Qigong (1912-2005)
Famous contemporary Chinese educator, master of Chinese studies, classical philologist, calligrapher and painter, cultural relic connoisseur, poet, Manchu, Aixinjueluo family , the fifth son of Emperor Shizong of the Qing Dynasty and the eighth-generation grandson of Prince Hong Zhou. Pekingese. The character Yuan Bai is also called Yuan Bo. He lost his father when he was young and his family was in poverty. After dropping out of Beijing Huiwen Middle School, he devoted himself to self-study. When I was a little older, I studied calligraphy and painting from Jia Ximin and Wu Jingting, and studied classical literature from Dai Jiangfu. After studying hard, he finally achieved academic success. In 1933, he was recommended by Mr. Fu Zengxiang and studied under Chen Yuan, where he learned about academic exchanges and textual research. Later, he was appointed as a Chinese language teacher at Furen Middle School; in 1935, he was appointed as an assistant teacher in the Fine Arts Department of Furen University; in 1938, he was appointed as a lecturer in the Chinese Department of Furen University, and also served as a special committee member of the Palace Museum, where he worked as a reviewer and cultural relic appraisal in the Accident Palace Archives; in 1949, he was appointed as a lecturer in the Chinese Department of Furen University. Associate professor and associate professor of the Museum Department of Peking University; after 1952, he served as associate professor and professor of Beijing Normal University. Member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, chairman of the National Cultural Relics Appraisal Committee, director of the Central Research Institute of Literature and History, honorary chairman of the Chinese Calligraphers Association, professor and doctoral supervisor at Beijing Normal University. Advisor to Jiusan Society, Chairman of the National Cultural Relics Appraisal Committee, Honorary Chairman of the Chinese Calligraphers Association, Advisor to the Buddhist Association of China, the Palace Museum, and the National Museum, and President of the Xiling Seal Society. He died of illness in Beijing at 2:25 on June 30, 2005. His main works are "A Treatise on Ancient Fonts", "A Treatise on Rhythm of Poems", "A Collection of Qi Gong's Rhymes", "Qi Gong's Rhymes", "Qi Gong's Words", "Qi Gong's Superfluous Words", and "A Collection of Chinese Phenomenon". ”, “Quatrains on Calligraphy”, “Notes on Calligraphy”, “Talking about Eight Parts”, and “Album of Photos of Qi Gong’s Calligraphy and Paintings”.
Artistic Characteristics
Mr. Qi Gong is a famous contemporary scholar, painter and calligrapher. He has written extensively, is proficient in language and philology, and has even done a lot of research on the eight-part essay that has become a historical relic; he is good at poetry, and he is also an appraiser of ancient calligraphy and painting, especially the study of inscriptions.
When appreciating his calligraphy works, I always think of his in-depth research on inscriptions, because his research on inscriptions is inextricably linked to his achievements in the art of calligraphy. The study of inscriptions is the foundation of the Ming and Qing Dynasties. A science that emerged in two generations, this knowledge has now opened up a new realm with the continuous unearthing of underground ink traces. He is one of the pioneers of this field. Except for collectors of antiques who boast of rare and ostentatious collections, this knowledge can be divided into two categories: one is to study the historical materials, use the inscriptions and words to prove the history, or read the words; Appreciate and study his calligraphy art. Mr. Qi Gong is both good at both, and is more proficient in the latter. He integrates the two and his methods break through the barriers of his predecessors. "Buying coffins and returning beads is different. Most of the people who carved the stele were calligraphers. What's the use of eloquent parallel prose? I rarely see collectors reciting it." He wrote this poem because he felt how many connoisseurs in the past valued the calligraphy of inscriptions, but often turned a blind eye to the diction. Famous writers such as Sun Chengze, Weng Fanggang and Ye Changchi all had this flaw, and they did not neglect the content of their words. Because of this, he completely refuted the "Cao E Monument" that had always been concluded. Therefore, the so-called "Cao E Monument" in small regular script written by Wang Xizhi no longer exists. What's more, Cai Yong's calligraphy elixir.
