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 Mr. Tang Fazhou, then the successor of Qi Baishi, the disciple of Qi Liangzhi, the president of the Chinese Qi Baishi Painting and Calligraphy Academy, the visiting professor of the Tsinghua Academy of Fine Arts, the official image spokesperson of NetEase Group, the specially invited teaching and research director, the contracted painter of Beijing Fine Art Academy and Rong Bao Zhai, the expert of Qi Baishi's calligraphy and painting big data identification, the president of Shanghai Qi Baishi Art Research Association, and the chief operating officer of Baishi Shantang Culture Media, Mr. Tang Fazhou, who heard Wang Wenfu say: I began to study the history and story behind these Qi Baishi seals in 2010. At that time, no one knew about Lu Zhiya at all, and now it has become inseparable that the two names Lu Zhiya and Qi Baishi are inseparable, which shows how much energy this research has taken me. He said frankly that it seems to be a small seal, but in him, it has conjured up such infinite fun, which is probably the fun of collecting
Collector Wang Wenfu
Collector Wang Wenfu has been collecting for more than 30 years, grandfather Wang Kangle, father Wang Kewen are famous painters in Shanghai, influenced by his family, he is not only a calligrapher and painter, in addition to the study of modern Chinese paintings, the most popular and proud of him is the collection of Qi Baishi's seals that lasted for 30 years, which not only made him from the initial "layman" who knew nothing about seals, but also became an "expert" in the collection of Qi Baishi's seals, and at the same time published a number of books about Qi Baishi's seals, and won the "most beautiful book in China" many times Title, it can be said that from "appreciation" to "research", Wang Wenfu has accumulated a wealth of experience and achievements.
Lu Zhiya
Collection "30 Years of Enduring Humiliation" He made Lu Zhiya known to the world again
The Qi Baishi seals he successively received lasted for a long period of thirty years: "Qi Baishi's seals are billed according to the word, I started to buy a word for a few yuan, and I bought it until I bought it for tens of thousands of yuan a word, and now the price is higher." He recalled that the 500 seals were a collection of 75 years for two generations. The earliest of the seals was printed in 1901, and it has been 116 years since then.
And these seals all belonged to the same owner back then: Lu Zhiya. This may be an unfamiliar name to the public, but in fact, Wang Wenfu said that there is such a saying in the seal carving world: "no land is not even", which means that in seal carving, Lu Zhiya has completed many exquisite works of Qi Baishi.
Lang Shaojun once said, "Qi Baishi has carved countless prints for people in his life, but he has carved a large number of works for one person, and I know that there are two, one is Zhu Qizhan and the other is Lu Zhiya." In his opinion, most of the Qi Baishi works collected by Lu Zhiya were made in the 30s and 40s, that is, the mature period and peak period of Qi Baishi seal carving art, and have high artistic value.
Cuishan Pavilion
However, Lu Zhiya's name never appeared in all of Qi Baishi's handwriting, and it was not that Qi Baishi deliberately avoided Lu Zhiya: "But all the people who had business dealings with him, he avoided mentioning it," Wang Wenfu revealed.
In fact, Zhu Qizhan collected more than 80 square meters of Qi Baishi's seal carving works in his lifetime, which is far less than one-fifth of Lu Zhiya's collection of Qi Baishi's works. Luo Suizu commented on Lu Zhiya's collection of Qi Baishi seal carvings, saying that this is "the best work of Qi Baishi's heyday, and its content is unique among all Baishi seal carvings, presenting an independent and complete appearance." (Preface to "Merry Stone Fetish-Lu Zhiya Biography")
So when it comes to his Qi Baishi's seal collection, Wang Wenfu said with a smile that he is "30 years of humiliation", nearly 30 years, his collection seems to have been obscure, today when it comes to Lu Zhiya, from the family, inheritance, history and the past with Qi Baishi, and even the background of each seal and the story behind the seal, Wang Wenfu has a lot of research, talking about it is also like a treasure, but as early as 2010, for Wang Wenfu, who already had hundreds of Qi Baishi seals at that time, He still doesn't know who Lu Zhiya is, and it is precisely because of his hard-working attitude and persistent research spirit that Lu Zhiya and Qi Baishi, the past of the printing altar that has been forgotten by history, has gradually become clear......
