and contributed to the excavation of national cultural heritage. He has indelible artistic value in the history of Chinese art.

There is also something about Master Qi Baishi

In his later years, the old man Baishi wrote a poem to recall his rural life when he was young: "The village book hangs in the corner and the fate is late. In the 27th century, there was no teacher. What is the lamp without oil?" He was semi-literate at that time, and it was very difficult to read Tang poetry. He had to first break the barrier of memorizing new words. His method was to cut the pages of the book and place blank spaces at the bottom of each line of poetry. , add new and difficult words to the phonetic pronunciation with homophones.

Mr. Baishi has accumulated a lot of poems over the years, including "Lao Ping's Poems" (1919), "Baishi's Poems" (1925), "Miscellaneous Notes on Travels to Shu" (1936)... More than ten kinds. His poems, like his paintings, come from life and understanding. Of course, the basis of books is also gradually accumulated, but it is more of a kind of natural observation and sensitivity. Try:

"Mountain Wife"

The Mountain Wife laughs at me for bearing down on my life, the world is in turmoil and I am weak and traveling far away;

It is hard to get tired of hearing when you are young, grapes The sound of spinning in the shade.

"Roly-poly"

The black gauze and white fan looks like an official, but the original half of the mud will not fall;

If you suddenly come and smash you, where can you find your heart and soul? ?

"Flavour"

The hills are full of taro and it is cool in autumn, so a poor family deserves a warehouse of grain;

Don't think the flavor is too thin, just simmer it in the cow dung stove fragrant.

The realm of these poems is mostly based on the sensitivity of rural life, with purely original scenery and expressions. As for social works such as "The Tumbler", they criticize the ugly, which is wonderful and makes people smile.

Old Man Baishi’s discussion of painting and art is often combined with the principles of life, summarizing the principles of painting, elucidating life, and making people think. For example, "If you don't teach, a day will pass", "People can't be arrogant, but they can't be arrogant", "Painting lies between similarity and dissimilarity; too much likeness is kitsch, not likeness is to deceive the world", "I paint chicks" Twenty years, ten years to achieve a physical resemblance, and ten years to achieve a spiritual resemblance." "I have a friend who said, 'I want to paint vegetables, but I can't bear the pain of you painting them. Why?' I said, 'There are no vegetable shoots all over my body. How can we get there if we are full of energy, but we are suffering from desire? '"

After the founding of the People's Republic of China, in addition to publishing a large number of collections and anthologies such as "Qi Baishi's Painting Collection" and "Qi Baishi's Works Collection", literary works There are also reprints of works such as "Qi Baishi's Poems on Tapes and Slips", "Qi Baishi's Collected Poems", and "Qi Baishi's Talk about Art", which are very popular among readers.

Diligent nature and life anecdotes

Huang Yongyu's "The Old Man Older than Me" was published by Writers Publishing House a few years ago and has been reprinted twice so far. It is very popular among readers. His book is mostly first-hand information, and it describes Mr. Qi Baishi's many wonderful writings.

One thing is that Li Keran took Huang Yongyu to Qi Baishi's house as a guest. The old man treated him with moon cakes, but I don't want you to eat these moon cakes. There are cobwebs on them and a corner is missing. I don't know when they were carelessly taken. The guests ate it. This is an old man's rule, a formality of etiquette, and should not be taken seriously.

Another interesting fact is the old man’s key. He has a bunch of keys hanging on his body, and he is in charge of the keys to all the cabinets in the house. "Thread a long leather strip together, probably more than a foot long, tie it to the belt, and then use a small lock to lock the leather strip and belt. He is afraid that a bunch of keys will fall off, because he has been carrying them on his body for many years, and his keys are getting worn. It was extremely shiny, like silver; all the luggage boxes in his house were neatly piled up and put together, locked with locks, and even several locks were used for each box..."

As for the room where Old Man Shiraishi naps, it is his forbidden area. The big bed is placed next to the door to prevent others from sneaking in while he is sleeping. Only his most trusted confidants could enter and leave his studio freely, and no one else was allowed to enter.

These anecdotes make people think that the old gentleman is very "stingy" and very cute. The reason for this behavior is the hardship and hardship in childhood. The hardship left a shadow, which inevitably affects his adulthood. Qi Baishi's works are now hard to find. However, during his life spanning three dynasties, he was accompanied by poverty and hardship for most of his life. Before the age of fifty-five, he had been carving people's portraits and could only make ends meet. It didn't get better until I was eighty years old. In addition, on the eve of the Japanese occupation of Beijing, many banks collapsed. All the savings that Shiraishi had worked hard for for half his life were wiped out, and his source of livelihood was suddenly cut off. This was a huge blow to him.

