Lot Essay
US$38,700-51,600
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Details
QI BAISHI (1863-1957)
Morning Glories
Scroll,mounted and framed, ink and colour on paper
99 x 34 cm. (39 x 13 3/8 in.)
Inscribed and signed, bearing one seal of the artist
Dated dinghai year (1947)
Note:
The morning glory was one of Qi's favoured flowers. Having turned customers away during the Sino-Japanese war, Qi resumed his profession as a painter and seal carver after the end of the war in 1947. During one of his visits to Mei Lanfang's residence, Qi saw one of the biggest morning glories he had ever seen, almost the 'size of a bowl'. Qi proceeded to paint his morning glories to the proportions he witnessed at Mei's residence, but he was rebuked by fellow painter Yao Hua, who criticized that he was not painting in keeping with nature but through the artist's exaggeration of the subject matter. To prove his point, Qi took Yao Hua to Mei's residence to show him that he was truly painting according to his observations, highlighting again Qi's commitment to xiesheng, painting according to nature. Although Qi painted many paintings of morning glories, Lot 651 is one that stands out in particular. The red flowers stand upright, complemented by buds fighting for prominence and ready to burst open, contrasted with dark leaves that have been delineated by a complex maze of veins, culminating in a work that is both simple in design but complex in detail and execution.
Morning Glories
Scroll,mounted and framed, ink and colour on paper
99 x 34 cm. (39 x 13 3/8 in.)
Inscribed and signed, bearing one seal of the artist
Dated dinghai year (1947)
Note:
The morning glory was one of Qi's favoured flowers. Having turned customers away during the Sino-Japanese war, Qi resumed his profession as a painter and seal carver after the end of the war in 1947. During one of his visits to Mei Lanfang's residence, Qi saw one of the biggest morning glories he had ever seen, almost the 'size of a bowl'. Qi proceeded to paint his morning glories to the proportions he witnessed at Mei's residence, but he was rebuked by fellow painter Yao Hua, who criticized that he was not painting in keeping with nature but through the artist's exaggeration of the subject matter. To prove his point, Qi took Yao Hua to Mei's residence to show him that he was truly painting according to his observations, highlighting again Qi's commitment to xiesheng, painting according to nature. Although Qi painted many paintings of morning glories, Lot 651 is one that stands out in particular. The red flowers stand upright, complemented by buds fighting for prominence and ready to burst open, contrasted with dark leaves that have been delineated by a complex maze of veins, culminating in a work that is both simple in design but complex in detail and execution.
Brought to you by
Ben Kong
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