前 言
Essence of Spirit Expression:Dialogue Between Art and Soul
By Wu Weishan, Director of NAMOC
Spirit Expression(Xieyi), as the inner aesthetic spirit and external writing form at the core of Chinese art, has been inherited and innovated for nearly 1,000 years. In a brief analysis, its characteristics can be summarized from two aspects. First, “expression”. As the main painting tool, brush is also used in Chinese calligraphy. During the long-term historical interaction, calligraphy and painting formed an isomorphic relationship, and evolved into a set of formal language system with Chinese cultural connotation and personality symbol. In free writing, we grasp the general representation of objective images and convey the cultural personality and temperament of the creation subjects. Subject and object are neither too familiar nor too distant with each other. In the process of writing, meaning unites images to create a realm where emotion fits the context. Second, the “spirit”. Where does “spirit” originate from? On the one hand, it originates from the overall view of nature and outlook on life formed by integrating Confucianism, Taoism and Buddhism, which condenses into the unique cultural centripetal force of the Chinese nation. On the other hand, it comes from the innate temperament and unique life experiences of individual artists. Through the echo and harmony between individuals’ “spirit” and the overall cultural tradition, the style of an era based on the context comes into shape, stretches long and remains unbroken. That’s what we call “essence inherited, and expression innovated.”
Since modern times, new vitality of “spirit expression” of Chinese art has been inspired in the collision with western art. On the one hand, based on modern life and realistic needs, it focuses on exploring renewable resources from deeper and broader cultural traditions. On the other hand, in the dialogue between Eastern and Western arts, it broadens horizon, sticks to the roots of local culture, learns from others to offset its own weaknesses, thus initiating the transformation from its own tradition to modern reconstruction. Qi Baishi was a master in this regard. The exhibition is designed around Qi to inherit Chinese“spirit expression” and inspire later generation of artists.
“Likeness and Unlikeness” are known as a pair of aesthetic categories in Chinese art, which can be traced back to the concept of “spirit by form” from the “theory on form and spirit” put forward by Gu Kaizhi in the Period of Wei, Jin and Southern and Northern Dynasties. In the long-term historical development, several specific rules about modeling methods were derived. Its fundamentals read that: when extracting artistic images from objects, the inner charm of objects and the feeling of the creation subject shall be highly compatible; while pursuing artistic reality, the typical characteristics of objects shall not be neglected, so as to shape the image of both similarity and dissimilarity in an appropriate manner. This core category defines the basic form of Chinese art for thousands of years and grants it with long-lasting vitality. The best example of such vitality is the art of Qi, a modern traditional Chinese painter and leading role of this dialogue. He clearly declared “Likeness and Unlikeness” as his artistic manifesto. His artistic creation inherited the traditional concept of “spirit expression”, and the writing style passed down from the Ming and Qing Dynasties. The combination of poetry,calligraphy, painting and seal-carving, as well as the integration of elaborate and bold styles, enriched and developed the formal language and visual tension of tradition Chinese painting. On the other hand, he expressed his nature and spirit independently, and injected new cultural meaning and aesthetic interest into the modern transformation of traditional Chinese painting with a innocent mind. The visible natural world was transformed by his thoughts and feelings into an art realm, where the subtlety of objects and images can be described and the vast mind can be expressed, which can be described as “seeking to carry it out to its breadth and greatness, so as to omit none of the more exquisite and minute points which it embraces”.
This exhibition gathers 41 pieces (sets) of Qi’s masterpieces carefully selected from the collection of NAMOC, which houses over 400 works by Qi. They involve various typical themes of his Chinese painting, ranging from the concise summary of figures, to metaphors full of wit and humor; from repeated sketching on natural images to the expression of their variants alike in spirit; from living flowers, plants and insects to the free transformation of elaborate and freehand style; from the wonderful ideas of traveling in mountains and rivers to the longing for seclusion in Shangri-La…I believe that the audience will feel the eternal “beauty of life” in the artistic world “between likness and unlikeness”.
At the sametime, based on Master Qi’s works, we trace the dialogue of “Likeness and Unlikeness” upstream and downstream respectively.
How did Master Qi learn from his predecessors? How did he have dialogues with Zhu Da and Wu Changshuo? What is his similarity or “dissimilarity” with them? Therefore, we specially select Qi’s works inscribed of “imitating Zhu Da’s works” and compare them with similar works of Zhu, as well as select Qi’s works sharing the same theme with Wu to make comparison. The “spirit expression” of traditional Chinese painting has been inherited and passed down in such a way of “understanding the ancient people by insight”.