I like Mr. Qi Gong’s calligraphy theory works the most. His metaphors and witty remarks are his favorite. He also has his unique "Hundred Quatrains on Calligraphy" about the art of calligraphy and many issues in the history of calligraphy. It is his experience from decades of calligraphy practice and research. Especially the self-notes in the poems are elegant and expressive. I have some long-term suffocation problems, but after reading this book, I felt that it was solved and I felt suddenly enlightened. For example, textual research proves that "Ode to Wagtails" was written by the Kaiyuan Imperial Academy; Japan's Fujitohara came to "Yueyi Lun" to prove the power of Wang Xizhi's calligraphy style; and Zhang Xu wrote Gengxin's "Buxu Ci Zu" was actually a great auspicious talisman. The writings of the later Song Dynasty; the scraps of paper from Jin people in the western border prove the true appearance of Suo Jing's calligraphy in "Ge Tie". These are all cases that have been established in the history of calligraphy. The arguments are so solid and powerful that they have to be convincing. In addition, for example, the calligraphy of Cai Xiang and Zhu Yunming has not yet developed its own style; the calligraphy of Liu Gongquan and Huang Tingjian uses the pen to give full play to the power of the pen and the heart of the word.
It is very insightful about the characteristics of famous calligraphers in the past, the style and style of calligraphy in each era, and even the identification of the origin and changes of calligraphy styles.
Chronology of Qigong
Born in Beijing on July 26, 1912.
The ancestor of Qi Gong was the son of Emperor Yongzheng of the Qing Dynasty. He ranked fifth. His name was Hongzhou and he was titled "Prince He". His descendants gradually separated from the royal family. By the time of his great-grandfather, the family had lost its status and had to find a way out through the imperial examination. His great-grandfather Pu Liang passed the Jinshi examination and entered the Hanlin Academy. In the late Qing Dynasty, he served as the Minister of Rites and the Governor of Chahar. My grandfather, Yulong, was also born in the Imperial Academy. He was a bachelor of the Ceremony Academy and served as academic administrator and examiner.
In 1913, when he was one year old, his father died and he lived with his grandfather.
In order to pray for blessings, his grandfather once asked him to become a disciple of an old lama from Yonghe Temple, and he became a registered little lama, named "Chagdol Zhabu". At that time, after the Xinhai Revolution, the Qing court abdicated. His great-grandfather was determined not to be political and did not want to live in the capital, as a sign that he would no longer be involved in state affairs. Qi Qi's great-grandfather had a disciple named Chen Yungao, who was also a Hanlin scholar. His family was the richest man in Yixian County, Hebei Province, and he had extensive wealth, so he invested money to buy a house in Yixian County and invited his great-grandfather to live there. My great-grandfather moved to Yi County with his family, and he was only three or four years old when he started his career. Later, he entered a private school to read poetry.
In 1922, when he was ten years old
My great-grandfather passed away. The family business declined as debts were paid off.
In 1923, at the age of eleven, my grandfather passed away.
The family’s collection of books was sold to pay for funeral expenses. At that time, her mother Kelianzhen and her unmarried aunt Heng Jihua were both in their twenties and shouldered the heavy burden of family life. In order to educate his nephew, who was born alone, Heng Jihua decided not to marry and regarded himself as the man of the family. Qigong also called his aunt "daddy" (in Manchu custom, "daddy" means uncle).
1924-1926 Twelve to fourteen years old
Studying at Huiwen Primary School and Huiwen Middle School in Beijing. When I was young, I saw a large landscape hanging on the wall next to my grandfather's desk, which was painted by my uncle. I also saw my grandfather take a small fan and paint bamboo and stone with just a few strokes. I felt very amazing and had the desire to "be a painter". His school work was selected as a gift by the school and given to famous people.
1927-1929 From the age of 15 to 17
Under the guidance of his eldest son, he studied painting with Mr. Jia Ximin. He is also very knowledgeable and insightful in his appreciation. He often took Qi Gong to the Palace Museum to look at the ancient paintings and calligraphy on display. Sometimes he and some friends would read and comment on them, and Qi Gong also wrote them down one by one. These activities deeply inspired and educated Qi Gong. Qigong wanted to learn more painting techniques, and Mr. Jia introduced him to Mr. Wu Jingting. Mr. Wu teaches painting techniques with great patience. He never talks in general terms, but specifically points out the most important tips, which makes Qi Gong improve very quickly. Once, an elder ordered him to paint a painting and said that he would frame it and hang it. He felt very honored. But his eldest relative also said: "Don't sign after you finish the painting, ask your teacher to sign." This stimulated him a lot, and he started practicing calligraphy vigorously.
