This article is from the January 2020 issue of Painting and Calligraphy World magazine.
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1] Chen Guohui. "Painting is not a dead thing": On Gao Qifeng's Painting Thought and Artistic Style[J].Painting and Calligraphy World, 2020, (1):23-28
"Painting is not a dead thing
On Gao Qifeng's painting thought and artistic style.
Text: Chen Guohui.
Associate Professor and Ph.D. of Guangzhou Academy of Fine Arts.
The era of the "Three Heroes of Lingnan" (also known as "two highs and one Chen", that is, Gao Jianfu, Gao Qifeng, and Chen Shuren) was in a period of unprecedented and drastic political and social changes in the late Qing Dynasty and the early Republic of China. Their words and deeds during the Xinhai Revolution were the embodiment of the Chinese intellectuals' "taking the world as their own responsibility". After the Xinhai Revolution, the "Three Heroes of Lingnan" also embarked on different paths, and the "Three Heroes of Lingnan" who followed Sun Yat-sen's revolution in the early years shifted from the political stage to the artistic stage. After the recovery of Guangdong, followed by the recovery of the whole country, Gao Jian's father retreated bravely, "never be an official"; Gao Qifeng is "Xiao Ran outside the object, do not ask about political affairs, benefit from painting", set up his own "Aesthetics Museum" to teach apprentices to self-sufficiency, and later built a building on Shatou Island in the Pearl River named "Tianfeng Building", which also has a transcendent appearance. For Gao Qifeng's dedication to art, there is also a special reason, when he hosted the "Truth Pictorial" in Shanghai, he married Yang Cuixing, a woman from Suzhou, and they got along quite harmoniously, but the next year somehow, the woman left a note and took her young daughter and never returned. Gao Qifeng suffered emotional trauma, and decided that he would no longer have the idea of getting married and setting up a family, and devoted himself to calligraphy and painting. It was also during this period that the Lingnan School of painting reached its peak. During this period, the paintings of the Gao brothers paid attention to realism, with bright colors and popular themes, which were not only easily accepted by the Chinese people, but also widely accepted and affirmed by foreign people. The purpose of this paper is to analyze Gao Qifeng, a representative figure of the Lingnan School of painting after the 20s of the 20th century, who "art should reflect the times" and "the combination of Chinese and Western", as well as his artistic style exploration of different themes, so as to present the charm of Gao's art.
1. Gao Qifeng's painting thoughts
1.Art should reflect the times
Around the 20s of the 20th century, Gao Qifeng pointed out in a lecture at Lingnan University that "painting is not a dead thing", and clearly expounded his idea that art should reflect the spirit of the times and fulfill its due duty to educate the people: painting should express the characteristics and experience of the spirit of the times. Gao Qifeng often admonishes students that learning to paint is not to entertain themselves, but to have rich emotions such as suffering, hunger and cold, food and clothing of the people of the world, and to establish the concept of self-achievement and self-interest. In addition to mastering anatomy, color, optics, naturalism and the source of the "six **s" of ancient Chinese painting, we should also study sociology and psychology clearly, understand all the needs of social phenomena, and paint with the standard of "truth, goodness and beauty" to beautify society, comfort life, and cultivate temperament. "The paintings of Tubi, Xing, and Fu are to feel the turbid society, comfort the boring life, and cultivate the soul of the lady, so that it can produce a noble and peaceful concept. Those who are decadent and cowardly have aspirations, those who despise the faith turn to light, those who are violent return to fraternity, and those who are noble become more and more pure. The purpose of our painting is to make sure that the machine of the times has a new direction, and that the future generations can understand the spirit, virtues, and cultural history of the era when they look at the works left behind today. ” 1]
Gao Qifeng's proposal is the artistic theme of life, which is also closely related to his progressive ideas and noble personality of patriotism and concern for the people. This kind of thinking of serving life with art and taking the affairs of the world as the artist's own responsibility is the consistent belief of the "Three Masters of Lingnan". The role of art education advocated by them is not to enable the people to maintain the old morality and the old era, but to awaken the enthusiasm of the people and guide the people to break through the prison of the old era and old consciousness.
Gao Qifeng, Peacock, 143cm, 80cm, Unknown date.