Jinshi Script
He is the largest collector of Qi Baishi seal carvings, and he is both a "stone edge" and a confidant
Lu Zhiya (1884-1964), formerly known as Changbin, the word Hengruo. The "gentleman's relationship" between him and Qi Baishi was originally laid by Xia Wuyi. Xia Wuyi was fourteen years older than Lu Zhiya, and Lu's father entrusted Lu Zhiya to Xia Wuyi and asked his son to study with him. Xia Wuyi is the Hanlin Academy in the Guangxu period. From Qi Baishi's first seal carved for Lu Zhiya to the first meeting between the two, twenty-one years have passed. In 1922, on the 50th birthday of Xia Wuyi, Lu Zhiya and Qi Baishi both went to Beijing to celebrate their birthdays, and the two met, which really opened the long relationship.
In October 1922, Lu Zhiya and his wife Gong Linying went to Beijing, met with Qi Baishi for the first time under the introduction of Xia Wuyi, and asked Qi Baishi to carve the seal of "Chang'an Lu's Yanhaitang Collection of Three Generations of Gold and Stone Writing". This is the first time that Lu Zhiya took the initiative to invite Qi Baishi to govern the seal, and the first time he invited Qi Baishi to engrave the seal, which shows the identity of "the three generations of Chang'an Lu's Yanhaitang", which shows the importance of the position of "Chang'an Lu's three generations" in Lu Zhiya's mind.
"The three generations of Chang'an Lu" refers to Lu Zhiya's great-grandfather Lu Xian, grandfather Lu Yigeng, and father Lu Xiangcheng. These three generations are good collectors of gold and stone, and Lu Zhiya said that he was born in a "family of gold and stone" and is quite complacent.
In the early days, Lu Zhiya asked Qi Baishi to engrave the printed text, suggesting that the collection of the three generations of Lu's Yanhaitang in Chang'an includes: gold and stone characters, scriptures, stone carving seals, jewelry, and Lu Zhiya Beitang's family heirloom calligraphy and paintings. It stands to reason that the collection of three generations should be "well-established", but due to historical and family reasons, there are not too many collections belonging to Lu Zhiya's personal collection. But even so, it was still important to him.
Jushi Building
From the analysis of the information currently available, Lu Zhiya's personal collection began in the early 20s of the 20th century, which was also the time when he was engaged to Qi Baishi. On the other hand, he began to develop a strong interest in art, and he never tired of it.
At the beginning of the 20th century, Lu Zhiya asked Qi Baishi to rule the seal, and the proposition of the collection involved in the collection was mainly based on the Lu family's three generations of family heirlooms, after 10 years, the situation has undergone a fundamental change, and the ancient mirror hall, Yanhai Hall, Jushi Building, Yanhai House, Cuishan Pavilion, Huaiyu Lu, Beitang and other eleven Lu Zhiya's own names have appeared one after another.
Lu Zhiya's collection of seal carving seals entered the peak period in 1935, according to statistics, the number of accumulated stones alone has 3,000 square meters. In the mid-30s of the 20th century, Qi Baishi's seal was only a fraction of the total number of seal carvings in Lu Zhiya's collection, and the number of other seal carvers in his collection such as Wu Changshuo, Wang Fuchang, Chen Julai and others was also quite large. By the middle of the 30th century, Lu Zhiya found himself in favor of Qi Baishi's seal carving works, and felt that "one hundred is not rich" (engraved in 1936), and began to Qi Baishi's seal carving works determined to pursue, which is as a collector after he went through a comprehensive "net", to focus on "fishing", that is, from the original "one hundred stone seals I have eight or nine" overall collection, to focus on one person "one is not less" (engraved in 1936) collection.