1930, 18 years old
Introduced by an old family friend, he learned Chinese classical literature from Mr. Dai Jiangfu and learned to compose old poetry. Due to the careful training of his teachers and his diligent self-study, he has laid a solid foundation in Chinese classical literature and history since his youth.
1932, 20 years old
Married Zhang Baochen. Zhang family, Manchu, was two years older than Qigong. In order to make ends meet, he taught at home and sometimes sold paintings to make money.
Twenty-one years old in 1933
After being introduced by Mr. Fu Zengxiang, he was taught by Mr. Chen Yuan. Mr. Chen Yuan had read his works and thought that "his writing is excellent." , and arranged for him to serve as a Chinese teacher at Fu Jen Middle School. He worked in education for decades after that, focusing mainly on teaching classical literature, and also sold calligraphy and paintings, but he said: "That was just a side job."
Twenty-three years old in 1935
Served as a teaching assistant in the Fine Arts Department of Fu Jen Catholic University, and engaged in calligraphy and painting creation in his spare time.
1938, 26 years old
Served as a lecturer in the Chinese Language Department of Fu Jen Catholic University. After the victory of the Anti-Japanese War, he concurrently served as a special committee member of the Palace Museum, responsible for reviewing manuscripts and appraising cultural relics in the archives.
1949, 37 years old
Served as associate professor of the Chinese Language Department of Fu Jen Catholic University and professor of the Museum Department of Peking University.
Age 40 in 1952
Schools of higher education across the country underwent departmental restructuring, and Fu Jen Catholic University merged with Beijing Normal University. He was appointed associate professor of the Chinese Department of Beijing Normal University, teaching classical studies. literature. In the same year, he joined the "Jiu San" Society and was elected as a member of the Beijing branch of the "Jiu San" Society, and was later elected as a member of the Beijing CPPCC. Since then, he has worked with Xiang Da, Wang Chongmin, Zhou Yiliang, Zeng Yigong, Wang Shushu and others to punctuate the Dunhuang cultural and popular music. Later, he wrote annotations for Cheng Yi's version of "Dream of Red Mansions" published by People's Literature Publishing House. This was the first annotated version of "Dream of Red Mansions" published after the founding of the People's Republic of China. In 1957, at the age of forty-five, my mother and aunt passed away one after another.
1962, 50 years old
Completed two book manuscripts, "A Treatise on Ancient Fonts" and "A Treatise on Rhythm of Poetry".
Aged 51 in 1963
Written "Notes on "A Dream of Red Mansions""
Aged 54 in 1966
The "Cultural Revolution" broke out and all public reading and writing activities were suspended, but he continued to study in private. Because he was proficient in calligraphy, he was often ordered by the rebels to copy big-character posters.
Aged 59 in 1971
Participated in the work organized by Zhonghua Book Company to punctuate the "Twenty-Four Histories" and the "Manuscript of the History of the Qing Dynasty", and was responsible for punctuating the "Manuscript of the History of the Qing Dynasty" with Wang Zhonghan and others 》.
In 1975, at the age of sixty-three
My wife Zhang Baochen passed away.
1976, sixty-four years old
After the Gang of Four was crushed, the Normal University resumed its courses.
Sixty-five years old in 1977
"Manuscript of Poetry and Rhythm" was published by Zhonghua Book Company
Sixty-six years old in 1978 Years old
After the Cultural Revolution, he was still employed as a professor after implementing the policy.
1979, sixty-seven years old
"Ancient fonts" was published by Cultural Relics Publishing House.
1981, sixty-nine years old
"Qigong Series" was published by Zhonghua Book Company. In the same year, the Chinese Calligraphers Association was established and he was elected as the vice chairman. At the invitation of the Chinese University of Hong Kong, he went to Hong Kong to give lectures on Chinese and "Dream of Red Mansions".
Seventy years old in 1982
The National Ancient Books Compilation and Publishing Planning Group was established and he served as a member of the group.
Seventy-one years old in 1983
Invited by the "Complete Collection of Chinese Art" office of the Propaganda Department of the Central Committee of the Communist Party of China, he served as a consultant for the "Complete Collection of Chinese Art". Participate in the appraisal team of ancient Chinese calligraphy and painting composed of seven experts organized by the State Administration of Cultural Heritage, responsible for screening and appraising the authenticity of ancient calligraphy and painting works collected in museums in Beijing and major cities across the country.
In 1984, at the age of seventy-two, he was hired as a doctoral supervisor. Was elected president of the Chinese Calligraphers Association.