Gao Qifeng wrote "Rejuvenation Diagram of Qunli" in 1932: "The day of mourning the country is scruffy, and I cry bitterly who will help; Only self-improvement is endless, and kudzu can still protect its roots; Join forces to build a city and raise the soul of my gods' country. 2] In connection with the internal and external troubles faced by the Chinese nation after the "September 18" Incident in China in 1931 and the "January 28" Incident in 1932, the painter is sad and sometimes hopes to arouse the patriotic heart of the people to fight hard. Therefore, Gao Qifeng believes that painting is "a thing that can change with life", and advocates depicting the spirit and virtues of the times, "extracting the strengths of Chinese and Western paintings, making a subtle combination of each other, and participating in the natural beauty, the nature of all things and the spirit of oneself, and turning them into my current works". This intention is best reflected in his "Sea Eagle", "Autumn River White Horse" (1924), and "Lion", which Sun Yat-sen considered "a person who can represent the revolutionary spirit and have the beauty of the new era", and his painting style is elegant. Expressional works such as "White Egret" (1922), which means "the egret is noble and clean, and the green water is clear together", is also a good medicine for "the turbid society of the feeling of Gege". On the eve of the Xinhai Revolution, Gao Qifeng dared to sleep in a secret room full of bombs, and when he edited the "Truth Pictorial", he always carried a pistol on his body to guard against the enemy. When he devoted himself to the revolutionary cause and had the political ambition of saving the country and the people, he reflected in his earlier works that he painted lions, tigers, eagles, etc., symbolizing the awakening of China. For example, the self-title of the painting "Tiger": "Reckless and reckless, the world roars alone; Rising mountains and forests, a portrayal of heroes. "When the National Revolution was first successful, Gao Qifeng saw through the officialdom with the insight of an artist. As a painter with the mission of innovating Chinese painting and a strong personality, he chose not to enter the officialdom of fighting each other and competing for power and profit. Later, his disappointment with the current social situation made him and Gao Jianfu both use the seal of "scribbling the sorrow of the troubled world", and also made him interested in Zen Buddhism in addition to painting for self-sufficiency, painting Zen religious figures such as "Bodhidharma" and "Muyu Monk", and the idea of "saving the world" was transformed into a spiritual "compassion for the world" and "birth". In his later period, there were many works that pursued moral perfection, such as the picture "Jiaojie" painted by him, which was self-titled: "The moon hangs from the branches, and the plum blossoms are like snow." It is bright and clear, and the great thousand shines through. When he painted his self-titled "Frost Horse Color", he said: "The white horse is idle and not subject to ** contact." Anbu walked to Qiulin, shaking off without resentment. This reflects his comfortable state of mind and feelings to see through the hustle and bustle.
Gao Qifeng, Horse, 138cm, 95cm, Age unknown.
2.The idea of "eclectic Chinese and Western" painting
In their early years, the Gao brothers directly or indirectly studied under the Ju School, which emphasized realism and fun, and opened up the fresh and beautiful style of Lingnan painting, and later was able to broaden their horizons in Japan, and was personally influenced by Western and Japanese painting styles, and later put forward the artistic proposition of "integrating ancient and modern, eclectic Chinese and Western" in Chinese painting. Modern Chinese painters, represented by the Gao brothers, emphasized the acceptance of scientific factors from Eastern and Western painting methods in order to integrate and develop the tradition of Chinese painting. They do not despise the essence of ancient Chinese traditions, but they also draw on the strengths of other countries to make up for their own shortcomings, and their goal is to "compromise East and West for a new era of painting". In addition, in addition to learning from tradition and the West, Gao Qifeng also attaches great importance to learning from nature and insists on sketching. There are many inscriptions such as "Qifeng Sketch" and "Write as a Gift as You See", and his seal is also engraved with the inscription "Qifeng Sketch". In 1931, Ye Gong invited Gao Qifeng to visit Guilin together, and the two carried out a lot of sketching and photography activities, and Gao Qifeng's sketching was full of natural interest. After that, the two jointly published the "Column Collection", among which Gao Qifeng's "Pillar Forest Duxiu Peak" and "Flower Bridge Smoke and Rain" two paintings, especially praised by the world. He did not paint many landscape paintings, but his painting "Mountains and Waters" won the Excellence Award at the Belgian Centennial Independence International Exposition. Regarding the artistic proposition of "integrating the ancient and the modern, and eclectic Chinese and Western", Gao Qifeng once discussed in detail in his self-description of studying painting that his artistic reform was carefully explored and considered