One is not less
He was the biggest buyer in the Qi Baishi seal carving market, and as his staunch and generous patron of the artist, he provided enough motivation and source for the professional artist Qi Baishi to work hard for, why did he have such a soft spot for Qi Baishi?
Qi Baishi's seal carving art, at first glance looks wild, like a giant knife cutting the sky, although brave and happy, but too strange and precipitous, it seems not calm and elegant enough. Therefore, at that time, a seal carver in Shanghai, who was the same age as Qi Baishi, complained about this and called it "the atmosphere of the mountains and wilderness". In fact, this is the outstanding point of Qi Baishi's seal carving.
When Qi Baishi was governing the seal, he was meticulous in his sword, urging people with knives and knives, and transporting his edge, so subtle that between life and death, he showed a kind of earth-shattering majestic momentum. If you think quietly, you can see that Qi Baishi's seal carving still hides a lot of charm, honest and tough, ethereal and united, steep and down-to-earth, complicated and neat, by no means ordinary people can reach.
In this way, Lu Zhiya's fall in love with Qi Baishi's seal carving art is also an inevitable result.
At the same time, Qi Baishi also regarded Lu Zhiya as a confidant, and the "interaction" between the two of them abounded in Qi Baishi's seal carving works collected by Lu Zhiya. As early as 1930, Qi Baishi claimed to have a "stone relationship" with Lu Zhiya, and the reason was about the stone carving and painting of a group of two parties: as early as the autumn of 1921, Qi Baishi carved "Xiaohe only shows sharp corners" on the two Qingtian stones...... Wait for 8 paintings, this group of stone carving seals, is Qi Bai stone seal carving art of the "unforgettable treasure" work, but one day, there are guests to visit, "see and wonder, ask to go", Lu Zhiya later saw this group of stone carving painting prints after the very favorite, successfully ask friends to transfer. In 1930, Lu Zhiya sent this group of stone carvings and paintings back to Qi Baishi's eyes, and Qi Baishi went again, "These two stones and eight pictures are made by Lao Ping Xinyou in Beijing, and there are guests who want to go." Unexpectedly, it is now Mr. Zhiya's income. Stone edge also. At the time of this recollection, Gengwu, Shiraishi".
Knock on the chess pieces and drop the lanterns
In the autumn of 1932, Qi Baishi engraved the "Half a Day of Leisure" and the "Autumn Water Cormorant Picture" for Lu Zhi, accompanied by the Southern Song Dynasty poet Zhinan and Qi Baishi's own poems. Qi Baishi's side is "seeking to carve on the remaining stone is infew, Mr. Hengruo is fond of Yu seal carving, and he can reach this person, the first person is also." Qi Baishi called Lu Zhiya "the first person who loves to carve seals, and can reach this".
On the other hand, Lu Zhiya knew that Qi Baishizhi's stone carving was rare, and he repeatedly and with great difficulty to engrave it. In 1934, Qi Baishi carved "landscape, lotus four-sided seal", the printing surface is "Xiangyuan", "Yiqing", Qi Baishi said himself in the side inscription: "Mr. Quality, Mr. Zunya, asked for the publication again and again. Shiraishi's old eyes are strong. Shi Zheng Jiaxu".
In 1934, Qi Baishi was 70 years old, although the artistic life was extremely vigorous, but after all, the years were not forgiving, Qi Baishi meant that he never wanted to carve stone carvings and paintings again. So far, Lu Zhiya obeyed Qi Baishi's wishes, so he collected a total of 18 Qi Baishi stone carving paintings, and "landscapes, lotus flowers on all sides" is the last stone carving painting of Qi Baishi in his collection.
The little lotus showed its sharp corners
In the creation of seal carving art, Qi Baishi is also very willing to listen to Lu Zhiya's opinions and exchange experiences in artistic practice; They also exchanged their collecting experiences with each other through the management of seals.
