Life and achievements:
Qi Baishi (1864- 1957), a native of Xiangtan, Hunan, was a modern painter, calligrapher, seal engraver and poet in China. Formerly known as Qi Chunzhi, posthumous title, Huang, Zi, Lanting, Lingsheng, alias Baishishan, and posthumous title, such as Qi Da, Mu Jushi, Hongdousheng, descendants of the former residence of the Tang Dynasty, borrowed from the owner of Yinshan Pavilion, sent to the garden, Pingweng and Pingtang owners, and 300 lithography rich people. He came from a poor peasant family and worked as a sculptor in his youth. Later, he studied painting with Hu Qinyuan (1847- 19 14) and became a professional painter, gradually becoming famous in Xiangtan. 19 17 was forced to leave his hometown due to the war, settled in Beijing to make a living by painting and selling, and got to know Chen Shiceng (1876- 1923). Under his influence, he began to reform and became famous in the 1920s. After 1927, he served as a professor at Beijing Art Institute and Jinghua Art Institute; 1950 honorary professor of central academy of fine arts; 1953 the Ministry of culture awarded him the title of "outstanding artist of China people" and was elected as the chairman of China Artists Association; 1955 was awarded the honorary title of academician of communication by the German Academy of Art; 1956, awarded the International Peace Prize by the World Peace Council; 1963 was selected as one of the top ten cultural celebrities in the world. Qi Baishi's calligraphy benefited from (678-747), He (1799- 1873), Jin Nong (1687- 1763) and Zheng Banqiao (1693-/). Seal cutting is straightforward, brave in innovation, emphasizing contrast, boldly leaving red and white, which has opened the distance with the people of the time and the ancients; Poetry is written in an informal way, and naturally wins by directly expressing one's feelings, with little sour taste of old literati. Observing the world from a painter's perspective and blending the tone of ancient poetry with folk voices are true, simple and interesting. Qi Baishi's freehand flower-and-bird paintings are deeply influenced by Xu Wei, Badashanren, Shi Tao, Jin Nong, Zhao, Wu Changshuo and other ancestors, and have been innovated and developed. He has a wide range of materials and is more close to the people than traditional literati paintings. Fruits, vegetables, flowers, birds, fish, insects and even abacus, hoes and rakes are used for painting. Pay attention to flowers, birds, fish and insects. Freehand brushwork landscape, surprisingly new composition, seemingly plain but majestic, simple and pure, showing the spirituality of landscape between similarity and difference; Meticulous brushwork, moving in silence, is extremely vivid, incorporating the brushwork and rhythm of Italian painting. Meticulous brushwork is not rigid and rigid, and it not only pays attention to modeling, but also pays attention to the display of charm, movement, interest and vitality, surpassing ancient and modern painters; Freehand brushwork figures are full of fun, kindness, simplicity, wisdom and humor, forming a unique childlike, simple, concise and peaceful personal style. Qi Baishi is a rare all-round master in China's modern painting, who combines fine poetry, fine brushwork and freehand brushwork with flowers, birds and landscapes. He integrated the simplicity of farmers into literati paintings, with a wide range of subjects, novel content and full of life interest and strength. Among many modern painters in China, Qi Baishi is the only one who shows his personal characteristics, including extraordinary artistic talent and skills, simple peasant temperament, stubborn, delicate, sensitive, wise, humorous and naive personality, difficult and tortuous life course, and feelings and attitudes towards nature, biology and life through the art form of Chinese painting. He borrowed the pen and ink of literati painting, combined with his unique woodcarving style, opened a new generation of wind with rich life flavor and civilian aesthetic taste, integrated the excellent traditions of literati painting and folk art, and naturally combined the cultivation of literati with the simplicity of farmers, giving consideration to elegance and vulgarity, thus creating the last glory of Chinese painting in the 20th century and standing on the artistic peak that future generations could not surpass.