In the past, I simply studied ancient Chinese paintings, and I was very attentive to copying the works of the Tang and Song dynasties, but later I felt that there were many beautiful points, but I was inclined to philosophy, and I was also prone to the disease of mystery. Moreover, learning is like sailing against the current, and I feel that if I don't gather the strengths of others, I can't enrich its progress. During the reign of Emperor Ming of the Han Dynasty, the Western Regions style of painting was imported, and the art was tempered by foreign trends, so the painting was very developed and flourished, which is also evident. Therefore, I study the sketching method of Western painting, geometry, time, distance and comparison, and use my own experience to retain the highest artistic components of ancient Chinese painting, such as brushwork, rhyme, ink, coloring, comparison, lyricism, philosophy, and poetry. [3]
Throughout Gao Qifeng's life's works, although the landscapes, flowers and birds, animals, and figures are all exquisite, the flowers, birds, and animals are the most and the most outstanding, and they are especially outstanding in sketching. The animals, flowers and birds he painted, their expressions and forms are real, natural, and full of vitality. And its background is even more appropriately dyed, each with its own fall. This is related to his advocacy of "the study of truth, goodness, and beauty". He believes that painting is an aesthetic science, and it is necessary to use "the beauty of painting is touching, and its power is the greatest", "painting is enough to revive the sense of beauty, and it is enough to educate". Compared with Gao Jianfu and Chen Shuren, Gao Qifeng's works have stronger elements of Japanese style painting and Western realism, and are less constrained by Julian flower and bird paintings. Although he is not as extensive and diverse as Gao Jianfu in terms of subject matter and content, in comparison, he seems to have more refined skills, more elegant tones, more harmonious styles, and more elegant charm. Although he died young at the age of 44, his artistic achievements were not below Gao Jianfu and Chen Shuren. It is different from Chen Shuren's pursuit of a simpler elegance and ethereal, poetic beauty. Gao Qifeng's art has some of the strengths of Gao Jianfu and Chen Shuren, but he also has his own strong and handsome painting style, and he has a more detailed digestion and absorption of Western paintings. His coloring not only has the rich layers, depth and changes of oil painting, but also has the bright effect of Western watercolor painting, and he is good at using rich and subtle color gradations to create images and spaces. He pays special attention to the rendering of the background to express the main object, and through the unity of the object and the background, it naturally reveals the charm and mood. He can creatively combine the water and powder method of the Ju school with the use of color and water in Western watercolor painting, and inject the "Erju" flower and bird painting technique into water and white powder (lead powder or clam powder), and develop it into the injection of color water and toner, so that the picture is more harmonious and pleasing to the eye. Moreover, he also popularized the development of this technique from the flowers, birds, grasses and insects painted by Julian and Ju Nest to birds of prey (such as eagles) and animals (such as lions, tigers, apes, etc.), changing the principle of Chinese painting with heavy brushwork and bone method, and obtaining colorful artistic effects.
Gao Qifeng, Egret Lotus, 41cm, 184cm, 1912
When the predecessors talked about Gao Qifeng's art world, it was said that "the pen is dexterous, the color is fresh, the zodiac is wonderful, and the rhyme is fun" [4] . Gao Qifeng is different from Chen Shuren in his preference for color, he pays attention to the unity of environmental rendering and painted scenes, and is especially good at using light brown tones to create simple, gorgeous, calm, rich and subtle artistic effects. He likes to use this as the background of his renderings, which makes the picture rich and harmonious, and the animals in his paintings are full of the rhythm of life, and he is good at rendering them in dark green or dark brown tones, which can also make people feel warm. Gao Qifeng's paintings are more bright, good at baking and dyeing the atmosphere on the familiar Xuan, using ink and pink to depict the shape and quality, with more Japanese style and Western painting realistic factors, and delicate craftsmanship is good at the sword father. Gao Qifeng is especially known for his style of both virility and handsomeness in "Two Highs and One Chen".
In Gao Qifeng's works, there are often renderings of moonlit nights, snow scenes, and various backgrounds. Although this is a traditional technique that has been continuously improved by painters from the Song Dynasty to the Qing Dynasty, in the color treatment of the whole work, he is unique, focusing on the integration and unity of the environment rendering and the painted scenery, as well as the use of layers of baking and dyeing techniques to show the changes of a specific time and space environment, and the use of light brown as the basis of color to create a calm and recent, simple and rich artistic effect.
