Jieyang Luoshan Fortune Teller _ Who is Jieyang Luoshan Fortune Teller?

Qi Baishi (65438+65438 in 0864, 10 65438-0957+65438 in September 2006) was born in Xiangtan, Changsha, Hunan (now Xiangtan, Hunan).

Formerly known as Chunzhi, Wei Qing was named Lanting. Later, it was renamed Huang, and the word was born. Named Baishi, Baishishan Weng, Laoping, Hongcuo, the owner of the mountain pavilion, the old man who sent Pingtang, and the rich man of 300 lithographs.

He is a master of modern painting in China and a world cultural celebrity. He worked as a carpenter in his early years, then made a living by selling paintings, and settled in Beijing after he was 57. He is good at painting flowers and birds, insects and fish, landscapes and figures. His pen and ink are vigorous and moist, with rich and bright colors, concise and vivid shapes and simple artistic conception. Fish, shrimp, worms and crabs are full of fun.

Qi Baishi is a seal script writer, who adopted the method of inscriptions in Qin and Han Dynasties. His calligraphy saved Gu Zhuo's interest, and seal script became his own. He was also good at writing poems. He used to be honorary professor of Central Academy of Fine Arts and chairman of China Artists Association. Representative works include Frog Rang Ten Miles Away from the Mountain Spring and Ink Shrimp. He is the author of "Bai Shi Shi Hua" and "Bai Shi Old Man's Self-report".

A detailed biography

1864 65438+ 10/0/(the 22nd day of the winter month in the year of Guihai), Qi Baishi was born in Xingziwu Xingdou Hall, Baishipu, Xiangtan, Hunan. The name is Chunzhi, the word is clear, and the word Lanting. At the age of 27, he changed his name to Huang, was born frequently, and was nicknamed Baishishan, and sent to the garden.

From 65438 to 0870, he studied under his grandfather Zhou Yuruo and often painted with calligraphy books and account paper.

1878, Teacher Zhou Zhimei studied wood carving. In addition to carpentry, I studied flowers and birds and figure painting with Canjieyuan as my teacher.

1888, he took Xiao Peng, a folk artist, as his teacher and painted his portrait.

1889 studied poetry and prose with Hu Qinyuan and Chen Shaofan as teachers. With the help of Hu Qinyuan, I left the life of a carpenter, specializing in painting, making portraits and supporting my family.

1894 married seven people, including Wang Zhongyan, and was elected as the president of Longshan Poetry Society. Later, he and Song Li 'an and others formed the "Luoshan Poetry Society", where they sang poems, drew pictures and carved inscriptions together.

From 65438 to 0899, he studied poetry with Wang Kaiyun, a famous scholar in Xiangtan. In the same year, the first set of printed spectrum "Send to the Garden for Printing" was published and printed by Ding Jing and Huang Yi. Rules are precise and may be confused.

/kloc-in 0/900, he lived in the lower Meigong Temple of Lotus Peak, called himself "Bai Mei Bookstore", and built a small house in the courtyard called "Borrowing Mountain KTV". Dedicated to painting and poetry.

1902, at the invitation of Xia Wuyi, went to Xi 'an to teach painting. I met Fan Fan in Ann and enjoyed Fan's collection of famous paintings and calligraphy by Badashan Renhe. That year, his flower-and-bird painting style changed and he embarked on the road of freehand brushwork.

1903, I went to Beijing from Ann to meet Zeng and Li Ruiquan. During this period, I intend to recommend Qi Baishi as an imperial sacrifice to Empress Dowager Cixi, and I resolutely resign. Traveling from Beijing to Shanghai in summer and returning to Hunan is the first long-distance trip of "five trips out and five trips back".

/kloc-went to Jiangxi with Wang Kaiyun in 0/904, visited Lushan and Nanchang, and published "Portrait of White Grass", with Wang Kaiyun as the preface.

1905, went to Guangxi and visited Guilin. Get to know Cai E and Huang Xing.