Artistic status:
After Wu Changshuo, Qi Baishi was the first master to inject new life blood into Chinese painting. Qi Baishi's overall artistic achievement surpassed that of Wu Changshuo, and even fell short of Badashanren, the master of ancient literati painting, and became the most influential traditional master of modern Chinese painting. Qi Baishi's painting art is a link between the preceding and the following, which has won unanimous praise from Lin Fengmian, Xu Beihong and others who hold different artistic views and represent different artistic schools in modern times, and has also had a certain influence on their art. Xu Beihong's freehand brushwork of flowers and birds, Lin Fengmian's ink landscape, ink flowers and birds and other works with strong Chinese painting are all more or less similar to Qi's paintings. A large number of modern and successful China painters, such as Li Keran, Li Kuchan, Wu Zuoren, Chen Zizhuang (Shi Hu, 19 13- 1976) and Zhang Peng (19 18-2009), have been directly or indirectly influenced. Pan Tianshou, another master of Chinese painting, used bright solid colors in his freehand flower-and-bird paintings, which should be inspired by Qi Baishi, who advocated "learning from me" (referring to learning Qi Baishi's artistic thoughts and innovative ideas). It can be seen that Qi Baishi's great influence on modern Chinese painting is unparalleled and still enduring. Qi Baishi is also a world-famous artist. His works are all over the world and are widely loved by people all over the world. His masterpieces and representative works can be compared with those of modern western painters, and they are also praised and admired by Pablo Picasso (188 1- 1973).
Technical features:
Brushwork: Qi Baishi's experience as a woodcarving carpenter in his youth had a profound influence on his life's art. The brushwork, interest and charm used in woodcarving were used for reference in his paintings, calligraphy and seal cutting, which also became a remarkable feature different from other painters in China. After the reform at the end of the year, the old man Baishi used a pen like a knife, sketched rocks, flowers and birds, animals and aquatic animals with the interest and rhythm of chopping wood with a wide knife, sketched fine grass insects, described slender pine needles and trickling water waves with a fine pen, and carved them with a fine knife. Woodcarving also exercised his superhuman arm strength, wrist strength and finger flexibility, and also had a far-reaching impact on the formation of his unique brushwork of combining rigidity and softness in painting and calligraphy. Qi Baishi used a pen when he was mature, and his fingers were flexible. He affirmed with a pen and was connected with verve. His pen is steady, slow and full of strength, which penetrates the back of the paper. Wu Changshuo's pen is vigorous and powerful, winning by imposing manner, while Baishi's pen is both rigid and soft, coarse and fine, winning by the charm of wood carving, with more connotation and form.
Ink color: Qi Baishi likes to use fresh ink that has just been developed, which is pure and transparent. Adding water to adjust the shade is also to keep the ink pure. Sometimes dipped in thick ink first, then dipped in clear water for adjustment, and sometimes dipped in clear water first, then dipped in thick ink for adjustment. There are changes in one stroke, wet and dry, and the strength of using ink and water is properly grasped, so it is used on raw rice paper. Qi Baishi was deeply influenced by Zhao He's folk paintings. He likes to use solid colors, and only uses two or three colors at most. He seldom uses ink to adjust colors. He pursues purity and vividness in color setting, and rarely sees gray and dirty. Qi Baishi's paintings are often bright in heavy ink and clear and transparent in light color, reaching the height that color does not hinder ink, color and ink help each other, and color and ink complement each other. Wu Changshuo's ink and wash colors are heavy and clear, and Qi Baishi's paper is pure and full of charm.
Modeling: Qi Baishi pays special attention to modeling and is one of the most powerful masters of Chinese painting. He is the most diligent in meticulous brushwork, not only accurate in modeling, but also lifelike and extremely vivid. In his later years, he boldly abandoned some detailed descriptions, in which he was freehand. His freehand brushwork advocates "between likeness and dissimilarity" and "not painting without seeing", emphasizing careful observation and perception of all things in nature. His freehand brushwork modeling is a combination of observation and sentiment in life, the tradition of literati painting and the enthusiasm and exaggeration of folk art. The freehand brushwork modeling of landscape mostly comes from the visual memory of home scenery and long-distance travel. It is expressed by some techniques of combining freehand brushwork with flowers and birds and painting spectrum of mustard garden, but it is not limited to the method of formation. It is far higher than most traditional literati landscape paintings copying the ancients in life! The modeling of freehand flower-and-bird painting includes long-term observation and sketch of objects, such as eagle, mouse, shrimp and crab, chicken, morning glory, cherry and so on. , as well as the exaggeration, enthusiasm and deformation of folk shapes, such as cock, big birthday peach and red peony, as well as some excellent works of great freehand brushwork masters in Ming and Qing dynasties, including some unknown painters and even the shapes in students' excellent works, as long as he thinks there are. Some of its freehand figure paintings originated from early folk figure paintings, such as ladies, immortals, Guanyin and Buddha statues. Some of them are observations and feelings from life, simple and simple, humorous and full of civilian life interest and philosophy.
