There was Qi Baishi in the world, and the remaining ink still exists in the world.
If you ask Yu Mo where to ask, Baishi Mountain Hall is less white!
Baishi Shantang is a wholly-owned subsidiary of Qi Baishi Painting and Calligraphy Institute in China: it is currently the painting and calligraphy institute with the largest collection of Qi Baishi's works, and is fully responsible for the establishment and development of Qi Baishi cultural and creative brands, Qi Baishi fashion and other brands, and is committed to the content mining, system combing, industry promotion, business innovation, value reproduction and other assets such as Qi Baishi calligraphy and painting, art, seal carving, appraisal and auction, etc., which is an important part of building a product innovation platform based on Qi Baishi culture and art.
Hello Tibetan friends, today we have invited the then descendant of Qi Baishi, a disciple of Qi Liangzhi, the president of the Chinese Qi Baishi Academy of Painting and Calligraphy, a visiting professor of the Tsinghua Academy of Fine Arts, the official image spokesperson of NetEase Group, a specially invited teaching and research director, a contracted painter of Beijing Academy of Fine Arts and Rong Bao Zhai, an expert in the identification of Qi Baishi's calligraphy and painting, the president of Shanghai Qi Baishi Art Research Association, and the chief operating officer of Baishi Shantang Culture Media-Mr. Tang Fazhou once heard his aunt: Qi Baishi's female disciple - Yang Xiuzhen said: Mr. Baishi once taught us to paint plum blossoms, at first, I drew a long stamens on each flower. After seeing it, the gentleman said to me, "I won't say anything about other people's paintings like this." But you're my student, so I can't help but say it. Drawing such a long stamens on each flower is too dull, and it will be vivid to highlight a long stamen in several flowers. "After listening to Mr.'s words, I immediately realized, because only on the basis of innovation on the basis of physical objects, art will be sublimated from creation, higher than creation, from nature, wonderful than nature, is the beauty of beauty, is the beauty of creation. Real flowers are beautiful, and the flowers created by painters are even more beautiful, and they are even more beautiful and cause us to think. From the real to the virtual, the imagination of the comparison is different, which varies from person to person, and can also be different from time to time. Therefore, the power of painting beauty is greatly beyond nature, and Mr. Shiraishi's words have inspired me greatly.
Following the aesthetic method taught to me by my husband and carefully observing the plum blossoms painted by my predecessors, I gradually realized that plum blossoms are different from peonies and chrysanthemums. Plum blossoms are not only beautiful, the branches also have the beauty of loyalty, the ancients had the depiction of "sparse branches and horizontal slopes, clear and shallow, dark fragrance floating moon dusk", which makes people think of painting plum blossoms, flowers and branches should be equally important. Following Mr. Shiraishi's teachings, I drew a plum blossom with reference to Mr. Wu Changshuo's red plum picture. Strive for the branches to be bent and vigorous, and the ink color is calm and solemn. In the lush plum blossom bushes, only a few long stamens are drawn, the brush is simple, but the whole painting is more vivid and eye-catching, and against the background, the tall and hard branches also seem to have a sexual spirit. Mr. Shiraishi praised this plum blossom and wrote an inscription for it: "Cast iron branches, dansha petals, Xiuzhen's female brother learns Wu Lulu, looks like a man, and those who get it should be cherished." From the inscription, I realized that Mr. Wang's evaluation of the plum painting is also equal to flowers and branches. From this, I further realized the connotation of the charm and spirit of Qi school painting.
I didn't learn how to draw bees in the art school's courses. Because I was going to hold an art exhibition, I also drew a few bees on flowers, and at first I used the Gongbi method to trace the wings of the bees with a very fine brush. But on the whole, it looks like a fly, lying on the screen and stiffening. Mr. Shiraishi looked at it and said, "This is not good, these bees have no life." There are not many examples of the ancients succeeding in painting bees, and I have failed many times. In the process of moving from gongbi to freehand, I found that it is a good freehand painting method to use water to dot the bee's wings, take advantage of the wet water, dot a little ink at the root of the wings, and use the characteristics of rice paper to leak out the wings from deep to shallow. Following my husband's instructions, I learned how to draw bees, and the bees seemed to vibrate with their wings and were full of life. At my first art exhibition, Mr. Shiraishi inscribed for me a picture of bees on the "Rich Family" painted in this way, and people admired it very much.