Gao Qifeng's brush and ink techniques include not only the techniques of horses and Xia all the way to slash and split, but also the kind of beautiful, graceful, lively and vigorous charm that originates from Yun Nantian and "Erju". Looking at his brushwork, there are not only the pungent and spicy hegemony like the skin and the old cada, but also the delicate description like the spring willow and autumn cicada, which is not formal, but changes due to the content of the subject matter and the interest in the chest. Its painting of the rocky slope bank of the mountain, saga; Its painting of feathers, flowers and fruits, is clear and beautiful: all of them are deeply contained in the heavenly machine and the spirit is at the end, and there is no disadvantage of rigidity and stagnation. In the strong and bold and bold and unrestrained, there is a smooth and free rhyme, which is probably the uniqueness of Qifeng for Qifeng.
2. Peek from the perspective of the subject matter
Gao's artistic characteristics
1.Character painting creation
Gao Qifeng's paintings have very few figures, but they are extremely fine, which is very rare. The work "Bodhidharma" is a masterpiece, and the content of its expression is very appropriate to the self-titled Seven Uniques: "Sitting and forgetting the form and forgetting the wall, ten years of heart and empty mountains." The source of sex is clean and everything is clean, and all living beings are in the fingers. 2] It depicts the story of Patriarch Bodhidharma's nine years in Shaolin. The mountain is empty and quiet, between the cliff stones, withered vines, and autumn leaves, Bodhidharma sits on the cliff, the eyes are round and focused, the body is tightly wrapped and forgetful, and it is said to forget, it is empty, and it is clean. The pale ochre cliffs, the slightly sparse and coiled vines and leaves, and the white robe-wrapped Bodhidharma and the white moonlight circle behind him together constitute a very elegant and holy realm. The rocks in the lower part of the picture are cut out with a thick ink axe, which contrasts with the quiet, forgetful, and focused characters, and more prominently highlights the quiet atmosphere of the wandering on the other side of the characters' hearts. It is able to convey the joy of forgetting emptiness and forgetting purity in a strong and satisfying way. Gao Qifeng's later works sometimes reveal the intention of participating in Buddhism, such as his self-inscription in the figure painting "Wooden Fish Monk": "Sleeplessness is always there, and people have no rest." When the heart of the law is buckled, it disturbs the dust and emptiness. ”
2.Landscape painting creation
Although there are not many landscape paintings made by Gao Qifeng, they have a magnificent and chic bearing. "The Mountains Are High and the Waters Grow" is his masterpiece, which won an award at the exposition for the centenary of the founding of Belgium. The work uses a spicy brush, concise ink rubbing and water impact rendering into one, respectively showing the form and texture of the steep mountains and rocks and the coiled old trees, and the momentum is magnificent. Mr. Ye Gong's title Mr. Qifeng's "Mountains and Rivers" said: "Its mountains are bleak and saggy, its waters are vast and waves, and its people are upright and beautiful." Beautiful mountains and rivers, such as back and forth, no peace. Lao Tzu is soothing, grinding with a large brush, and being very different from people. Beautiful mountains and rivers. 5] At that time, Ye Gong felt that the mountains and rivers of the country were broken at that time, and reread the picture of Qifeng and landscape, and issued a thousand emotions and feelings. Gao Qifeng's "Cloud Mountain" and "Evening Bell of the Smoke Temple" seem to be casual landscape sketches, but their pattern and rhyme are also extremely beautiful. His landscape sketches from his travels in Guilin, such as "Duxiu Yanlan" and "Smoke and Rain on the Flower Bridge", are all produced with free and comfortable brushwork, and the relaxation and brightness of gouache painting are integrated into the traditional brushwork, which is full of interesting, peaceful and elegant artistic effects.
Gao Qifeng Mandarin Duck 285cm×82cm 1916
3.The art of flower and bird painting
Gao Qifeng is best at painting flowers, birds, and animals, and his early paintings often use eagles, tigers, lions and other giant birds and beasts as the theme, and express the heroic ambition and heroism of revolutionaries through symbolic images. His paintings of flowers and birds in different periods are either elegant and agile, majestic and handsome, or simple and free, reflecting his mood and artistic pursuit in different periods, and has its own style in Lingnan and the Chinese painting world.