Composition: Qi Baishi is a master of composition, and his paintings are mainly traditional long scroll paintings. The composition is most influenced by Badashanren, Jin Nong and Wu Changshuo, but it is not a stylized composition that is ignorant. It not only emphasizes the momentum, but also pays attention to the interest of life, the arrangement and combination of objects and images, the contrast of density and the blank space, so as to do it without hesitation. He paid great attention to the position, font size, characters and seals of inscriptions, and inherited and carried forward the excellent tradition of literati painting.
Disadvantages and regrets:
Because Qi Baishi is a professional painter, selling paintings to support his family, the reform in the declining years absorbed the successful experience popularized in Wu Changshuo. Although many paintings are more interesting than Wu Changshuo's, in order to cater to the appreciation interest of businessmen and citizens, it is at the expense of the elegant style of literati paintings. Although Qi painting is fascinating with life interest, its style is lower than that of Badashan people, and it is not as good as that of Pan Tianshou, who is later than him. In addition, in order to sell paintings, Qi Baishi painted a large number of entertainment commodity paintings with repeated themes, such as: big red peony, big birthday peach, "crown and crown" and other secular auspicious blessing commodity paintings. Of the 60,000 paintings created by Qi Baishi in his life, the vast majority are commercial paintings for entertainment, and the real masterpieces are less than 10%.
Painting review:
First, Qi Baishi wrote Seven Children of Longshan 1894 (Figure 30). This painting was painted by Baishi at the age of 32. It is an extremely rare masterpiece and masterpiece of early landscape painting. This paper describes the scene of Baishi's gathering with friends of his hometown poetry club in Longshan. The pen and ink are meticulous and carefully painted, which belongs to meticulous artistic creation; The composition is also very clever, from which we can see the influence of Mustard Garden, but it comes from the observation and perception of life, and it is not completely copied mechanically. Although the pen is not sophisticated and mature, the charm of woodcarving has been undoubtedly revealed.
Fig. 30 1894 Qi Baishi's Seven Pictures of Longshan.
Photo 3 1 Qi Baishi 1880- 1890 Plum Duck, one of the four screens of flowers and birds.
Followed by plum duck, one of the four screens of flowers and birds (Figure 3 1). This painting is a flower-and-bird painting of Baishi's seclusion. We can see the influence of eight schools in Yangzhou, especially Jin Nong, but their pen power is weak. It belongs to immature early works.
The third is "Strange Stone Map" (Figure 32). This painting was made by Baishi when he came to Beijing for the second time at the age of 55 to avoid bandits in his hometown. As can be seen from the inscription, Yang Qian 'an, Zhang Zhengyang, Chen Shiceng, Guo Baosheng and other friends were present to watch the painting. Although this painting is strange, it is relatively simple and rough, with some entertainment elements, and the pen and ink are more formal. Similar works, Baishi also painted many paintings at that time, and they were all unsuccessful.
The fourth picture is the map of wisteria and dragonfly (Figure 33). This painting was painted by Qi Rushan, a friend of Baishi, around 19 19. Although Baishi's painting career was neglected at this time, it was vivid and unusual, and the painting method was very different from the stylized and freehand wisteria. In this painting, wisteria stems from sketching, and its pen, ink and color are all good, especially the color is rich, bright, transparent and not messy, which is very harmonious and has a faint sense of western painting, showing Baishi's unique understanding of pen, ink and color. It is a rare boutique. Baishi painted many wisteria in his life, but it became a stylized painting method in the 1930s and 1940s, and none of them was so beautiful and moving.
The fifth is the Lotus and Mandarin Duck Picture (Figure 34). Baishi's theme of lotus and mandarin duck symbolizes faithful love and is widely favored by buyers. Similar to the composition of a work. From the 1920s to 1950s, he painted for more than 30 years, and he has a large amount of paintings. From the analysis of inscriptions and painting style, this painting should be a work in the early 1920s. Although the scale is large, the lotus leaf's pen is a bit stiff, which belongs to the general entertainment works of Baishi painting.
Fig. 32 Qi Baishi 19 17 "Strange Stone Map"
Fig. 33 The Ziteng Dragonfly Map written by Qi Baishi in his early years in Beijing.