After the victory of the Anti-Japanese War, the legal currency plummeted. Bureaucrats and businessmen sent boxes of banknotes in the morning for paintings, but they turned into waste paper in the afternoon. He marked the rung of "one hundred thousand per foot", but a few days later he found that he couldn't even buy back one hundred thousand yuan with paper money, so he had to put up the advertisement of "suspension of collection". This is psychologically explainable. There must be a cause and an effect, so it is not difficult to understand his stinginess.

Female disciples are outstanding

Old Man Baishi is known as having three thousand disciples, among whom there are also a large number of female disciples who studied painting with him and achieved great success. Many people are very well-known in society, such as Sun Songzhao, Liu Shudu, Hu Jieqing, Yang Xiuzhen, Guo Xiuyi, Wu Ruizhen, Xin Fengxia, Yu Feng...

Liu Shudu graduated from the Chinese Language Department of Beijing Women's Normal University. After graduation, she gave The famous scholar Zheng Zhenduo was an assistant. She was a famous epigrapher. Qi Baishi praised her as "a pioneer in female seal carving." Hu Jieqing was Lao She's wife. In 1950, she formally became a disciple of Qi Baishi. She was highly regarded by the old man and had a lot of authentic works. She often produced excellent freehand or meticulous paintings of flowers, feathers, grass and insects, etc. Guo Xiuyi was the wife of the famous patriotic general Huang Qixiang. She passed away in the autumn of 2006 at the age of 96, which was longer than the old man Baishi. She studied under Qi Baishi in the early days of liberation. Her paintings captured the essence of the Qi School without losing her own creativity. Xin Fengxia is Mrs. Wu Zuguang. In 1994, the Ministry of General Affairs and Culture specially held a solo exhibition for Xin Fengxia at the Military Museum. She and the old man had a father-daughter relationship. The longevity peaches, peonies, chrysanthemums, and plum blossoms she painted... were fresh and elegant, with a kind of The clumsy taste without any decoration.

In Mr. Huang Yongyu's preface to Xin Fengxia's "When I Was a Little Actor", the first sentence is: "Xin Fengxia is so beautiful!" According to Mr. Huang Yongyu's records, Wu Zuguang and Xin Fengxia held a family dinner , invited old man Baishi to participate. That year, he was 92 years old and was accompanied by his caregiver, sister Wu Zexuan. After arriving, the old man looked at Xin Fengxia intently, and Sister Wu reminded him: "Why are you always staring at other people?" Unexpectedly, the old man became unhappy and announced loudly: "I am so old, why can't I look at her? She is born It looks good, I want to see it!" It became a legend for a while, which also shows the old man's frankness and innocence.

The brush strokes are superb and superb

Qi Baishi's paintings are full of atmosphere, and the small details are also handled meticulously and with precision. Hu Shi said in the preface to "Chronicle of Qi Baishi": "But those who use drastic measures also need to be able to hold an embroidery needle." This originally refers to the training of history, but it can also be used to describe the realm of painters, and it can also be integrated.

Old Man Shiraishi’s art world is broad and profound. Just to take examples that ordinary people like to talk about, his paintings of leaves, veins, thin stems, and dragonfly wings are more detailed than photography. As for grass and insects, The structure pays great attention to the expression of texture. The wings of dragonflies, cicadas, bees and even locusts are painted very transparently, while the wings of butterflies and moths appear to be airy and translucent, with a texture that will fall off at the touch of a touch. The details of the dragonfly, including its wings, body, eyes and even its six legs, are all very clear. The veins on the transparent wings are clearly discernible, and there are four small black threads on the tips of the wings... It is no less realistic than the photo, and is just like the real thing on the rubbing. It's really amazing and incredible. Although the old man at this stage considers himself a "little skill", it is difficult for him to reach the realm of creativity. The skill and interest of pen and ink push the formal beauty of art to its highest level. This kind of attainment is unique in the modern Chinese painting world, and it is his unique skill that is difficult for future generations to surpass.

As for the world-famous painted shrimp: "The painted shrimp has changed several times. At first it was just a slight resemblance, then it became more realistic, and then it changed its color to different shades." He will observe the art objects. The structure and natural laws of the painting are expressed with miraculous pen and ink. This is his own personalized artistic language. Even if he is a fellow artist, it is difficult to master it. Therefore, the old man said with some pride: "When I am painting, I am copying." There are about dozens of generations of people, even if they look like they can't live, because there is no shrimp in their minds. "It has reached the point where others can't copy it. What kind of skill is this.