(1) The theme of feathered animals
Gao Qifeng's paintings like to use eagles, lions, tigers, etc., as the subject matter, and these majestic objects are actually related to his expression of the feelings of the times and the sentimental emotions of the times, which can convey a strong and slightly sentimental heroic spirit. In this regard, representative works include "Howling Tiger", "Pine Eagle", "Angry Lion" and so on. "Howling Tiger" depicts the mighty momentum of the tiger standing on a high slope and looking back at the long roar, and the work was made for the relief of disaster victims in western Guangdong. In order to portray the word "angry", "Angry Lion" chooses a close-up shot, focusing on depicting the majestic posture of the lion known as the "King of Beasts" when he descends the mountain, especially the head and claws of the lion when he is angry, and the angry eyes, sharp and straight beard, sharp giant claws and fluffy mane are concentrated in the most prominent part of the picture, giving accurate and fine expression, with fine, even silk brushwork to express the mane of the draped, the texture is extremely real and natural. This neat and vigorous, authentic and artistically appealing brushwork style is rare in traditional feathered animal painting, and it is also a major feature of Lingnan School's feathered animal painting. Looking at this painting, one can strongly feel the mood and thoughts of the Chinese people who are desperately trying to fight, angry and shouting in the midst of internal and external troubles. Moreover, through the strong momentum of the angry lion's prostration, the strong conflict formed by the lower half of the rock, it is very clear and enthusiastic to praise the heroic spirit of the people after awakening. During his lifetime, Dr. Sun Yat-sen praised "The Angry Lion" and two other works as representing the revolutionary spirit. The painting was selected for the Sun Yat-sen Memorial Hall collection in 1926. In 1927, Gao Qifeng redrew the picture at the request of the door, and Ye Gongxuan inscribed Bayun: "The power shook the great thousand, and the roar came out of the Three Realms." I only worry about insects on my body, disturbing you freely. "Pine Eagle" does not focus on showing the ferocity and sharpness of the eagle, but shows the eagle standing on the pine as if it is looking for something and thinking. The painting method of pine trees is to write the main trunk and branches with a vigorous and vigorous brush, and then use the method of hitting water and powder to treat the texture, which is very realistic to show the uneven and convex scales of the bark and the old stem. This technique is also one of the common characteristics of the Lingnan School. The author inscribed on the picture: "The hero is still strong when he is old, looking down on the vast and thoughtful." "Take the symbolic meaning of the eagle and the old pine to express the spirit of the revolutionary, and the hero is old and strong. Commentators say that the Lingnan School of painting is good at using wild beasts as the theme, and this is generally the case.
The ape is a unique subject in Gao Qifeng's feathered animal paintings. He often likes to place apes in a certain time and space environment, and apes seem to have a natural connection with withered vines, snow scenes, night moons, and Wuxia of the Yangtze River. Typical, such as his "Lonely Ape Crying Snow", "Wuxia Flying Snow" and "Dawn Ape Looking at the Moon" all use boneless painting to lay out the face, body and hair of the ape, and the snow scene reflects the situation of the ape climbing or howling, in a lonely and poignant snow country, people feel like hearing the sound of the snow and seeing the true feeling of looking at the moon. In addition, in works such as "Frost Horse Color", "Tang Pear Twin Chickens", "Jiaojie" and "White Horse", Mr. Gao Qifeng's noble and free feelings are revealed. In "Frosty Horse Color", he intends to dye a crystal clear and white world, and strives to convey beautiful life ideals and feelings with the dusty and clear art world. He inscribed himself: "The white horse is idle and not subject to ** contact." Anbu walked to Qiulin, shaking off without resentment. 2] The clear and pure plains only exist in the chest, and the hustle and bustle of reality often makes people tired of camping. However, Mr. Qifeng adheres to an indifferent, pampered and unfazed state of mind, and is so open-minded and free-spirited! "White Horse" painstakingly manages a peaceful white and autumn forest through color, and all the operations are hidden in a touching truth and sigh. In "Tang Pear and Two Chickens", the top-down crystal light is dyed on the paper with a watery pen, reflecting extreme nature and extreme beauty, which is one of the major characteristics of Gao Qifeng's artistic perfection. In "Kyaukjie", the inscription is "The moon hangs on the branches, and the plum blossoms are like snow." This is not only an ancient and ever-new appreciation, but also the ideal realm of the author. In this kind of work, in addition to the nobility of emotions and the management of craftsmen, the language and skills of painting are also a rigorous and sincere test for the author.