The sixth is "looking at the mountains to find sentences" (Figure 35). This painting, created in the 1920s, depicts the scenery of Baishi's familiar hometown. The composition is full and ethereal, although there is no danger of thousands of rocks and valleys, there are also many peaks, which echo far and near and are quite spectacular. The rich mangroves set off the intoxicating autumn mountains, and the cottages were hidden in the lush jungle. An old man and a child were intoxicated by the beautiful scenery, looking for beautiful sentences of poetry. This laid-back old man is exactly the reminiscence and nostalgia of Baishi's pastoral life during his seclusion. He is deeply homesick. The brushwork is both rigid and flexible, which seems clumsy and skillful. There is no doubt that the ethereal spirit reveals the unique wood carving taste of Baishi, which is the masterpiece of Baishi's freehand landscape painting.
Fig. 34 Lotus mandarin ducks of Qi Baishi1early 1920s.
Fig. 35 Looking at the Mountain for Sentences written by Qi Baishi1920s.
Fig. 36 The 16th borrowing mountain map made by Xiao Gushan and Qi Baishi 1927.
The seventh picture is Xiao Gu Shan (Figure 36). The 1920s was the exploration period of the reform of Baishi's declining years. This landscape sketch is one of the pages of the mountain-borrowing album painted by Baishi 1927, which depicts Xiaogushan, one of the hometown scenery to which Baishi is attached. The modeling is extremely simple and concise, the pen and ink are bold and unconstrained, and the ink and color blend vividly! The simple but timeless artistic conception is the beauty of this painting. The other pages of this album have the same style as this painting.
Fig. 37 Qi Baishi's Playing with Cats with Lights and Rats 193 1.
The eighth kind is "playing cat with lights and mice" (Figure 37). Stealing oil by rats is one of Baishi's favorite themes in his later years, but there are not many paintings with the theme of "playing with cats with lights and mice". This picture depicts a fat and cunning mouse crawling on a high lampholder and stealing lamp oil. A late white cat lay on the ground staring at the oil-stealing mouse. Baishi's discerning eyes are always observing interesting scenes in life. They can directly express these scenes in his paintings, which makes his paintings have unexpected life interest and arouses the audience's understanding and feelings. Although the composition is simple, it creates a tense atmosphere. The moment when the mouse looked at the ground with some provocative vigilance and helpless white cat was keenly captured by the old man and vividly displayed. This painting of Baishi brings life interest and humor to the extreme, which is a rare masterpiece and masterpiece.
Fig. 38 Qi Baishi 1932 Landscape Painting Yunshan after Rain.
Nine is one of the landscape painting Clouds after Rain 12 screens (Figure 38). This painting is one of the 12 screen landscape paintings painted by Sichuan warlord Wang Zanxu when Baishi was 70 years old. Wang Zanxu was willing to pay a high price and knew how to paint. He was one of the big buyers of Qi paintings in the 1930s. This painting draws lessons from the mountains and rivers of Midian to show the Yunshan of Baishi's hometown after the rain, and combines the observation and feeling of life. Pen and ink are mainly wet, dry and wet, and thick and light. It is calm and sophisticated, just right, without failure and imperfection, and brings the characteristics of raw rice paper to the extreme. Not only is this painting wonderful, but other paintings of 1 1 are also painted with great care and precision. The whole 12 picture is the best of Baishishan ink painting, representing the highest level of Baishishan ink painting. Similar to this 12 landscape, Baishi has painted some, but they are not as good as this 12 painting, which shows the great difference between fine works made with heart and entertainment works!
Ten is "Double Eagle Turquoise Map" (Figure 39). Baishi painted many single eagles, and this double eagle picture is extremely rare. This white stone painting refers to the "Double Eagle Map" by Badashan people, and incorporates personal pen and ink style and subjective feelings. The composition is magnificent and full of temperament, changing the simple and indifferent style of Badashan people. Two goshawks, one standing on the trunk of a pine tree and the other standing on a rock, have alert and sharp eyes; The beak is pointed and curved, covered with iron-gray feathers, and the toes and claws of the hook are vigorous and powerful, which seems to be able to cut through stones and carve gold. Feather pen is vigorous and decisive, and Mo Yun is full of changes. From the analysis of painting style and inscription, this painting should be made by Baishi in the most vigorous period of artistic creation in the 1930s. Eagle is one of the themes of Baishi's flower-and-bird paintings and is often given to important people. The paintings he 1946 gave to Chiang Kai-shek and 1950 gave to * * * were all about eagles.
