Completely Free of Any Traces of Chiseling—A Dialogue with Qi Baishi: Collection Exhibition of the Beijing Academy of Painting

Release time:

2023/03/01

01. Exhibition news

Exhibition Time

September 28, 2020 – December 28, 2020

Exhibition Venue

The Third Exhibition Hall of Zhenshang Pavilion, the Eight Great Mountains Man Memorial Museum

Organizing Unit

Eight Great Mountains Man Memorial Hall

Beijing Academy of Painting

Policy Exhibit people

Wu Hongliang Zhou Xiaojian

Curatorial Committee

Chief Planner

Wu Hongliang Zhou Xiaojian

Policy Draw

Zheng Zhiwei Lü Xiaole Xianghai Wan Jianhuai Hu Linghao Lü Xiang Wu Lian

Execution Planning

Xue Liang Chen Wei

Exhibition Coordination

Chen Gangli Hu Bian, Zhong Liwen, Peng Congping, Yuan Fang

Exhibition Coordination

Chen Qian Chen Bin Zhang Yuangui Zhan Fayue Zhu Lin

Public education

Peng Congping, Gao Hui

Media promotion

Chen Wei

02. Preface

　　The exhibition “A Dialogue Across Time Between Bada Shanren and Qi Baishi,” conceived by the Bada Shanren Memorial Museum, has finally come to fruition after numerous discussions. It is indeed a cause for great joy and celebration that Qi Baishi’s works—from the Beijing Academy of Painting—have now traveled all the way to Jiangxi to make this exhibition possible! Although the intention to collaborate on this exhibition was reached several years ago, the curatorial framework has been in a continuous process of refinement and adjustment. We don’t want the exhibition to be merely a straightforward juxtaposition of works; rather, we hope that through this thematic thread, we can unearth multi-dimensional—and even counterintuitive—insights. For instance, we might explore the differences in their respective identities and historical contexts, their distinctive stylistic approaches, and the recurring use of symbolism in their art. Of course, even more importantly, if we view Qi Baishi’s inheritance and innovative development of Bada Shanren’s serene, free-spirited aesthetic as a positive force driving the transformation of Chinese painting, then what profound significance do these copied works by the elder Baishi hold for our study of Bada Shanren’s art? And how might such research shed light on the bottlenecks currently facing the development of Chinese painting within today’s globalized context? I believe that many of these questions can find some valuable avenues for reflection right here in this exhibition.

　　Specifically speaking, Zhu Xuege’s exaggerated yet minimalist style represents a towering peak in the Chinese painting world—a pinnacle that has been deeply admired by countless literati painters over the past 300-odd years. Among them, Qi Baishi’s profound admiration for Zhu Xuege can truly be described as “unfading even in old age.” Whether it was his early works—“imitating the spirit of Shanren”—or his later innovations after his artistic transformation in his later years, epitomized by the phrase “daring to create independently,” the words “Baishi and Xuege share the same heart and courage” perfectly capture his unwavering adherence to the freehand spirit of Bada Shanren. The essence of “transmitting and emulating” lies in creativity itself: it not only emphasizes capturing the outward form but also striving to convey the inner spirit. Zhu Xuege’s paintings are characterized by exaggeration, simplicity, obscurity, and an air of solitary detachment and cool clarity; Qi Baishi’s paintings, on the other hand, are marked by simplicity, innocence, childlike charm, vibrant vitality, and warmth that enlivens the human world. Though their styles appear strikingly different, representing each artist’s highest personal achievement, Bada Shanren’s art is like ice held firmly in one’s hand, while Qi Baishi’s art is akin to the warm sunshine of a winter afternoon. In fact, both artists spiritually emphasize individuality, passionately pursue perfection in brushwork and ink, excel at creating powerful visual impact, and share the same fundamental attitude toward art. Indeed, one might even say that Qi Baishi’s artistic evolution stems from his faithful continuation of Bada Shanren’s spiritual essence, his heartfelt expression of personal emotions, and his sincere rendering of genuine feelings. It was precisely his early practice of imitating Bada Shanren—“learning without slavishly copying”—that enabled him to eventually transcend mere imitation and boldly “dare to create independently.” This, indeed, is the true meaning behind Qi Baishi’s statement, “Baishi and Xuege share the same heart and courage.”

　　We’ve seen quite a few of Xue Ge’s works depicting landscapes, flowers, birds, and animals, but his figure paintings are exceedingly rare. Even the minor figures depicted in his landscape paintings are merely sketched briefly, lacking distinct facial features. To our delight, not only does Qi Baishi’s diary record that he had seen an “image of the Buddha” by Bada, but also the sketchbooks and numerous completed works held by the Beijing Academy of Painting provide compelling evidence of his practice in copying Bada’s figure paintings—indeed, these figure paintings even became a central element in Qi Baishi’s own style of figure painting, making them truly exceptional.
In any case, the realization of this exhibition has been made possible thanks to years of meticulous research and curation conducted by the two institutions. We hope that through this thematic thread, we can uncover new and exciting research insights and thereby empower our next steps! Finally, we extend our warmest wishes for the complete success of “Seamlessly Natural—A Dialogue with Qi Baishi: The Beijing Painting Academy’s Collection Exhibition.”

03. Partial Works Showcase