How to appreciate Qi Baishi's paintings

Grapes can't be filled, but loofah can be packed in an empty place.

-Appreciation of Qi Baishi's paintings _ Shi Huanhuan appreciates Qi Baishi's paintings, and viewers often have the impression that Qi Baishi's paintings are so profound and so popular, with both the elegance of traditional literati paintings and the simple taste from the people, which truly satisfies both refined and popular tastes. No matter how different the cultural level or hobbies of the appreciator are, you can always find * * * in his paintings, which is the thoughts and feelings of the working people throughout his works. Qi Baishi's works are full of simple sentiment and optimistic spirit. Through the capture of life, he can sublimate vulgarity into elegance, especially the embellishment of paintings, which makes his paintings have an extraordinary sense of depth and richness.

Mellow folk consciousness

Qi Baishi was born in a peasant family. /kloc-When he was 0/2 years old, he studied carpentry and became a famous sculptor in his hometown. During this period, he also studied painting hard. By the age of 27, his artistic genius was valued by local literati, helping him learn from his teacher, so he had contacts with some local literati and had the opportunity to get in touch with ancient and modern landscape masterpieces. Historically, landscape painters' attitudes towards landscapes can be roughly divided into two categories: one category thinks that all landscapes in the world are created by literati and cannot be appreciated by ordinary people, and landscape painters must clean up fireworks. The more elegant and detached their works are, the higher their categories are; Another school thinks that although the landscape is created by creation, no human can appreciate it. Only when it is considerable, tourable and livable can it be considered a good landscape. The latter is closer to human feelings; However, they think that the mountains and rivers that are considerable, tourable and livable are not necessarily places where ordinary people are considerable, accessible and livable.

Qi Baishi has extensive contacts with literati in his life, but he still maintains the simple quality of working people, changing the barrier that literati can only draw Mei Lan and Zhu Ju, and can draw daily life scenes: "The garden is full of vegetables around the door" and "every family in Tian She knows the fragrance of vegetables". The most interesting thing is this:

Delete vegetation and play with empty flowers, but laugh all your life.

It is difficult to fill the shelves with new grapes, so loofah will be placed on the empty space.

These seemingly ordinary things, in his hands, seem to turn stone into gold and turn decay into magic. His works show a high degree of unity between folk style and national tradition, and his paintings are always filled with a secular and commercial cheerful mood, which reveals his love and trust in his work and life.

Deep homesickness

19 17, Qi Baishi left his hometown and went to Beijing alone to avoid the chaos of soldiers and bandits in his hometown. Later, due to the rebellion in zhang xun restoration, Guo Baosheng took refuge in Tianjin Concession for several days. After returning to Beijing, Qi Baishi made a living by selling paintings and seal cutting. Like many literati, Qi Baishi couldn't help but feel homesick when he first drifted north, and wrote "Yanjing Fruitful Garden": "There are still residual flowers at home, and there are more than four corners of pears, oranges and grapes. Andrew had a whip in his hand and the family crossed the Yellow River. " His paintings of chickens and gourds are engraved with "what I saw when I dreamed of returning to my hometown last night", which is an infinite yearning for my hometown. I am homesick, I miss my relatives at home, and I am worried. The brush in my hand has become his main tool to vent my feelings. The next year, when he painted pomegranate, he wrote:

A few words, shallow and affectionate, full of poetry.

Qi Baishi described some past events through inscriptions and postscript in the unique way of literati, and extended his feelings outside the painting. In his later years, this homesickness became more prominent. Qi Baishi expressed his nostalgia and deeper feelings for his hometown and relatives through calligraphy and painting inscriptions. As an "ordinary family", Qi Baishi always remembers or praises his semi-labor and semi-literature life in his hometown in middle age. Such as the title "Bamboo Academy Go Map":

Close the bamboo room and eliminate the sun and the moon.

Shannon is better than him, but he can play chess and shit.

I miss my life of being able to play chess and carry dung. It's hard for a scholar to say "picking up dung", but Qi Baishi, a great painter who was born as a folk craftsman, is full of life interest.

When Qi Baishi was 60 years old, he still recalled his childhood with childlike innocence.

Children's play often cuts bamboo, and the road behind the five sides of the Tang Dynasty is high and low.

Now sixty years old, in a trance yesterday. (Title "Drawing Bamboo")

At the age of 92, I drew a picture of herding cattle, and I still remember the poem "Grandma listens to the clock and doesn't lean on the door" when I was young:

Grandma Wen Ling began to rejoice in her heart and once herded cattle.

Children and grandchildren still plough the spring rain, and the plows and hoes are always full of sweat.

The tools used in childhood have become an excellent theme for painters to entrust their homesickness.

Among many works about fruits and vegetables, Chinese cabbage and winter bamboo shoots are his favorites. "The beauty of cabbage has no place in the north, and the beauty of mushroom field is only in the south". So, when he painted "Chinese cabbage and winter bamboo shoots", he wrote:

Zeng Gongyun: Boiled radish and cabbage in chicken and duck soup is far better than 24 flavors of Manchu-Han banquet. I said Wen still has money. If you don't fry the winter bamboo shoots with cabbage and borrow his taste, the Manchu-Chinese banquet is really not as good as it is.

What's more, he wrote an inscription in "Chinese Cabbage and Mushroom": "The fungus in the south is far better than mushrooms, but it's a pity that you can't go home." Qi Baishi loves painting fruits and vegetables, but with these words, the meaning of fruits and vegetables has gone beyond the content and form of painting itself, showing a deep homesickness.