The eleventh song is Let Flowers Bloom (Figure 40). This painting was painted by Baishi and Mrs. Qi Ming in the mid-1930s, when Baishi was full of creative energy. It shows the flowers in full bloom in spring, which are prosperous, rich, bright and colorful, full of vitality and fragrance of spring. The picture composition is full and magnificent. The painted plum, wisteria, magnolia, peony and morning glory all extend into the picture from the outside, and three sides of the four sides are almost occupied, giving the viewer the feeling that there are paintings outside the painting, trees outside the trees and flowers outside the flowers. Most of Baishi's works are characterized by simplicity and simplicity, but this picture is the opposite, which is prosperous, full and warm, quite rare and fresh. And the painting is very serious, it is difficult to find the failure and imperfection, and it is impossible for a non-master to reach this state. As early as the late 1920s, Mrs. Qi Ming asked Baishi for paintings. She was one of Baishi's big customers. This unusual painting method may come from Mrs. Qi Ming's wish. If the painter is familiar with the old man Baishi and is willing to pay a high price, he will make great efforts, carefully conceive and color ink until he is satisfied with himself and the Taoist. This kind of work is called "the work with heart" by Baishi, and it is a rare masterpiece and high-quality product that can best reflect its artistic level.
Fig. 39 Qi Baishi1930s "Double Eagle Turquoise Map".
Fig. 40 Qi Baishi1Beautiful Flowers and Beautiful Flowers in the mid-1930s
The twelfth statue is Guanyin Bodhisattva (Figure 4 1). Baishi's works about Guanyin are not too many. This "White Stone" depicts Guanyin with traditional folk beauty images. The oval face, arch eyebrows, phoenix eyes and cherry mouth are all secular traditional aesthetic orientations. Guanyin's face is slightly pale, which just highlights the comeliness, * * and light sense of his face, which can be seen from his reference to western paintings. The outline of Guanyin's clothing lines is vigorous and elegant, with a strong wood carving atmosphere, and it is the most beautiful Guanyin portrait painted for Baishi! Judging from the brushwork and painting style of the inscription, it is a work in the early 1940s, and it is a rare masterpiece in the Guanyin statue of Baishi.
Photo 4 1 Qi Baishi wrote Guanyin Bodhisattva in the early 1940s.
Thirteen is the "four-leaf fan five works" (Figure 42). This fan should have been painted by Mr. Zuo Guo, who knows how to appreciate calligraphy and painting. He asked the old man Baishi for a high price, and the old man made it himself. There are two rare styles on the fan, five meticulous grass insects with different expressions, drawing a clumsy taste and a strong sense of wood carving, moving silently. The outline of laurel leaves is steady, delicate and elastic, and the color setting also adopts freehand brushwork. The light and heavy shades change obviously and the contrast is strong, and the laurel leaves have a sense of texture and elegance in transparency. Guo Guo's pen is carved like a woodcarving knife, full of carving and clumsy taste; The modeling and brushwork of cicada and mole also have strong texture and sculpture; Moths are fluffy and transparent; The red dragonfly has a simple shape, and the outline of the wing net changes freely, with a slight trembling feeling.