(2) Flowers, birds and insects
If we compare Gao Qifeng's flower and bird paintings with Gao Jianfu and Chen Shuren, it can be seen that Gao Jianfu's clumsy and clumsy, Chen Shuren's elegance and ease, and Gao Qifeng's artistic style is both strong and handsome. In his early years, he imitated the Japanese painting style and explored the reform practice of Chinese painting that combined Chinese and Western paintings. "White Egret Lotus" and "Mandarin Duck" are examples of Gao Qifeng's early imitation of Japanese style and his exploration of "revolutionizing Chinese painting". In the pictures of these two works, the artist renders toner and ink on cooked rice paper to form a bright, soft, delicate and hazy effect, fully expressing the changes in light and color and the fog of air. In the color rendering of large surfaces, the shapes of flowers and birds such as egrets, lotus flowers and mandarin ducks are accurately depicted and even delicately realistic, showing a fresh and full sense of life. It can be seen that the author not only strengthens the color rendering effect, so that the picture is full of elegant and delicate charm, with a poetic mood, but also strengthens the inherent line expression of Chinese painting, which has both a beautiful oriental mood and a rigorous realistic modeling in the west. Works of similar style, we can also be in the first series of Gao Qifeng's flower and bird paintings in the "Three High Posthumous Paintings Collection", such as "Harmony", "Autumn Sound", "Huang Li", "Cui Yu Money", "Ming", "Jiaojie", "Crape Myrtle Bird", "Qunli Rejuvenation", "Yuexiu High Standard", "Bamboo", "Long Leisure", "Falling Flowers and Swimming Fish", "Wind Banana", "Songyue" (the age, texture, size, and collection of the above paintings are unknown) and so on. In essence, it is a combination of the Japanese style of Takeuchi Sufu, which combines the light and air expressions of Yamato-e, Han painting, and Western realistic painting, and the "hazy style" painting method of Japanese painters such as Yokoyama Taikan and Hishida Harukusa, which weakens the expression of lines and strengthens the effect of blending. Beginning in the 20s of the 20th century, Gao Qifeng completely abandoned his delicate realism and masterful Japanese dyeing techniques, and used the freehand brushwork of authentic traditional Chinese literati painting to depict flowers and birds. "Orchid", "Banana Mantis Picture" and "Flowers" show the return of Gao Qifeng's flower and bird paintings to the schema of traditional Chinese literati painting. The composition of the picture is concise, the shape is summarized, and the large forms of orchids, plantains and white cicadas are smeared with broad brushstrokes, and the interesting expression of the brushwork goes beyond the accurate reproduction of the shapes. The full, comfortable brushwork presents a unique sense of rhythm and rhyme. With the return of traditional Chinese literati painting patterns, Gao Qifeng's later works are mostly rough and heroic freehand works. For example, the self-title of "White Lotus" says "The white lotus incense has rained at the beginning, and the red dragonfly is weak and can't help the wind", with a light color and ink to dye the petals of the graceful style, with a round and strong center to write the independent long stem, and then cover the lotus leaves with a few strokes of the water-soaked method, and the interest of sketching and freehand on the picture. The sketch of the picture also points out the interest of the fragrance after the rain. His "Dancing Crane" and "Bamboo" are concise and hearty. This kind of freehand painting is vigorous and vigorous, just and soft, male and beautiful, and has a unique sense of beauty.