How can we talk to Master Qi, who had a huge impact both in life and after death? To this end, we selected several excellent portraits of Qi from the collection of NAMOC. They reflect the humanistic spirit appeal of Chinese contemporary art in the overall exploration of style nationalization and context inheritance, and reveal artists’ inner feeling and communication with each other as shaping the unity of form and spirit.
“Likeness and Unlikeness” are the soul of Qi’s art, and the root of the image modeling of the whole Chinese art. This exhibition presents the inner clue of continuation of “spirit expression” through multiple dialogues beyond time, space and materials. It demonstrates the artistic style of masters, and unveils the expansion and creative logic of Chinese art forms of “understanding the ancient people by insight, exploring methods by heart.”
Dialogue is an inevitable way of human communication. It can be found everywhere in words, writing or even a meaningful smile. I hope this exhibition will provide a spiritual field for each visitor to open their hearts and communicate with each other.
作品欣賞
齊白石像
吳作人
油畫
116×89cm
1954年
中國(guó)美術(shù)館藏
Qi Baishi
Wu Zuoren
Oil painting
116×89cm
1954
Collection of NAMOC
齊白石像
靳尚誼
油畫
120×90cm
2014年
私人藏
Qi Baishi
Jin Shangyi
Oil painting
120×90cm
2014
Private collection
齊白石像
李斛
中國(guó)畫
70×115cm
1963年
中國(guó)美術(shù)館藏
Qi Baishi
Li Hu
Traditional Chinese painting
70×115cm
1963
Collection of NAMOC
西城三怪圖
齊白石
中國(guó)畫
60.9×45.1cm
1926年
中國(guó)美術(shù)館藏
My Friend, My Disciple and I
Qi Baishi
Traditional Chinese painting
60.9×45.1cm
1926
Collection of NAMOC
似與不似之魂：齊白石像
吳為山
青銅雕塑
30×30×190cm
2003年
中國(guó)美術(shù)館藏
Soul of Likness and Unlikeness: Qi Baishi
Wu Weishan
Bronze
30×30×190cm
2003
Collection of NAMOC
齊白石頭像
吳為山
青銅雕塑
52×43×80cm
2004年
中國(guó)雕塑研究院藏
Head Statue of Qi Baishi
Wu Weishan
Bronze
52×43×80cm
2004
Collection of China Sculpture Research Institute
畫家齊白石
吳為山
青銅雕塑
142×19×28cm
2012年
中國(guó)雕塑研究院藏
Painter Qi Baishi
Wu Weishan
Bronze
28×19×142cm
2012
Collection of China Sculpture Research Institute
畫家齊白石
吳為山
泥塑小稿
17×8×44cm
2012年
中國(guó)雕塑研究院藏
Painter Qi Baishi
Wu Weishan
Clay
17×8×44cm
2012
Collection of China Sculpture Research Institute
畫家齊白石
吳為山
中國(guó)畫
137×69cm
2012年
中國(guó)雕塑研究院藏
Painter Qi Baishi
Wu Weishan
Traditional Chinese painting
137×69cm
2012
Collection of China Sculpture Research Institute
八大山人
靳尚誼
油畫
132×100cm
2006年
中國(guó)美術(shù)館藏
Zhu Da, a Famous Painter of Ming Dynasty
Jin Shangyi
Oil painting
132×100cm
2006
Collection of NAMOC
荷花
朱耷
中國(guó)畫
120×50cm
甲戌（1694年）
中國(guó)美術(shù)館藏
Lotus
Zhu Da
Traditional Chinese painting
120×50cm
Year of Jiaxu (1694)
Collection of NAMOC
竹石靈芝圖
朱耷
中國(guó)畫
159×634cm
年代不詳
中國(guó)美術(shù)館藏
Bamboo, Rock and Lucid Ganoderma
Zhu Da
Ink on paper
159×64cm
Dateless
Collection of NAMOC
吳昌碩頭像
吳為山
青銅雕塑
高80cm
2006年
Head Statue of Wu Changshuo
Wu Weishan
Bronze
48×55×84cm
2006
Collection of NAMOC
鳥(niǎo)
吳昌碩
中國(guó)畫
30.4×35.5cm
1927年
中國(guó)美術(shù)館藏
Bird
Wu Changshuo
Traditional Chinese painting
30.4×35.5cm
1927
Collection of NAMOC
墨鷗
吳昌碩
中國(guó)畫
30.8×36.3cm
1927年
中國(guó)美術(shù)館藏
Ink Gull
Wu Changshuo
Traditional Chinese painting
30.8×36.3cm
1927
Collection of NAMOC
葫蘆
吳昌碩
中國(guó)畫
187×47.8㎝
年代不詳
中國(guó)美術(shù)館藏
Calabash
Wu Changshuo
Traditional Chinese painting
187×47.8cm
Dateless
Collection of NAMOC
桃石
吳昌碩
中國(guó)畫
151×69.5cm
1924年
中國(guó)美術(shù)館藏
Peaches and Rock
Wu Changshuo
Traditional Chinese painting
151×69.5cm
1924
Collection of NAMOC
紫藤·石鼓文
吳昌碩
中國(guó)畫
68×36.9cm
1917年
中國(guó)美術(shù)館藏
Chinese Wistaria & Inscription in Pre-Qin Style
Wu Changshuo
Traditional Chinese painting
68×36.9cm
1917
Collection of NAMOC
茶花·石鼓文
吳昌碩
中國(guó)畫
68×36.9cm
1917年
中國(guó)美術(shù)館藏
Camellia & Inscription in Pre-Qin Style
Wu Changshuo
Traditional Chinese painting
68×36.9cm
1917
Collection of NAMOC
蘭花月影
吳昌碩
中國(guó)畫
132.3×65cm
1899年
中國(guó)美術(shù)館藏
Orchid in Moonlight
Wu Changshuo
Traditional Chinese painting
132.3×65cm
1899