For example, in the seal of "frogs everywhere in the grass pond" engraved in 1935, Qi Baishi drew a frog to replace the word "frog". He was in high spirits and inscribed on the side
consulted Lu Zhiya: "Mr. Zhiya instructed Cao Xishi to publish sentences...... It is the time when the aftermath is coming, that is, the word "frog" instead of "frog" is published on the one hand, and I don't know how to be wild? ……”
In 1936, Lu Zhiya issued "one is not less" and "one hundred is not rich" to the seal, from the surface, the meaning of these two seals is opposite, but after careful study, there is a deep meaning, Qi Baishi explained in the "one is not less" side line: "Those who are addicted to gold and stone get strange stones, one is not less, and one hundred is not rich, this ancient has existed." Yaweng has more than 100 rich collections, and this sentence is very appropriate. Aylumi Baishi. This means that in a traditional collection, one great work of art is far better than a hundred mediocre works. Although this point of view was put forward by Lu Zhiya, Qi Baishi also agreed with it very much.
In this way, Lu Zhiya spent almost all his life, spent a lot of money and energy, and collected a total of more than 500 pieces of Qi Baishi's seal carving works, the quantity is so large, the quality is exquisite, breathtaking, this is not only the heaviest treasure of his life, but also destined to be a feat that has never been seen before or since.
I have to spend half a day free
Focus on the "cultural value behind the research" collection
With the increasing prosperity of the Chinese art market, the collection value of Qi Baishi's seal began to be recognized by everyone in the market. In November 2016, in China Guardian's 2016 Autumn Auction "Grand View - Night of Chinese Painting and Calligraphy Treasures: Modern and Modern", Qi Baishi's "Three Unique Combinations" of calligraphy, painting and seals were sold for 51.75 million RMB; In 2011, "Beijing Poly" auctioned nearly 5 million yuan of white stone six-sided seals and "Beijing Kuangshi" multi-party Qi Baishi seals, these seals are all old collections of Wang Wenfu, which is an example of academic leading the market.
However, Wang Wenfu believes that the true meaning of collecting is a process of finding true happiness, which is more than the so-called money-making theory: "Art allows you to discover a lot of things, you are very happy, and the return of the market is only that everyone recognizes your style, just like a designer designs clothes, and the clothes you design are recognized by everyone, which means that it is consistent with your taste." ”
There is a seal engraved in 1941 "A Haojie", perhaps in the eyes of ordinary people is very ordinary, it is such a seemingly ordinary seal, it is particularly flavorful to understand, Wang Wenfu found after research, this is a unique Qi Baishi dialect seal: "'A Haojie' is the Suzhou dialect, 'good or not' meaning, because Lu Zhiya's wife Gong Linying's mother is from Suzhou." ”
In the long-term research on Qi Baishi's seal, the character of Qi Baishi in Wang Wenfu's words has also become clear and vivid: "Everyone says that the stone of Qi Baishi's seal is very ordinary, but in fact, the stone provided by Lu Zhiya to Qi Baishi was at least first-class at that time, chicken blood, Tianhuang, hibiscus ...... Good stone is all there. But he carved the most seals for Lu Zhiya, and after becoming famous, he didn't want people to know that Lu Zhiya had these seals, so he said to others later, I carved Zhu Qizhan, and I carved the best for whoever I carved, so Mr. Luo Suizu had a point of view: You are right to reverse what Qi Baishi said. ”
The grass pond is full of frogs
So Wang Wenfu said with a smile, in fact, many of the things he (Qi Baishi) said were counterwords: "Qi Baishi said that my painting is just a wave, but in fact, he paints very slowly; He said that I don't make drafts when I engraving, so how can a master not make drafts? In fact, he typed the manuscript very seriously. Wang Wenfu found all the drafts of Qi Baishi that corresponded to the poems, and the pictures were almost "almost the same". These just prove that Qi Baishi had a draft before he portrayed Lu Zhiya, and he had a precise composition.
