Influenced by contemporary and ancient painters, Qi Baishi made bold innovations on the basis of inheriting ancient painting art, and formed his own style, which was unique and approachable. Mainly realistic, the materials are all touched or seen by myself, and I have never painted anything I have never seen before. I insist on the art of life all my life.
Since Qi Baishi has been engaged in painting for a long time from 27 to 97, this paper analyzes the inheritance and characteristics of Qi Baishi's painting in five stages:
(a) 27 to 40 years old is the copying stage.
(2) the early stage is forty to fifty-six.
(3) The age from 56 to 65 is the stage of political reform.
(four) sixty-five to eighty-eight years old is the intermediate maturity.
(5) The late stage is 89 to 97 years old.
Replication stage
Before forty or forty, I mainly studied painting in my hometown Xiangtan. At the age of twenty-six, he worshiped Xiaoxiang as the core, learned to paint portraits and landscape figures. At the age of 27, he studied meticulous painting, flowers, birds and insects with Hu Qinyuan as his teacher. Learn landscape from Tan. Paintings in this period were mainly based on meticulous copying, and paintings paid great attention to statutes in conception, layout, pen use and color setting, which conformed to the rules everywhere. This stage is the basic stage. At the age of 36, scholar Wang Xiangqi became a major turning point in his life and art, and began to change from a folk painter to a literati painter.
We don't see many works in this period. When he was 36 years old, we had seen four of his landscape works. They are all ink paintings, which look traditional and rigid, but they are also very tasteful in the use of pen and ink skills. Then I saw his flower-and-bird paintings, which are very similar to Li Futang's, indicating that he was also influenced by them. During this period, his paintings were less colorful and more traditional.
early stage
Forty years old and 156 years old, he has traveled to the north and south of the Yangtze River and places of interest five times. He has seen the forest of steles, Yantapo and tsinghua pool in Xi 'an, and visited Dongting, Hengshan, Lushan and Guilin in the Yangtze River, broadening his horizons, learning from nature and enriching the contents of his works. Everywhere he went, he recorded landscape sketch in words as the first draft of his work.
In painting, it turned to sketch and freehand brushwork. I met many painting friends, poetry friends and friends in several outings. I have read many famous paintings and calligraphy, such as Xu Tianchi, Badashanren, Chen Baiyang, Shi Tao, Huang Shen, Zhou and Wu Changshuo. They gained a lot and had a great influence on Qi Baishi. They praised their innovative spirit and especially worshipped Tianchi, Bada, Shi Tao and Wu Changshuo. He learned from Xu Wei's bold and unrestrained splashing ink, incisively and vividly; Shi Tao's works are simple in brushwork and profound in artistic conception; The primitive spirit of Badashan people is magnificent. When copying, carefully study the pen, ink, color matching, composition, poetry and so on. In his 58-year-old manuscript, he wrote: "I am extremely convinced that the paintings of Ivy, Snow Song and Dadizi can be horizontal and vertical. I wish I could live for 300 years or work for you. No, it's right outside the door. If you are hungry and don't go, it is also a kind of enjoyment. Another poem he wrote when he was 70 years old: "Ivy is far away from snow, and old people are only talented." I want Jiuquan to be a running dog, and the three families will turn over. "From the above two paragraphs, we can see that Qi Baishi admires and attaches importance to the innovative spirit of these four painters' works. Wu Changshuo's method is mostly used in works after 50 years old; Artistic conception tends to be Badashan people; Using a pen to transport ink, he is unconstrained and unconstrained, learning from the great edification and the green vine, absorbing the marrow of the gods, "learning from the past but not being solid in the past", and is good at accepting the mature experience of advanced painters.
Reform stage
When he came to Beijing at the age of 50, in the early years of the Republic of China, some conservative painters didn't know much about freehand brushwork and thought Qi Baishi's works were "vulgar". Although Qi Baishi's works are based on Shi Tao, the Eighth National Congress and Bai Yang, they are not valued and liked by people, but they are highly valued and loved by Chen Shiceng. At that time, Chen Shiceng advised Qi Baishi "to be creative, to draw vividly, to have a unique style, and not to be kitsch". He also presented a poem saying, "Why bow down and seek common ground when painting my own painting?" . Influenced by Chen Shiceng, Qi Baishi changed his painting style, facing nature in subject matter and striving for truth. Pen and ink don't learn from Wu Changshuo, creating freehand brushwork. First of all, the painting method of "red flowers and ink leaves" was opened, with fresh magenta dots and thick ink as inlays, which made red flowers in sharp contrast with lotus flowers with different ink colors, showing a fresh and healthy artistic conception on the screen. However, the early works after the reform are not mature enough and are in the stage of strong form and weak spirit. The theme of flowers in this period is grapes, big peaches and vines. And most of them are characterized by trees and roots as the main body, small leaves and fruits, dense branches and dark colors, which are the characteristics of his dry period after the political reform. The same is true of painting shrimp. At this time, the shrimps are small, numerous, short in body and beard, and very lively in shape! But the expression is not enough. The abdomen is five segments, but there are fewer postures. Long-arm pliers also lack posture changes, are not tall and have little strength. There are also many small veins in the abdomen. There are long beards on the head, but only six of them are still radial, and there is no dynamic swing.
