Qi Baishi expressed the "frog sound", a specific phenomenon that can be heard but not seen, through pen and ink. There are no frogs in the picture, but it feels like hearing the sound of frogs. This is a wonderful idea. On the four-foot-long vertical axis, against the background of a distant mountain, simple words and ink are used. A rapid stream pours out from the rocks in the mountain stream. Six tadpoles are swaying in the rapids with their little tails and are swaying down the river. The tadpoles do not know He has left his mother frog and is still playing in the water lively.
When people see vivid tadpoles wandering at the source of streams, they will naturally think of frogs and their cries. From the young tadpole, we can associate it with the mother frog outside the painting. Because the tadpole is missing, the mother frog is still chirping loudly, as if the frog's sound is getting closer and closer with the sound of water. Although there is not a single frog in the picture, it is still possible to vaguely hear the sound of frogs in the distance, which is combined with the sound of rushing spring water to play a pleasant movement, creating the effect of a continuous sound of frogs. There is really painting within the painting, there is painting outside the painting, there is painting within the poem, and there is poetry within the painting. The sounds and emotions are mixed, and the ink is cherished like gold, which makes people have endless associations!
The painting does not directly describe those croaking frogs. In its treatment of "distant mountains", "mountain streams", "rapid streams" and "tadpoles", Qi Baishi also used "paintings in poems" and "tadpoles". There is poetry in the painting, which can be mastered with ease. It is because of Qi Baishi's proficiency in the fields of "time" and "space" that his paintings are better than strolling in a garden. "In Qi Baishi's "The Sound of Frogs Ten Miles Out of a Mountain Spring", the poetic and painterly images are in harmony with each other, and are full of rich artistic charm.
"The Sound of Frogs Out of a Mountain Spring Ten Miles Away" is an important work by Qi Baishi. The creation of this painting alone is extraordinary. It is a joint discussion of high-level art theory by a writer and a calligrapher and painter.
Qi Baishi used superb techniques to display a painting. A wonderful painting that enjoys both visual and auditory enjoyment.
There are no frogs, only tadpoles. This painting is reminiscent of a tadpole growing into a frog. The two-dimensional space has crossed into the four-dimensional space, and the tadpole has grown into a frog, which is a qualitative change. Qi Baishi used the quality of the poet, the genius of the painter, and the temperament of the literati to create such a beautiful artistic conception, integrating poetry and painting, and accurately expressing the meaning of the poem. The connotation of Chinese painting has reached the high level of "painting in poetry and poetry in painting".
In the summer of 1951, Lao She visited Qi Baishi's home. Lao She picked up a book from the desk and flipped it through. The Qing Dynasty poet Zha Shenxing wrote a poem called "The Rhyme of Moon Walking by the Brook of Cishijun". He deliberately selected a line from the poem "The sound of frogs comes from the mountain spring ten miles away" and asked Qi Baishi to use painting to express what the auditory organs felt.
After several days of careful thinking, Qi Baishi came up with the phrase "The sound of frogs comes out of a spring if there are no frogs" based on the content of the letter written by Lao She to Qi Baishi ("The sound of frogs coming out of a mountain spring is ten miles away, and tadpoles are fighting four or five, swaying with the water. There are no frogs, but the sound of frogs is coming out of the mountain spring.") "" was inspired by the three words, so he wrote an article on the "spring". Qi Baishi relied on decades of artistic cultivation and profound insights into art, and after careful consideration, he painted "The sound of frogs emerges from the mountain spring ten miles away"
Qi Baishi (January 1, 1864 - September 16, 1957), whose ancestral home was Dangshan, Suzhou, Anhui, was born in Xiangtan, Changsha Prefecture, Hunan (now Xiangtan, Hunan).
His original name was Chunzhi, with the courtesy name Weiqing and the nickname. Lanting. Later it was renamed Huang, with the courtesy name Biansheng, and the names Baishi, Baishi Shanweng, Laoping, Xingsou, the owner of the borrowing mountain chanting hall, the old man of Jipingtang, and the three hundred stone seal rich man.
It is a modern name. A master of Chinese painting and a world cultural celebrity. He worked as a woodworker in his early years and later made a living by selling paintings. He settled in Beijing after he was fifty-seven. He is good at painting flowers, birds, insects, fish, landscapes, and figures. His brushwork is vigorous and moist, the colors are bright and bright, and the shapes are concise and vivid. , The artistic conception is honest and simple. The paintings are full of natural interest.
Qi Baishi, a calligrapher and seal writer, adopts the calligraphy method of Qin and Han dynasties. He is an honorary professor at the Central Academy of Fine Arts and the chairman of the Chinese Artists Association. His representative works include "The Sound of Frogs Ten Miles Out of the Mountain Spring" and "Ink Shrimp" and "The Narrative of Baishi Old Man".
Qi Baishi's former residence is located at No. 13 Kuoche Hutong, Picai Hutong, Xicheng District, Beijing, adjacent to Nanluogu Lane in the east. It is said that this house was the residence of a minister in charge of the Ministry of Internal Affairs in the mid-to-late Qing Dynasty, and was later divided and sold by the Cultural Affairs Bureau after the founding of New China. It was purchased by the Ministry of Culture as the residence of Qi Baishi. During the "Cultural Revolution", the memorial hall was demolished and changed to the location of the Beijing Painting Academy's "Chinese Painting" editorial department and the Beijing Artists Association.
The house was built in the middle and late Qing Dynasty. Courtyard No. 13 is only a part of the original house and is a relatively complete single courtyard. Facing south, there is one main door (not the original main door) and two reverse rooms. There are three houses in the south, north, east and west of the courtyard, all with hard-top roofs and tiled ridge roofs, with verandahs in front. There are bird stands in the open space of the corridor steps, an upside-down lintel on the end of the corridor, and a bench railing below. The houses are connected by corner corridors. The north room has three east and west wing rooms, and the south room has three inverted rooms connected to the west.
There are exquisite brick carving patterns on the heads of each room. There are calligraphy and seal carvings on the walking horse boards in each corridor. There are woodcut couplets on the wooden partitions in the bright room of the north room. The west wall on the south side of the west wing room is decorated with the four characters "Ziqi comes from the east" carved on a brick. The brick and wood carvings in this courtyard are of great value. On January 21, 1986, Dongcheng District of Beijing announced Qi Baishi's former residence as a cultural relic protection unit.