Collection of NAMOC
墨荷
齊白石
中國(guó)畫
51×43.5cm
1948年
中國(guó)美術(shù)館藏
Ink Lotus
Qi Baishi
Traditional Chinese painting
51×43.5cm
1948
Collection of NAMOC
墨荷花
齊白石
中國(guó)畫
85.7×45.3cm
1917年
中國(guó)美術(shù)館藏
Ink Lotus
Qi Baishi
Traditional Chinese painting
85.7×45.3cm
1917
Collection of NAMOC
群魚(yú)
齊白石
中國(guó)畫
136.2×47.1cm
1917年
中國(guó)美術(shù)館藏
A School of Fish
Qi Baishi
Traditional Chinese painting
136.2×47.1cm
1917
Collection of NAMOC
仿八大山人
齊白石
中國(guó)畫
80.5×24.7cm
1936年
中國(guó)美術(shù)館藏
Imitation of One of Zhu Da’s Works
Qi Baishi
Traditional Chinese painting
80.5×24.7cm
1936
Collection of NAMOC
齊白石衰泥爪花卉冊(cè)十五開(kāi)
Flower Album (15 pages)
題跋
Postscript
墨蘭(1／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Ink Orchid
Flower Album (1 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
墨菊(2／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Ink Chrysanthemum
Flower Album (2 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
藤籮(3／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Wisteri
Flower Album (3 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
竹筍(4／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Bamboo Sprout
Flower Album (4 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
蟈蟈葫蘆（葫蘆）(5／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Cricket and Calabash (Calabash)
Flower Album (5 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
瓶花(6／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Vase of Flower
Flower Album (6 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
蓮蓬翠鳥(niǎo)(7／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Lotus Seedpod and Kingfisher
Flower Album (7 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
松果(8／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Pinecone
Flower Album (8 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
枇杷(9／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Loquats
Flower Album (9 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
三余（三魚(yú)）(10／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Three Fish
Flower Album (10 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
蘿卜(11／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Turnip
Flower Album (11 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
梅花(12／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Wintersweet
Flower Album (12 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
蜀葵(13／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Hollyhock
Flower Album (13 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
梨(14／14冊(cè)頁(yè))
齊白石
中國(guó)畫
24.9×33.8cm
1945年
中國(guó)美術(shù)館藏
Pear
Flower Album (14 of 14 pages)
Qi Baishi
Traditional Chinese painting
Each page: 24.9×33.8cm
1945
Collection of NAMOC
多壽
齊白石
中國(guó)畫
134.2×33.9cm
1950年
中國(guó)美術(shù)館藏
Longevity
Qi Baishi
Traditional Chinese painting
134.2×33.9cm
1950
Collection of NAMOC
葫蘆草蟲(chóng)
齊白石
中國(guó)畫
133.6×33.5cm
年代不詳
中國(guó)美術(shù)館藏
Calabash and Insects
Qi Baishi
Traditional Chinese painting
133.6×33.5cm
Dateless
Collection of NAMOC
墨蘭
齊白石
中國(guó)畫
74×34.5cm
年代不詳
中國(guó)美術(shù)館藏
Ink Orchid
Qi Baishi
Traditional Chinese painting
74×34.5cm
Dateless
Collection of NAMOC
老農(nóng)
齊白石
中國(guó)畫
68×34.6cm
1929年
中國(guó)美術(shù)館藏
An Old Peasant
Qi Baishi
Traditional Chinese painting
68×34.6cm
1929
Collection of NAMOC
拈花微笑
齊白石
中國(guó)畫
124.9×33.9cm
年代不詳
中國(guó)美術(shù)館藏
A Meaningful Smile
Qi Baishi
Traditional Chinese painting
124.9×33.9cm
Dateless
Collection of NAMOC
得財(cái)
齊白石
中國(guó)畫
92×43cm
1947年
中國(guó)美術(shù)館藏
Boy Gathering Firewood
Qi Baishi
Traditional Chinese painting
92×43cm
1947
Collection of NAMOC
大年
齊白石
中國(guó)畫
137.4×32.9cm
年代不詳
中國(guó)美術(shù)館藏
Large
Qi Baishi
Traditional Chinese painting
137.4×32.9cm
Dateless Collection of NAMOC
螃蟹
齊白石
中國(guó)畫
133.2×32.7cm
1932年
中國(guó)美術(shù)館藏
Crabs
Qi Baishi
Traditional Chinese painting
133.2×32.7cm
1932
Collection of NAMOC
群蝦
齊白石
中國(guó)畫
124.4×32.6cm
1937年
中國(guó)美術(shù)館藏
Shrimps
Qi Baishi
Traditional Chinese painting