Later, I worked with painters from Shanxi Province to create a huge picture of a hundred flowers blooming, and I repainted some bees. After looking at it, everyone said, "Looking at the bees painted by Mr. Yang, it seems that we hear the sound of bees buzzing, if we draw a few more, we will have to cover our ears before we can enter this exhibition hall!" After graduating from art school, I started to learn to paint at Mr. Shiraishi's house. In this way, I often have the opportunity to see the teacher's painting techniques with my own eyes. One day, when I went to my husband's house, I saw the teacher drawing a lantern moth with a fine brush. The little insect was so delicately drawn that it looked like a real flapping moth had landed on the paper. When I saw this masterpiece of ingenuity, I was so moved that I couldn't help but talk to Mr. Shiraishi about the troubles in his paintings: drawing grass insects on raw rice paper, and the brush would become a piece of water. The teacher brought me a long edge and said to me while drawing: "The water in the pen must be dry, first use light ink to draw the shape, then use thick ink to draw the shade, and finally color."
According to the teacher's drawing method, the grass insects I drew became more and more delicate, and this problem, which had been mysterious for several years, was finally solved under the guidance of my husband. Another time, I mentioned a dragonfly on the road, and when I entered the teacher's house, I happened to see a dragonfly that the teacher had just drawn, and the dragon's wings were drawn thin and transparent. (To be continued) collection of calligraphy and painting, just look for the "Baishi heirs" of Qi Baishi Painting and Calligraphy Institute, all rights reserved, on-site creation, Qi Baishi painting school, a hundred years of inheritance, one line, only do real calligraphy and painting, gather the heads of the family, on-site creation, can be customized according to the requirements of the collector, can take a group photo! Perennial sales of high-end paintings and calligraphy, looking for cooperation with high-end painting and calligraphy brokers, partners, regional leaders, mainly operating Qi Baishi's painting brush before his death, Qi Baishi's special rice paper for painting shrimp, Qi Baishi's graphite block, Qi Baishi's self-made pigment formula, Qi Baishi's painting brush grass insect secret method, Qi Baishi's little daughter Qi Liangzhi's father Qi Baishi's calligraphy and painting relics exhibition and Qi Baishi's little daughter Qi Liangzhi's self-collection of calligraphy and painting special auction, Qi Baishi's heirs, Tang Fazhou, President of the China Qi Baishi Painting and Calligraphy Institute, paid tribute to the 160th anniversary of Qi Baishi's birth and reproduced the microcosm of Qi Baishi's calligraphy and painting exhibition, as well as the operation of Qi Baishi, Qi Liangzhi, Qi Liangchi, Qi Liangmo, Qi Bingyi, Qi Jingshan, Qi Bingzheng, Qi Zhanyi, Qi Huijuan, Qi Shouyu, Qi Yuwen, Qi Lixia, Qi Yuanlai, Qi Folai, Qi Shuilian, Qi Yanjun, Li Keran, Li Kuchan, Lou Shibai, Guo Xiuyi, Wang Senran, Wang Xuetao, Lu Guangguang, Wang Shushi, Wang Tianchi, Wang Wennong, Yang Xiuzhen, Tang Fazhou and other Qi Baishi heirs worth more than 100,000 million of calligraphy, paintings, seals and authentic works can also accept NFT, digital collections, metaverse, cross-border brand alliance, cultural empowerment resource integration and other operations, welcome powerful network companies to bid. (Pictures and texts are selected from: Qi Baishi's Descendants Calligraphy and Painting Network) (The pictures in this article are selected from: Qi Baishi in the eyes of Qi Liangzhi, Qi Baishi Painting and Calligraphy Academy, Qi Baishi's Descendants Calligraphy and Painting Network)
Note: The above pictures and texts are excerpted from the lecture "Shaobai Gongzi Fun Talks about Qi Baishi" Speaker: Tang Fazhou
Jia Chennian [Year of the Dragon] compiled in East China Shanghai Qi Baishi Painting and Calligraphy Institute (Shanghai Pudong General Institute)