Qi Gong (1912-2005), who called himself "Qi Ming Gong", was named Yuan Bai, also known as Yuan Bo, and was named Yuanbei Jushi. He was a Manchu in Beijing and the ninth generation of Emperor Yongzheng. Sun.
Qigong Meihe’s calligraphy and reflection on paper
Mr. Qi Gong is a master of Chinese studies, an outstanding connoisseur and appraiser of cultural relics, and an outstanding calligrapher and Chinese painter. In today's world where "innovation" is the key to judging one's superiority, few people talk about Mr. Qi Gong's achievements in writing. Because his pen is more brilliant in the field of calligraphy, his paintings are often ignored. His pursuit of inner beauty without paying much attention to form and pattern is also not acceptable to ordinary appreciators, so the title of the painting is not obvious.
Qi Gong, Village Crossing, Mirror Heart, Paper
Mr. Qi Gong’s painting style is consistent with his calligraphy style and his personal style, which is honest, elegant, and exquisite in brushwork and ink. Emphasizing literary spirit and cultivating knowledge, his realm is far beyond that of the painters of his time. His works inherit the aesthetic quality of traditional Chinese painting and incorporate calligraphy into his painting methods. The style of writing is ancient, elegant and graceful, without any sweetness or tackiness, let alone anger. The atmosphere is peaceful, elegant and subtle, continuing the true vein of Chinese landscape painting and continuing the scholar's spirit.
Qi Gong, Boating Picture, Mirror Heart, Paper
When painting, Mr. Qi Gong pays attention to the richness of the brush, the richness of dryness, wetness and lightness, and the changes in virtuality and reality. In the use of ink and wash, he has absorbed many "Southern School" literati painting techniques, and is especially good at leaving blank spaces. In his paintings, the empty space is also the real space, leaving clouds as clouds and water as water, empty but not empty, white but not white, empty but not empty. Therefore, his paintings of mountains, rivers, trees, rocks, smoke and clouds are graceful, clumsy yet graceful, and rich in content. This is clearly confirmed in his landscapes, flowers and birds.
Qi Gong Song Feng Qin Yun on paper
Generally speaking, his paintings inherited the freehand spirit of Dong Yuan and paid attention to the scholarly atmosphere. The technique of using brushes has absorbed the emphasis on "line" expression in landscape paintings of the Yuan Dynasty, especially pursuing the "blue" and "moistening" effects. The mountains, rocks and trees he painted are always rendered with many rounds of rubbing, and the ink color is extremely thick, and the thickness of the brush lines implies rich and subtle changes in light and shade. The contrast between the layers of ink is used to convey the "thickness" of the landscape. " and " Cangxiu ". With his pen, he achieves what Gong Xian said: "You want to look good but grow old". "Showy and old" is both accurate and concise, smooth and profound.
Qi Gong, 1944, "Residence in the Mountains", vertical scroll, silk scroll
In his later years, Mr. Qi's brushwork was bold and vigorous, vigorous and lively, which highlighted the "elegant and old" style of his brushwork. Mr. Qi Gong did not talk much about the scenery of hills and valleys or the wonders of nature in painting, but he talked about the word "brush and ink" with great enthusiasm. In landscape painting, the texturing method is most important for the grand purpose of the brush and ink, while the brush and ink are the most important for the coolness of the charm. "The atmosphere should be strong and vigorous, and the color should be green and beautiful", which is also Mr. Qi Gong's pursuit of the spirit of landscape painting.