In 1986, at the age of seventy-four, he was appointed chairman of the National Cultural Relics Appraisal Committee.
Seventy-seven years old, 1989
In April, he was appointed deputy director of the Central Research Institute of Literature and History. "Qigong Rhymes" is published by Beijing Normal University Press.
1990, seventy-eight years old
"One Hundred Quatrains on Books" was published by the Commercial Press of Hong Kong and Beijing Joint Publishing House. The book summarizes his systematic theory of calligraphy practice over the past decades in the form of a poem, with comments on calligraphers of all dynasties and unique insights into the knotting and use of calligraphy strokes. In order to establish the "Liyun Scholarship Fund", the "Qigong Calligraphy and Painting Charity Exhibition" was held in Hong Kong.
In 1991, he was seventy-nine years old
Served as the consultant of the National Ancient Books Collection and Publishing Planning Group. "Chinese Phenomenon Series" is published by The Commercial Press (Hong Kong) Co., Ltd. At the end of November of the same year, all the proceeds of more than 1.63 million yuan from the charity sale of calligraphy and paintings were donated to Beijing Normal University to establish the "Liyun Scholarship Fund". In September, I visited Tokyo and Osaka, Japan, and visited the treasures of Chinese calligraphy and painting collected by the Osaka Museum.
Eighty years old in 1992
The National Committee of the Chinese People's Political Consultative Conference, Beijing Normal University, and Rongbaozhai jointly organized the "Qi Gong Calligraphy and Painting Exhibition", which was exhibited in Beijing, Guangzhou and Japan. . "Shuo Bagu", "Notes on Qi Gong's Calligraphy and Paintings", and "Album of Photos of Qi Gong's Calligraphy and Paintings" are published by Beijing Normal University Press.
In 1994, at the age of eighty-two, he went to South Korea for calligraphy and painting exchanges. Rongbaozhai and Oriental Gallery of Korea jointly organized the "Qi Gong·Jin Yingxian Calligraphy Joint Exhibition", which was exhibited in Beijing and Seoul. "Qi Gong's Whispers" is published by Beijing Normal University Press.
Eighty-three years old in 1995
"One Hundred Quatrains on Calligraphy by Qi Gong" and "Special Collection of Qi Gong's Calligraphy and Painting Works" were published by Rong Baozhai.
Eighty-four years old, 1996
In October, he visited the United States, Germany and France and visited the treasures of Chinese calligraphy and painting collected by the National Museum of the Three Kingdoms.
Eighty-five years old in 1997
In April, the Central Research Institute of Literature and History organized a calligraphy and painting delegation to Singapore to hold an exhibition of calligraphy and painting works by members of the Central Research Institute of Literature and History. Mr. Qi Gong Serve as group leader. In October, at the invitation of the Commercial Press of Hong Kong, I went to Hong Kong to attend the celebration of Hong Kong's return to the motherland and the 100th anniversary of the founding of the Commercial Press, and created many calligraphy and painting works for the return of Hong Kong. The Japanese translation of "One Hundred Quatrains on Qi Gong Lun Shu" was published in Tokyo.
Eighty-six years old in 1998
Professor and doctoral supervisor at Beijing Normal University. He is a member of the fifth session of the National Committee of the Chinese People's Political Consultative Conference and a standing committee member of the sixth, seventh, eighth and ninth sessions, chairman of the National Cultural Relics Appraisal Committee, deputy director of the Central Research Institute of Culture and History, and honorary chairman of the Chinese Calligraphers Association.
Ninety-three years old, 2005
Died of illness in Beijing at 2:25 on June 30.