1906, after the Spring Festival, he passed through Wuzhou and went to Qinzhou via Guangzhou. Guo Baosheng left his paintings. Appreciate the original works of Xu Wei, Ba Da and Jin Nong collected by Guo. He paints hard and often writes for Guo. In autumn, I returned to Xiangtan and bought an old house and dozens of acres of paddy fields with the salary of teaching painting.

1907, at the turn of spring and summer, I went to Qinzhou, Zhaoqing and Duan Xi. In winter, go back to Xiangtan.

1908, went to Guangzhou in the spring. That year, I only went back to Xiangtan for a few days and spent the rest of my time in Guangzhou.

1909, spent the Spring Festival in Guangzhou, and then went to Qinzhou. I went to Shanghai in early summer and made a living by selling paintings. Visit Suzhou between summer and autumn. Go to Nanjing to visit Li Meian and govern India for him. 65438+ 10 returned to Xiangtan, ending the long-distance travel life of "five trips and five trips". Later, he built Jipingtang in his hometown and began his life in the mountains for eight years, concentrating on poetry and painting. The flower-and-bird paintings by Badashanren and Shi Tao are relatively concise, but the grass-worm sketching takes too much time and is sometimes freehand. Calligraphy is a golden farmer with its essence.

19 17, go to Beijing to avoid bandits. Just in time for "zhang xun restoration", I hurried to take refuge in Tianjin. As soon as the situation is settled, I will go back to Beijing and Hang Runge to sell paintings at the Nanzhipu of Liulichang. During this period, I had close contacts with my old friends Fan Fanshan, Xia Wuyi and Guo Baosheng. Understand Chen Shiceng, Mang Fu Yao, Chen Banding, etc. Among them, the communication with Chen Shiceng had a great influence on Qi Baishi's later years. That winter, I left Beijing and returned to Hunan, where I lived for a year.

19 19, married Hu Baozhu and settled in Beijing.

1923, Chen Shiceng died in Nanjing, and wrote many poems in memory of his friends. 1925, spring, seriously ill, I don't know for seven days and seven nights. After lying on his deathbed for more than a month, he stopped painting and engraving. Mei Lanfang formally studied painting with a teacher.

1926, mother and father died one after another. Stop painting and carve it twice.

1927 At the invitation of Lin Fengmian, he taught at Beijing Art Institute.

1928, Baishi Poetry Grass and Borrowing Mountain Poetry Grass were published (manuscript).

1933, Baishi Poetry and Grass Publishing (eight volumes typesetting).

1936, investigation in Sichuan. See Huang in Sichuan.

1937, after listening to Yi Shu's fortune-telling theory, he used the method of hiding the sky and crossing the sea. I am 77 years old. In July of that year, Beiping fell, and I was sad and angry, so I easily didn't see guests.

1940, in the first month of the lunar calendar, his wife Chen Junchun died and wrote the article "Sacrifice to Mrs. Chen". In order to resist the harassment of Japanese aggressors and traitors, he wanted to paint, posted a confession that "painting doesn't sell officials" and refused to see guests.

1944 1 month, Hu Baozhu died in the second room. In June, Beiping Art College was refused coal rationing.

1946, after the Anti-Japanese War, Longge was hung in Liulichang, and the painting was restored. June 5438+10, went to Nanjing and Shanghai to hold an art exhibition. More than 200 paintings were sold, and I brought back bundles of "legal tender", just like waste paper, but I couldn't buy 10 bags of flour.

1949 65438+ 10, Beiping was liberated. Attend a banquet hosted by Premier Zhou Enlai. Carve stone for Mao Zedong and seal both sides. Honorary professor of Central Academy of Fine Arts.

1950 was hired as a librarian of the Central Museum of Literature and History. In April, I had dinner with Mao Zedong accompanied by Zhu De. On June+10, 5438, the 82-year-old eagle and seal script couplets were presented to Mao Zedong. Participate in the "Charity Exhibition of Painting and Calligraphy to Resist US Aggression and Aid Korea" in Beijing. Painting "Dove of Peace" 195 1 for People's Daily in winter. In February, more than 10 paintings participated in the "Painting and Calligraphy Exhibition to Resist US Aggression and Aid Korea" in Shenyang.