Mid-term maturity
Sixty-five to eighty-five years old is the middle and late period, and it is also the mature period. Pen and ink are dripping, magnificent, free-flowing, detached and unrestrained, lively, with both form and spirit, reaching a wonderful situation. Good at using the characteristics of ink depth to express the texture of objects. Skilled, complete and accurate brushwork. The composition is more ingenious, which fully expresses the artistic conception of "painting outside painting" and "simplicity but not ethereal". The color is bright and pungent. I like to use magenta, which is bright and energetic. Painting shrimp, the abdomen is also five segments, but stretching, bending, bending and bouncing are all very powerful. The lower abdomen leg is concise to five. The head of the shrimp is dark ink, which shows that the head and chest of the shrimp are heavy and the transparency is obvious. Shrimp eyes are highlighted with thick ink, which is more vivid. On the short beard of shrimp, two long-arm pliers look tall and strong, both rigid and flexible, and the artistic conception between nodes is broken, which is intentional.
This is an advanced lifting chain, which is both real and beautiful, unprecedented. At the age of eighty-two, he wrote an inscription poem: "There are no fish and shrimp in the pond, so I play with things from the bottom of leaves. I am too lazy to ask for the shape of the sketch. I am tired of fame and old paper. " The last two sentences show that his shrimp paintings are different from ordinary ones, and what he pursues is not the shape, but the shape.
later period
After eighty-five, it is late. The composition, color, brushwork and ink transportation of the works have all changed from legal to impossible. I like to paint at will, and I like to use magenta. Workers are thick and thin, and I often use thick flowers with workers (early workers). In his later years, he used strong colors. Later, draw shrimps after 90 years old and remove the beard.
Qi Baishi paints very diligently and paints every day. For example, the 85-year-old inscription reads: "Yesterday, because of the storm, I was restless and I didn't paint." It is not a day's leisure to make up for it now. " 」
calligraphy
He first wrote the "Pavilion Style" popular in the officialdom in the late Qing Dynasty, then worshipped Hu Qinyuan and Shao Chenfan Er, and then wrote the Daozhou He Zizhen Style popular in Hunan with the Second Division (writing Yan Zhenqing). After traveling at the age of forty, I met Zeng and Li Ruiqing, learned to write Wei He, and then wrote the Six Dynasties. At the age of 50, he began to write Zheng Wengong Monument, Jin Dongxin, the famous monument of Yuelu Mountain in Hunan Province, and the "Lu Zhi Monument" (running script) of Li Beihai in Tang Dynasty. He also wrote Jin Dongxin, Zheng Banqiao and Wu Changshuo. After that, he managed to print and write regular script and seal script; We should also learn from the magnificent momentum of Wu's "heavenly hair and divine preparation (seal)" during the Three Kingdoms period. At the age of 60, his handwriting was mature, so he copied and integrated into the inscription to form his own style, which was Qi Baishi's font style, but it was not stable enough. Before the age of seventy, although calligraphy was sui generis, its word structure was not compact enough. After seventy-five, calligraphy has been fully mature, with unremitting strokes, calm strokes, refreshing, full of momentum, richness and charm.
After the age of 60, there are many regular script and seal script; After the age of 70, he attached great importance to seal script and running script, and his favorite works were often inscribed with seal script.
Seal cutting and printing
At the age of 32, he founded Longshan Poetry Society, with Qi Baishi as its president. He studied the impression of poetry, calligraphy and painting with some local literati and began to study seal cutting.
Prints were first given to Qi Baishi by an Indian friend Li. After seeing it, Qi Baishi copied and studied Ding and Huang's precise knife skills every day, which was greatly influenced by it. Single-edged (for garden printing) is often engraved in the shade, and there was a pen list. After traveling at the age of 42, the lettering changed. Looking at Zhao, learning from Zhao, and integrating Chinese and Indian patterns into Zhao are ancient and intriguing. Absorb the ingenious brushwork of the Three Kingdoms "Tianbu Board" and change the carving method; From the artistic conception of Sangong Mountain Monument (Han Monument, Lishu), the brushwork of seal cutting was changed. Finally, I learned "Qin Quan", which changed a lot. After several changes, after the age of 60, he really left the traditional techniques of imitating the ancients and got rid of the general seal cutting frame.
Qi Baishi's management of printing is inseparable from the foundation laid by carving carpentry when he was young. Therefore, he is very skillful in managing printing and skilled in knife work. Qi Baishi ruled India, advocating jumping out of the box, opposing imitating the ancients and advocating innovation. He often said, "The most important thing in the world is happiness." Happiness is just being upright and sharp. Seal cutting gives full play to its own interests as far as possible, expresses the ancient and simple spirit, and has a unique atmosphere and honest and frank style.
Some features of seal cutting are the same as that of writing, that is, writing and writing do not draw again, and there are only two directions; Different from ordinary people, lettering is in four directions, one knife moves away, one knife returns, and one knife goes back and forth.
Qi Baishi's seal cutting, accompanied by the strokes of the characters, did not draw glyphs on the stone before carving. Its carving requirements are not only similar, but also verve, which cannot be separated. Only the shape is similar, it is erosion, and the knife method can't be seen. Cutting is different from carving. Qi Baishi pays attention to the knife method and looks at it. Qi Baishi carved more than 3000 seals.
Poetry and prose
His poems are all vernacular poems, which are popular and easy to remember and express feelings. 1924 published eight volumes of Poems of Baishi and Poems of Lao Ping, which were published after his death. There are many teachers who study poetry. Teacher Hu Qinyuan is also a poet. Longshan Poetry Society was established at the age of 32. The seven sons of Longshan are Qi Baishi, Luo Zhenwu, Luo, Chen Fugen, Tan Ziquan and Hu.
At the age of 37, I studied poetry under Wang Xiangqi. At the age of forty, I met Fan Zengxiang (a poet and writer from Hubei) and was influenced by him. He also studied Shao Chen's Mencius, 300 Tang Poems and eight ancient Tang and Song poems.