This kind of Kung Fu is a rare hard skill. It is difficult to achieve without years of hard work and high understanding. This has to go back to the hard work he used to do as a carpenter. Some commentators pointed out: "Although Qi Baishi inherited the artistic spirit of Chinese painting in terms of the relationship between form and spirit, he changed the overly philosophical expressions in previous painting theories with a civilian language and completed the literati painting. "The transition to civilianization" is the positioning of his personalized artistic language. He was galloping in it, his eyes were wandering, and he was aspiring to the eight extremes. The free connotation of the wind and spirit was really "no different from escaping from the prison under the stairs", and it seemed as if he was breaking through a trap. Watching and reading it was like indulging his imagination. The golden moment of power.

The wild flavor of Hunan painting style

Mr. Baishi has deeply understood the essence of Hunan culture, which is the original flavor of "barbaric body", with the simplicity of the countryside, art Original and unique approach, as well as lively and vivid artistic vitality with a kind of brute force.

In the early years of the Republic of China, various schools of Chinese painting art had already formed in culturally developed places such as Shanghai, Beijing, Jiangsu and Zhejiang. But in Hunan, it was only after Qi Baishi descended that the art of the Xiang School was truly formed.

Since the emergence of Qi Baishi in Hunan, there has been a group of painters called Hunan Army, such as Huang Yongyu, Huang Yonghou, etc. These painters all have similar characteristics, including Qi Baishi who led the painting world with his eclectic style. , has the local characteristics of Hunan, the pen and ink are wild and domineering, and the confident atmosphere is expressed under the reflection of the mountains.

At the Qi Baishi Art Festival held in Xiangtan two years ago, local experts proposed that Huang Yongyu and Qi Baishi should be called "Qi Huang" together. Huang Yongyu is also a legendary painter and traditional Chinese painting theorist from Hunan. Chen Lusheng believes that Huang Yongyu is a topical artist and an artist who has made great contributions to society. Hunan does not pay enough attention to him, and he should be studied together with Qi Baishi as "Qi Huang". Huang Yongyu said with a smile: "I think it's ridiculous. How can I compare with Qi Baishi? I'm not qualified. I'm not being modest. A female writer in the United States once wrote about me, saying that Huang Yongyu is not modest, but realistic. I think this is true. Well done. You want to say that my diligent work attitude every day is fine. But in the past, "Qi Huang" refers to Qi Baishi and Huang Binhong. Now it has been narrowed down to Hunan, and Qi Baishi and I are called together. This makes me Very uneasy."

Despite this, the Hunan painters who can best connect Qi Baishi's artistic elements are the brothers Huang Yongyu and Huang Yonghou, who are now nearly 90 years old. They insist on "painting as if they want to be refined. To cleanse the floating qi and get rid of the craftsmanship, the first is to read, the second is to read more, and the third is to read well." This is closely related to Qi Baishi's philosophy. In the Huang family's old house in Fenghuang, Hunan, there are flowered pillars, carved beams, green bricks and black tiles. The children who go out from here remind people of Mr. Pan Yukun's couplet in his private house in Changsha: There is a Hualiu at the door to open the way, and you can watch the eagles and falcons coming out of the wind.

As a great master of modern my country, Qi Baishi rose from a carpenter to a giant in the modern art world. He is known as his "three thousand disciples". Li Kuchan and Li Keran studied under a generation of traditional Chinese painting. The great master Qi Baishi became the two leaders of the "Gate of Great Craftsmen". Disciples of the Qi sect, Li Keran, Li Kuchan, Wang Xuetao, Cui Zifan, Qi Liangchi, Chen Dayu, Lou Shibai, Xu Linlu, Lu Guangzhao, Tian Shiguang, Yu Zhizhen, Shi Ruiguang, Li Li, etc., all became famous for a while, and many of them Some of them have lived in the capital for a long time and have little connection with Hunan culture. However, they all embrace the jade from Jingshan Mountain and the pearl from the spiritual snake, and use their vigorous creative spirit to expand a magnificent and moving artistic space for Qi School art.

Brief introduction of Qi Baishi:

Qi Baishi (1864-1957), a native of Xiangtan, Hunan, a master of Chinese painting in the 20th century, one of the top ten calligraphers of the 20th century, one of the painters, and a world cultural celebrity . Qi Baishi was born in Xingziwu, Baishipu, Xiangtan County on January 1, 1864 (the twenty-second day of the winter month of Guihai in the third year of Tongzhi in the Qing Dynasty). He died of illness in Beijing on September 16, 1957 (the twenty-third day of August in the year of Dingyou) at the age of ninety-four. age.

The family name was Chunzhi, nicknamed Azhi, given name Huang, courtesy name Weiqing, nicknamed Lanting, Binsheng, and Baishishanren, so he went around the world under the name Qi Baishi... Introduction to Qi Baishi>>