In 1952, it took three days to create Zhang Er's huge white flowers and doves for the Asia-Pacific Peace Conference in Beijing. In the same year, he created many works such as Victory in Peace and Long Live Peace.

1953 65438+1On October 7th, more than 200 people from Beijing cultural and art circles attended the "Celebration of Qi Baishi's 90th Birthday", and the Ministry of Culture awarded Qi Baishi the title of outstanding people's artist. Zhou Enlai attended the celebration banquet in the evening. Served as the chairman of Beijing Chinese Painting Research Association 10 month, and was elected as the chairman of the first Council of China Artists Association.

1954 On April 28th, China Artists Association held the "Qi Baishi Painting Exhibition" in the Palace Museum in August, and was elected as a deputy to the National People's Congress. /kloc-attended the first national people's congress in September, 0/5.

1In June, 955, he collaborated with Chen Banding, He Xiangning and other 14 painters to create a huge Ode to Peace for the World Peace Conference.

1956 On April 27th, the World Peace Council announced that it had awarded Qi Baishi the International Peace Prize. On September 27th, 1, the award ceremony was held in Beijing. Premier Zhou Enlai personally attended the ceremony to congratulate him.

1May 1957 15, honorary president of Beijing China Painting Academy. May-June, making the last work "Peony". /kloc-died in Beijing hospital in September of 0/6. On the morning of September 22nd, Jiaxing Temple held a public sacrifice. Premier Zhou Enlai and other central leaders attended the public sacrifice.

Strong local flavor, simple peasant consciousness, naive and romantic childlike innocence and poetic aftertaste are the inner life of Qi Baishi's art, while warm and lively colors, strong contrast of ink color, simple and naive modeling and brushwork, extreme integration of work and writing, fair and novel composition, as his unique artistic language and visual form, are relatively the outer life of Qi Baishi's art.

Realistic emotion needs a proper form, which strengthens the expression of emotion. Both of them need each other, grow together and depend on each other, which together constitute Qi Baishi's artistic life, that is, the overall style of Qi Baishi's art.

Social assessment

Picasso: Qi Baishi is really a great painter in China! What a great painter in China! Qi Baishi painted fish in ink, but without coloring, people saw the long river and the swimming fish.

Lang: After Wu Changshuo, Qi Baishi pushed China's traditional calligraphy and painting to a new height and injected new life blood. Qi Baishi is an all-rounder who endows his works with simple and fresh peasant feelings and gives new vitality and modernity to the form of literati painting. As a tireless pursuer, Qi Baishi's creative spirit in a hundred years' struggle is exemplary.

Yu: The earth has endowed Qi Baishi with the highest artistic achievement. Qi Baishi's character is closely related to "natural taste", simple as a farmer and naive as a child. Qi Baishi is a combination of Huxiang culture and Kyoto culture. Qi Baishi has a deep relationship with Huxiang culture.

Wang Zhong: Qi Baishi's success in art tells us that truth is simple and the true meaning of art is ordinary and simple. Postmodernists complicate the problem, either with ulterior motives or other ulterior secrets. As long as we have persistent aesthetic ideals and beliefs rooted in people's healthy humanity, and a strong will to constantly follow the laws of art, this is the most valuable inspiration that Qi Baishi left us for China artists in the 2 1 century.

Painting theory:

1. essentialism

After Qi Baishi settled in Beijing, his mind was the ideological track of "flowers bloom in his hometown at this time". It is impossible for Qi Baishi to drive the vegetation in his hometown across the Yellow River to Beijing, but the vegetation in his hometown came to Beijing with Qi Baishi as a kind of natural information, and it was conveyed as an artistic information to achieve Qi Baishi's psychological balance. Qi Baishi carved many idle seals with nostalgia, such as "My home is at the foot of Heng Yue Mountain" and "The moonlight shines on my home mountain", which is the first theme of Qi Baishi's self-expression.