Fourteen is "Ten Doors" (also known as "Ten Insects in Autumn Essays", and Figures 43, 44 and 45 are partial). This painting was painted by Baishi on 1945 for his good friend Xiong Shili (Mr zizhen). It is extremely rare to draw 10 fine grass worms in one painting. This painting should be one of the best works and masterpieces among the hand-made worms of Baishi discovered at present. Baishi painted this picture specially for the bear, which should be closely related to the name of Xiong Shili. The "Shili" comes from the praise of Buddha Sakyamuni in the Buddhist book "On Great Wisdom", which means that the Buddha is superior in wisdom, magical and magical. With 10 vivid grasshopper, it means that "Shili" has infinite magic, expressing Baishi's admiration for Xiong Shili. On the screen, the arrangement of grasshoppers is generally S-shaped, and some are equilateral triangles. The grasshoppers looked at each other as if chatting leisurely, full of anthropomorphic innocence and childlike interest. The depiction of grass insects is vivid and vivid, and it is ready to come out; Fine, steady and decisive pen, with carving flavor; The modeling is accurate and the description of nuances is slightly reduced; Clean and transparent ink, strong contrast, into freehand brushwork; Draw two lines of autumn grass with thick lines, which not only distinguishes terrestrial and flying insects, but also adds contrast and interest to the picture. Many people think that the old man Baishi is over 80 years old and his eyes are dim, so he can't draw fine grass insects. In fact, from 1890 to the end of 1940s, Baishi had been painting meticulous brushwork, but after the end of 1930s, he painted less by himself, and generally used ghostwriting for entertainment. If the guest is willing to pay a high price and is an expert, the old man will still write it himself. The unprinted Picture of Nine Workers and Insects (Figure 46) collected by Beijing Painting Academy, although accurate in shape, obviously bears the trace of western painting, and the arrangement of weeds and insects is messy, among which the red dragonfly is seriously smudged, which should be a sketch drawn by Wang Xuetao for the reference of the old man Baishi. In recent years, there are seven or eight "white stones" flying all over the art market, and a dozen, dozens or even hundreds of them are painted in one painting. No other original works have been found except this painting.
Fig. 42 Qi Baishi's Four-leaf Fan of Five Insects 194 1.
Fig. 43 Ten Doors written by Qi Baishi 1945.
Fig. 44 Ten Doors written by Qi Baishi 1945, partial 1.
Fig. 45 The Second Part of Ten Strings by Qi Baishi 1945.
Fig. 46 "Nine Workers and Insects" collected by Beijing Painting Academy, not printed.
The 15th place is "Shrimp Sagittarius" (Figure 47). Qi Baishi is most famous for painting shrimps. He works hard and draws the most in his life, with thousands of pictures. After decades of reform, Baishi painted shrimp, and finally completed the sublimation of Mo Miao. Whether in spirit or form, it originated from life and was higher than life. This painting was painted by Baishi for Zheng, the general of the Republic of China, in the heyday of 1948. It belongs to one of the mature works of white stone painting shrimp. The brushwork is calm and sure, and the brushwork is strong and old-fashioned. 12 Shrimp is painted in different shapes and lifelike, and the ink color changes naturally and richly, and the distance of shrimp is separated by shades. Sagittarius with thick lines looks casual, but it is vigorous and powerful. Similar composition, the old man Baishi painted many paintings, and this painting still belongs to one of the fine works.
Fig. 47 1948 Gu Chi shrimp by qi Baishi.
Sixteen is "frog sounds ten miles out of the mountain spring" (Figure 48). This painting is one of the important representative works of Baishi and also a recognized masterpiece. It was painted by the famous writer Lao She when Baishi was 9 1 year old, and the poem was designated by Lao She. After a few days of meditation and special artistic association, the proposition of the old man Baishi's painting "Frogs Ten Miles Away from a Mountain Spring" has been properly applied. There are no frogs in the picture, but little tadpoles gushing out with the trickle of the mountain spring, which makes the viewer smell like frogs in the distance. Moreover, it seems that this frog sound can't be "heard" immediately, but it will appear in this Shili mountain spring a few weeks later. The wonderful idea is really amazing. It is impossible without white stone. The artistic imagination of the old man is really amazing! In the picture, the wide brush rocks and fine brush swirls are in sharp contrast with the smart black tadpoles, adding to the formal beauty of the picture.
Fig. 48 Qi Baishi's Frog Rings Ten Miles Out of the Mountain Spring 195 1.
