Muddy without Axes and Chisel Marks - Dialogue with Qi Baishi: Exhibition of Collected Works by Beijing Academy of Painting

Release time:

2023/03/01

01. Spreadtrum

exhibition time

September 28, 2020----December 28, 2020

Exhibition location

The Third Exhibition Hall of Zhenshang Building, Bada Shanren Memorial Hall

organizer

Bada Shanren Memorial Hall

Beijing Academy of Fine Arts

Curator _

Wu Hongliang Zhou Xiaojian

Curatorial Committee

General plan

Wu Hongliang Zhou Xiaojian

planning

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

Executive Planning

Xue Liang Chen Wei

Exhibition Coordinator

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

Chen Wei

02. Preface

　　The Bada Shanren and Qi Baishi's dialogue exhibition across time and space is the idea of the Bada Shanren Memorial Hall. After several discussions, Qi Baishi's work has finally come to Jiangxi from the Beijing Academy of Fine Arts. Congratulations! Although the cooperation intention of this exhibition has been reached a few years ago, the finalization of the curatorial logic has been in the running-in stage. We do not want the exhibition to be just a simple reference and comparison of works, but hope to dig out multi-dimensional or even reversed ideas through this clue. Thinking. For example, the differences in their identities and historical backgrounds, the eccentricity of the painting techniques, the repeated use of metaphors, and so on. Of course, more importantly, if we think that Qi Baishi’s inheritance and creation of Xue’s cool and freehand brushwork spirit can be incorporated into the positive force for reforming Chinese painting, then how positive are these Lingou works of the old man Baishi for the study of Bada’s art? meaning? And what enlightenment does such research have on the bottleneck of Chinese painting development under the logic of globalization today? For these many questions, I think we can find some thinking paths from this exhibition.

　　Specifically speaking, Zhu Xue's exaggerated and simple painting style is the highest peak in the Chinese painting circle. In the more than 300 years after his death, many literati painters sought after him, and Qi Baishi's admiration can be described as "the most old man". unfailing". Whether it is the "imitation of Shanrenyi" in his early paintings, or the "dare to create independently" after the reform in his declining years, "Bai Shixue is as brave as he is" is a true portrayal of his pursuit of Bada Shanren's freehand brushwork spirit. The essence of "transferring and imitating" is creative, not only emphasizing the imitation of its shape, but also its spirit. Xuege's paintings are exaggerated, simple, obscure, independent and sober; Qi Baishi's paintings are simple, innocent, childlike, vigorous and warm the world. The styles that represent their highest personal achievements seem to be quite different. The art of Bada Shanren is like ice in the hand, and Qi Baishi's art is like the warm sun on a winter afternoon. In fact, they all emphasize individuality in spirit, are obsessed with perfection in brush and ink, are good at expressing strong visual impact, and have the same attitude towards art in their bones. It can even be said that Qi Baishi's artistic refinement lies in the continuation of the eight spirits, the expression of self-feeling and the expression of sincere feelings. It was the "learn without similarity" of imitating the Eighth National University in his early years that enabled him to "dare to create independently", which is also the true meaning of Qi Baishi's saying "Bai Shixue has the same liver and gall".

　　We have seen many of Xuege's landscape, flower and bird works, but there are very few figure paintings, and the point-and-shoot figures in landscape paintings are only simple outlines, without facial features. Surprisingly, Qi Baishi not only recorded in his diary that he had seen the medium-sized "painting Buddha" of the Bada, but also provided strong evidence that he was studying the figure paintings of the Bada in the sketches and many works in the collection of the Beijing Academy of Fine Arts. The highlight of Qi Baishi's figure painting form is extraordinary.
In any case, the promotion of this exhibition is due to the combing research of the two institutions for many years. We hope to use this clue to dig out more new highlights of research and empower the next work! Finally, I wish "No Ax Marks·A Dialogue with Qi Baishi—Exhibition of Works from the Collection of Beijing Academy of Fine Arts" a complete success.

03. Display of some works