QI BAISHI (1863-1957)
QI BAISHI (1863-1957)

Spring Scenery

QI BAISHI (1863-1957)
Spring Scenery
Hanging scroll, ink and colour on paper
Inscribed and signed, with two seals of the artist
Dedicated to Leng’an (Hu Peiheng, 1892-1965)
Frontispiece by Hu Tuo:
Scroll, mounted and framed, ink on paper
19 x 82.5 cm. (7 ½ x 32 ½ in.)
Signed, with two seals of the artist
Dated spring, gengwu year (1990)
Lot 753, 28 May 2010, Fine Chinese Modern Paintings, Christie’s Hong Kong.
Masterpiece of Painting by Qi Baishi, People’s Fine Arts Publishing House, Beijing, 1990, p.59.
The Collected Works of Qi Baishi Vol. III, Hunan Fine Arts Publishing House, 1996, pl.54.
Qi Baishi was an admirer of Xu Wei, Bada Shanren and Shitao. He wrote, “As for Qingteng (Xu Wei), Xuege (Bada Shanren), Dadizhi (Shitao), people may just dismiss their work, or even see it as insignificant. I stand just outside their doors, pining for their works; even if I am hungry, I feel joy in the expectation of seeing their masterpieces.” One can observe his adoration towards the three painters despite the fact that their works had not yet received wider acceptance by the populace. Qi’s landscape painting emulates that of Shitao, through simple strokes and by using the perception of depth to emphasise the import and to eclipse the trivial. Qi aims to recreate scenes that lie between likeness and unlikeness, harkening back to a poem of Shitao:
Like Dong Yuan, like Mi Fu,
between likeness and unlikeness,
Painters are like autumn mountains after rain,
cleansing the mountains and giving them new life.
From present painters to old masters,
who innovates and who impersonates?
Weave through paintings and through time,
and let the strength of ones brush provide the answer.
152.4 x 70 cm. (60 x 27 ½ in.)

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