Identification point:
Qi Baishi's works have a large amount of existence in the world, and there are also many fakes. People have been forging them since the 1920s. To identify Baishi's works, it is necessary to have a comprehensive understanding and understanding of the changes in the style of Baishi's works in different periods, and it is best to understand the chronology of Baishi and establish a standard chronology of Baishi's works in different periods. On the basis of observing a large number of Baishi's works in the early, middle and late stages, this paper summarizes the different rules of using pen, ink and color, and especially recognizes that Baishi's brushwork with woodcarving flavor is closely related to his early career as a woodcarving carpenter, which is also an incomparable feature of any forger. To identify Qi paintings, we should grasp the principle of "one word, two paintings and three seals" and the characteristics of font changes in the pre-,middle-and late-stage of Baishi. For inscriptions without a specific year, it is best to roughly judge the proficiency of a specific year; Baishi's paintings are freehand, calmly and definitely written, and have the interest of carving wood with a big knife. He painted meticulous brushwork with grass worms, and the details were rhythmic, just like a knife carving wood carefully; Baishi is a master of seal cutting. He carved a lot in his life, and the printing in the early, middle and late stages was different. It is necessary to find out some rules by comparing with the original standard. In recent ten years, a large number of white stone works have appeared in the art auction market. After the baptism of the market, many people have basically mastered the law of Baishi freehand brushwork, and the identification of authenticity seems to be no longer a problem. However, Luo Baishi's distinction between meticulous brushwork and ghostwriting is still very vague, and even some museums and large auction companies have not made a strict distinction, forming an inertia. It is a difficult point to distinguish the handwriting of Baishi from ghost paintings. See the author's research monograph "Identification and Collection of Qi Baishi's Meticulous Paintings" for specific identification methods. In addition, Qi Baishi is a professional painter who sells paintings for a living. He drew many paintings with the same composition and theme on the basis of the same copy according to the needs of customers. Attention should be paid to distinguish these paintings from the high imitation of the same "mandarin duck pair"
Examples of fakes:
One is Qi Baishi's 1948 loquat dragonfly (Figure 49). This painting can be traced back to 1948, and the title is obviously different from Baishi's handwriting from structure to pen. Although the structure is strongly imitated by Baishi, it is very artificial, with only a few words, and the pen is thin and impetuous, far from Baishi's calm and vigorous pen. The brushwork of painting is also thin, the ink color is also lack of change, and dragonfly painting is even worse. Only Zhu on the side of "Zida" is true. This painting should be a typical example of Qi Ziru, the third son of Baishi, colluding with the concierge at 1948, using his fake painting to cover the real seal of Baishi instead of the original one, and deceiving Hunan folks who don't understand painting. Later, this painting was collected by the Hunan Provincial Museum, so it can be seen that the collected works that have been circulated should also be carefully analyzed.
Second, Qi Baishi's "Four Workers and Three Leaves" (Figure 50, Figure 5 1 is partial). Although the painting is meticulous and accurate, the overall feeling is frivolous. Writing with a pen is also obviously different from writing with Baishi's own hands. Although the sketch of scallop is exquisite and smooth, it is fast to write, lacking the clumsy taste of wood carving and the change of brush strokes. At first glance, the thick brushwork of the tree trunk and the inscription looks like the strength of an old man, but it is too rigid and too fast, which is slightly different from the soft brushwork of the Baishi Sect, especially the "hundred" character, which has the brushwork of Wang Xuetao in his early years (Figure 52 shows Wang Xuetao 1927 as "Loofah Weaver Girl"). The overall style of the inscription looks like that of the 1930s, but Wang Xuetao is a tall horse. In the 1920s, he studied freehand flower-and-bird painting under his tutelage. Baishi marveled at his imitation ability "like a white hand" (Figure 53, the color of "Yan Laihong" is a little dizzy)! This painting, from inscription to painting, should be ghostwritten by Wang Xuetao, who was completed in 1930s and is a typical ghostwriter in Wang Xuetao.
Third, there is no money in "Four Leaves of Five Workers and Insects" (Figure 54, Figure 55 is partial). This painting has no seal and was collected by Wang Tianchi, a student of Baishi. Although both workers and scallops were often painted by Baishi in the 1940s, their shapes are somewhat different from Baishi's handwriting (Figure 1 1). The joints of the grass worms are painted stiffly and deliberately, and the lines are carefully drawn. The painting method is the same as that of scallop workers and Cao Kejia around 1942 (Figure 56), so both workers and scallops painted it.
Fig. 49 Qi Baishi 1948 Loquat Dragonfly
Figure 50 Qi Baishi's Four Workers and Three Bayonets
Fig. 5 1 qi Baishi's trilobal diagram
Fig.52 The Loofah Weaver Girl written by Wang Xuetao at 1927.
Fig. 53 "Yan Laihong" written by Wang Xuetao 1926.
Figure 54 "Four Myrica rubra leaves of five workers".
Figure 55 "Four Myrica rubra Leaves of Five Workers" has no money.
Fig. 56 Qi Baishi's calligraphy is about four workers and five shellfish leaves 1942 (the shellfish leaves of workers and insects are suspected to be ghostwritten by Cao Kejia).