Chronology of publication of Mr. Qi Gong's works
1953
"Commentary on a Dream of Red Mansions", People's Literature Publishing House
1957
p>"Collection of Dunhuang Changes" (co-edited), People's Literature Publishing House
1965
"Manuscript of Ancient Fonts", Cultural Relics Publishing House
1977
"Manuscript on Rhythm of Poetry", Zhonghua Book Company
1981
"Manuscript of Qi Gong", Zhonghua Book Company
1982
"Mr. Qigong Lectures on Calligraphy" (Video), Beijing Normal University
1985
"Selected Calligraphy by Qi Gong" ", People's Fine Arts Publishing House
"Selected Works of Qi Gong's Calligraphy", Beijing Normal University Press
"On Calligraphy Quatrains", The Commercial Press (Hong Kong)
1986
"Selected Works of Qi Gong's Calligraphy" (reduced version), Beijing Normal University Press
"Introduction to Calligraphy", Beijing Normal University Press
"Introduction to Calligraphy Reference Materials", Beijing Normal University Press
"Qi Gong - Uno Yukimura Calligraphy and Painting Exhibition", (printed in Japan)
1988
"Calligraphy Teaching" (Video Tape), Beijing Normal University Audio and Video Press
1989
"Qigong Rhymes", Beijing Normal University Press
1990 Year
"On Shu Quatrains", The Commercial Press (Hong Kong), Joint Publishing House
"Qi Gong's Cursive Script Thousand-Character Essay", China Peace Publishing House
"Photos from the Qigong Painting and Calligraphy Exhibition" published by Rongbaozhai (Hong Kong) Co., Ltd.
1991
"Chinese Phenomenon Series", The Commercial Press (Hong Kong)
"Shuo Bagu", Beijing Normal University Press
1992
"Notes on Qi Gong Lun Shu", Beijing Normal University Press
"Qi Gong Lun Shu Notes" "Album of Photos of Gong Calligraphy and Painting", Beijing Normal University Press
1993
"Rongbaozhai Painting Book - Qi Gong Volume", Rongbaozhai Publishing House
1994
"Qi Gong's Discourses", Beijing Normal University Press
1995
"Qi Gong's Essay on One Hundred Quatrains", Rongbaozhai Publisher
1997
"Qi Gong Shu Hua" (i.e. the Japanese version of one hundred quatrains on books), published by Nigensha, Japan
"On Books and Quatrains" 》 (reprint), Sanlian Bookstore
1998
"Contemporary Calligraphers' Boutique Collection Qigong Volume", Hebei Education Press, Guangdong Education Press
1999
"Manuscript of Ancient Fonts", reprinted by Cultural Relics Publishing House
"Qi Gong's Idioms", Beijing Normal University Press
"Qi Gong Cong" "Manuscript" (paper volume, title and postscript volume, poetry volume), Zhonghua Book Company
2000
"Qi Gong Three Tie Collection", Beijing Normal University Press
"Shuo Bagu", Zhonghua Book Company
"Manuscript of Poetry and Rhythm", Zhonghua Book Company
2001
"Qigong Theory on Calligraphy" (Xuan paper This book), Cultural Relics Publishing House
"Collection of Qi Gong's Calligraphy and Paintings", Cultural Relics Publishing House, Beijing Normal University Press
"Qi Gong's Collection of Calligraphy and Paintings", Beijing Normal University Press
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2002
"Selected Essays on Qi Gong's Calligraphy and Paintings", Shanghai Painting and Calligraphy Publishing House
"Qi Gong Lin Huai Su's Autobiography", Rong Baozhai Publishing House
"Seventeen Posts of Qi Gong Lin Wang Xi", Rongbaozhai Publishing House
Annotated version of "Queju on Shu", Sanlian Bookstore
Collected by Zhen Ming Pavilion "Celebrity Calligraphy and Painting - Qi Gong Volume", Cultural Relics Publishing House
"Manuscript of Poetry and Rhythm" (ink version) (revised edition), Zhonghua Book Company
2003
"Qigong Cursive Script Thousand Character Essay" (reprint), China
Heping Publishing House
"Qigong's Cursive Script Thousand-Character Essay", Shanghai Painting and Calligraphy Publishing House
"Qigong's Calligraphy Series", Cultural Relics Publishing House
2004
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"The Continuation of Qigong Linlanting", Rongbaozhai Publishing House
"Qigong Calligraphy and Painting Collection" (Popular Edition) Cultural Relics Publishing House, Beijing Normal University Press
"Qi Gong's Thousand Characters in Regular Script", Beijing Normal University Press
"Selected Works of Qi Gong's Calligraphy and Paintings" (Xuan Paper Edition), Cultural Relics Publishing House
"Selected Works of Qi Gong's Calligraphy and Paintings" 》 (Xuan paper version), Xiling Yinshe
"Jianjing Bureau Series - Lin Shu Collection", Beijing Normal University Press
"Qi Gong will teach you calligraphy", Zhonghua Book Company
2006
"Selected Inscriptions, Calligraphy, Paintings and Inscriptions on Qi Gong's Inscriptions", Cultural Relics Publishing House