3. Praise for later generations
In 1931, the Belgian Centennial Independence Ceremony was held, and the International Exposition was held, and Gao Qifeng's works won the Excellence Award at the International Art Exhibition of the Exposition. In 1933, Gao Qifeng was appointed as a special envoy to the Chinese Art Exhibition in Berlin, Germany, and invited him to arrive in Shanghai on October 13 to participate in the preparatory meeting before going abroad. Gao Qifeng took a ship from Guangzhou to the north, on the ship, the passengers learned that he was an art master, so they asked to show what he had done, who knew that he was ill **, unfortunately fainted to the ground, and then died at 3:05 pm on November 2 in Dahua Hospital, at the age of 44. In his last words, Tianfeng Lou Yongzuo Qifeng Painting Academy, all works were donated to museums around the world. On December 7, 1933, Gao Qifeng was memorialized at a Chinese funeral home. On December 9, it was transported to Guangdong by the cruise ship "Pias**". On December 19th, the national ** issued an order: "Panyu Gao Qifeng, participated in the revolution at an early age, had great courage, had high ambitions, did not admire Rongli, specialized in painting in his life, blended the old and the new, and did not take a different path. It was transferred by the Executive Yuan. 6] The Executive Yuan transferred the funeral expenses of 2,000 silver yuan to the Ministry of Finance and sent Wu Tiecheng to pay tribute. On February 10, 1934, the body was buried by the Gao family in the ** Church Cemetery in Xinfenghuanggang, Henan, Guangzhou. On December 17, 1935, Sun Ke, Cai Yuanpei, Sun Ji, Yu Youren, Kong Xiangxi, Wu Tiecheng, etc., on the second anniversary of Gao Qifeng's death, made a lot of contributions to the party and the state during his lifetime, and was a generation of grandmasters. On February 3, 1936, Gao Qifeng's coffin set off for Nanjing; On December 27, 1936, he was buried in Qixia Mountain, Nanjing, and Lin Sen, chairman of the National People's Republic of China, personally inscribed his tombstone: "Painting the tomb of Mr. St. Gao Qifeng." In the "National Sacrifice to Mr. Gao Qifeng", the words "The beginning of the revolution, no resentment, no seeking, no encirclement of Xiao Ran, and no relent" [7] is an affirmation and praise of Gao Qifeng's revolutionary career.
After Gao Qifeng's death, the domestic government and opposition people mourned. Lin Sen, chairman of the national **, said: "Looking at the world, it is clear and windy." 1] And Mr. Cai Yuanpei's elegy summarizes Gao Qifeng's life: "The revolutionary spirit has always been clear, and the political tide and art have been successful. How can you push it lightly, and the smoke cloud at the bottom of the pen is abundant. If you have been to Tianfeng Tower, you will not have a chance to get together again. After the dawn, the lone star is made, and there are thousands of years to come. 1] In June 1934, Qifeng's posthumous works were compiled into a collection and published by the national **, and many of his friends had inscriptions and poems to support their grief, among which Chen Shuren's "Mr. Bang Qifeng" cloud: "Thirty and three corners are the same as the hard work, Dan Qingning plans to Xu Huang." The famous painter Xu Beihong inscribed "Carry forward the true art and lead the painting world" [8] to admire him.
References. 1] Gao Qifeng. Aesthetics and Edification[G] Editorial Library of the Great Dictionary of Chinese Books. Mr. Gao Qifeng's Honorable Mourning: Volume 1. Guangzhou: Qifeng Library, 1934
2] Gao Qifeng. Selected Poems and Passages of Qi Feng's Essays on Painting and Inscriptions[G] Studies on the Lingnan School of Painting: Volume I. Guangzhou: Lingnan Fine Arts Publishing House, 1987:1
3] Lang Shaojun, Shui Tianzhong. Selected Chinese Art in the Twentieth Century: Volume I.
g].Shanghai: Shanghai Painting and Calligraphy Publishing House, 2006:126
4] Li Gongming. Gao Qifeng's Art Theory[G] Studies on the Lingnan School of Painting: Volume I. Guangzhou: Lingnan Fine Arts Publishing House, 1987:1
5] Zhao Zhiang. Biography of Mr. Gao Qifeng[g] Huang Xiaogeng, Wu Jin. Record of Guangdong Modern Art Circle. Guangzhou: Lingnan Fine Arts Publishing House, 1990:10
6] Guangzhou Local Chronicles Compilation Committee. Guangzhou City Chronicles[M].Guangzhou: Guangzhou Publishing House, 1996:12
7] Zheng Chunting. Biography of Lingnan Modern Painters[M].Guangzhou: Guangya Society, 1987
8] Xu Beihong, et al. Mr. Gao Qifeng's Statement[M] Xu Beihong. Chinese and Western pen and ink Xu Beihong's essay. Beijing: Peking University Press, 2010:8
About the Artist |Gao Qi Peak
Gao Qifeng (1889-1933), a painter of the late Qing Dynasty, was born in Guangzhou. One of the founders of the "Lingnan School". When he was young, he studied painting with his father and brother, and later studied in Japan, where he studied the skills of the famous artists of the Kyoto School. He applies the traditional brush and ink skills and the special techniques of flower painting such as "hitting the water" and "hitting the powder" to the birds and animals and the landscape, to obtain a realistic and vibrant effect, forming a unique style that is majestic and beautiful. The calligraphy pen is old and spicy, the foundation is profound, self-contained, and quite influential.