"You see people who have not succeeded in learning Qi Baishi so far, that's because many people's cultivation is not enough, and they accidentally fell off the cliff as soon as they walked to the edge of the cliff, Qi Baishi must have left a hand, and his character is also a hand, Qi Baishi is a very smart person, but in fact, he is a very ordinary person, he has many of his secrets, you need to open it like this, there are many problems that can be solved."
Qi Baishi once called himself "the first poem, the second seal, the third book, the fourth painting", in this regard, Wang Wenfu's research experience is that Qi Baishi is "the book from the print": "Qi Baishi has two wings, one wing is recognized as painting, the other wing is calligraphy and seal carving, he really achieved the same origin of calligraphy and painting, we have been talking about whether he first from' the book from the print or 'from the book', he should be the 'book from the print' rather than the general 'from the book', he was the first to carve, in his later years he carved no more, just write calligraphy, this is one of his major characteristics. ”
Sansui Flower
"I've been studying the contrast between Qi Baishi's seal composition and modern art recently," Wang Wenfu commented, in fact, the master of modern painting has this composition language, Qi Baishi has been using it decades ago: "He benefited from his painting, painting and seal complement each other, so many people can't understand why Qi Baishi's seal likes to give up the circle and take the square, because he has no round lines, all with square lines three-dimensional, which is very modern, more and more by the modern aesthetic point of view." ”
Not only that, Wang Wenfu is also very particular about the maintenance of this collection: in addition to carefully tasting and studying the meaning of each seal inscription and side paragraph; He himself researched how to make rubbings clear; How to match the ratio of ink clay to the printed seal; Even if it is a wooden box with seals, he does not hesitate to choose precious wood, silk substrate, and discuss with craftsmen to polish repeatedly, the box is not only one-piece, even the details are full of his wisdom and painstaking efforts.
In the nineties of the last century, the Shanghai People's Fine Arts Publishing House once published a series of Wang Wenfu's Beitang Collection Qi Seals under the name of "Jushi Building", "Baishi Relic Zhu - Jushi Lou Tibetan Seal", before that, this collection had never been published.
A good one
Later, this batch of prints was included in the "Complete Works of Qi Baishi" published by Hunan Fine Arts. More than 20 years later, the Shanghai People's Fine Arts Publishing House published a book for Wang Wenfu's collection, "Graphite Karma - Beitang Collection of Qi Baishi Seal Carving Original Seal Collection", plus "Zhu Zhu Baibai - Beitang Old Collection of Qi Baishi Seal Collection" published by Shanghai Painting and Calligraphy Publishing House in the same year, these are the most intuitive materials for studying Qi Baishi seal carving techniques. The other book, "Qi Baishi's Four Unique Ten Directions", won the 2016 American Print Awards Excellence Award, the 2015 Hong Kong Print Awards - Best Book Award/Hardcover Book Champion Award and the Best Creative Printing Award Merit Award for its unique creative printing, and also won the title of "China's Most Beautiful Book" in 2015.
Qi Baishi's paintings and his stone carvings
Graphite karma book shadow
Book shadow of "Qi Baishi's Four Uniques and Ten Directions".
Qi Baishi carved magpie plum blossoms and painted magpie plum blossom drawings for Lu Zhiya stone
Wang Wenfu said, "I began to study the history and story behind these Qi Baishi seals in 2010, and no one knew Lu Zhiya at that time, but now the two names of Lu Zhiya and Qi Baishi are inseparable, which shows how much energy I spent on this research." He confessed.
It seems to be a small seal, but in his place, it has conjured up such infinite fun, which is probably the fun of collecting. Wang Wenfu has a lot to do in his plans: he plans to hold an exhibition for the old Beitang collection, and continue to produce beautiful publications, collecting printed characters and dictionaries...... "focusing on the cultural value behind the collection", which in his view is a way to "have an explanation" of history. (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)