Qi Baishi wrote many homesick poems, such as: "Going up to homesickness, drinking fragrant flowers is even more heartbroken. I sent a message to fly to the south and the geese, and my heart followed you to the Tang Dynasty. " Another example is "full of human flavor, dreaming of the Star Pool every night" and "It is the time when plum blossoms bloom, whether there are flowers in front of the old eaves". These poems are the heartfelt words of Qi Baishi when he was "sleepless at night" and "worried on his pillow". Reform and change of heart, change of heart and change of heart, homesickness is accompanied by childlike innocence, and childlike innocence always misses homesickness

2. Modeling theory:

Every plastic artist has his own aesthetic standards. When Qi Baishi painted morning glory, the leaves were all viewed from the front, the flowers were viewed from the side, and the buds were as straight as red candles. This is the unity of local consistency and overall momentum, which is the characteristic of modeling.

The rich peony flowers, the soaring interest of palm trees, the mud toy style of tumblers, the roundness of cattle and its back, the long and narrow shape of shrimp and its side, the eyes and bearing structure of owls are all related to the shape of objects and the way artists feel.

Qi Baishi's ability to describe fine grass insects is due to the fact that folk craftsmen show off their skills. The appearance of those thick brush branches and leaves in the same frame embodies the beauty of contrast, which is determined by the complexity of Qi Baishi's dual personality as a farmer and scholar.

3. Constitutionalism

Shanghai-style artists have made a breakthrough by strengthening color expression and comparing black with other colors. On the basis of Qi Baishi's Shanghai School, he boldly introduced the aesthetic characteristics of folk art to make the color tone more pure. Qi Baishi kept the feature that Chinese painting is dominated by ink and wash, and established the backbone of images. However, he often used bright and saturated colors on flowers, fruits, birds and insects, and combined literati freehand flower-and-bird paintings with folk clay toys to form a new artistic complex.

The ink leaves, red flowers and green feathers in Qi Baishi's work "Lotus Pond Kingfisher", the burnt ink leaves and deep red flowers in "Lotus Pond Yuanyang", the synthetic color feathers of black, yellow and green, and the ink leaves, yellow gourd and red ladybug in "Good Job" are all typical colors of Qi Baishi. It belongs to both form and content, because it is a refinement of the color of the pastoral scenery itself and a warm expression of homesickness.

When Qi Baishi painted shrimps, he not only skillfully showed the structure and texture of shrimps with ink color and pen marks, but also described shrimps whiskers and long-arm pliers with stone-like brushstrokes, which made the structure of pure ink color rich in meaning and wonderful skills.

4. Thinking theory:

Appreciating Qi Baishi's paintings of shrimp, mountains, vegetation, chickens, ducks, fish and insects will be treated as people with life and emotion. The two chicks in Qi Baishi's Daily Talk are two children who quarrel today and make up tomorrow. The mouse in the work "Claim" is a child who likes to weigh himself in life! It was Qi Baishi's early practical joke to tie the frog's leg with grass and watch it cry and struggle.

Qi Baishi's thinking mode of painting is the same as that of poetry, which is similar to Qi Baishi's giving the pear flowers in the spring rain to others as tears in his poems, and "If the pear flowers are affectionate, should I remember to plant trees with them?" Poetry is the same way of thinking. It is not only personification, but also a personification with emotion, and it is also the spiritual sustenance of Qi Baishi.

Especially in chickens, frogs, tadpoles, sparrows, mice and other small animals, Qi Baishi's childlike innocence, his nostalgia for children's life, his innocence and cuteness are the most obvious. In this kind of works, we can see that the folk art atmosphere maintained by Qi Baishi from the root is not only anthropomorphic, but also full of artistic humor. Qi Baishi realized the mystery.

References:

Baidu encyclopedia qi Baishi