124.4×32.6cm
1937
Collection of NAMOC
齊白石活色生香花卉草蟲(chóng)冊(cè)頁(yè)
Album of Flowers and Insects (15 pages)
封皮
Front Cover
跋文1
Postscript Ⅰ
跋文2
Postscript Ⅱ
蜻蜓(1／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Dragonfly
Album of Flowers and Insects (1 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
絲瓜螞蚱(2／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Sponge Gourd and Grasshopper
Album of Flowers and Insects (2 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
谷子螞蚱(3／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Millet and Grasshopper
Album of Flowers and Insects (3 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
紅草飛蛾(4／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Red Grass and Flying Moth
Album of Flowers and Insects (4 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
綠柳鳴蟬(5／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Green Willow and Singing Cicada
Album of Flowers and Insects (5 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
紅蓼螻蛄（6／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Smartweed and Mole Cricket
Album of Flowers and Insects (6 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
老少年墨蝶(7／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Plant (Lao Lai Hong) and Ink Butterfly
Album of Flowers and Insects (7 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
扁豆螞蚱(8／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Beans and Grasshopper
Album of Flowers and Insects (8 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
紅花蒼蠅(9／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Red Flower and Fly
Album of Flowers and Insects (9 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
稻谷螳螂(10／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Rice and Mantis
Album of Flowers and Insects (10 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
葫蘆蟈蟈(11／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Calabash and Cricket
Album of Flowers and Insects (11 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
水草小蝦(12／12冊(cè)頁(yè))
齊白石
中國(guó)畫
26.4×19.9
1937年
中國(guó)美術(shù)館藏
Waterweeds and Shrimp
Album of Flowers and Insects (12 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 26.4×19.9cm
1937
Collection of NAMOC
齊白石花卉草蟲(chóng)冊(cè)12頁(yè)選六
Album of Flowers and Insects (6 of 12 pages)
蕉葉秋蟬(1／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Banana Leaves and Autumn Cicada
Album of Flowers and Insects (1 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1920
Collection of NAMOC
鳶尾墨蝶(3／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Irises and Black Butterfly
Album of Flowers and Insects (3 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1920
Collection of NAMOC
芙蓉蜜蜂(4／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Cotton Rose and Bee
Album of Flowers and Insects (4 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1920
Collection of NAMOC
殘葉螞蚱(5／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Withered Leaves and Grasshopper
Album of Flowers and Insects (5 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1920
Collection of NAMOC
瓜藤螳螂(8／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Melon Vine and Mantis
Album of Flowers and Insects (8 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1921
Collection of NAMOC
落花甲蟲(chóng)(2／12冊(cè)頁(yè))
齊白石
中國(guó)畫
25.3×18.4
1920年
中國(guó)美術(shù)館藏
Fallen Flowers and Beetle
Album of Flowers and Insects (2 of 12 pages)
Qi Baishi
Traditional Chinese painting
Each page: 25.3×18.4cm
1920
Collection of NAMOC
齊白石花卉草蟲(chóng)冊(cè)8開(kāi)選4
Album of Flowers and Insects (4 of 8 pages)
葫蘆天牛(5／8冊(cè)頁(yè))
齊白石
中國(guó)畫
23.2×29.6cm
1945年
中國(guó)美術(shù)館藏
Calabash and Long-horned Beetle
Album of Flowers and Insects (4 of 8 pages)
Qi Baishi
Traditional Chinese painting
Each page: 23.2×29.6cm
1945
Collection of NAMOC
紅葉秋蟬(6／8冊(cè)頁(yè))
齊白石
中國(guó)畫
23.2×29.6cm
1945年
中國(guó)美術(shù)館藏
Red Leaves and Autumn Cicada
Album of Flowers and Insects (6 of 8 pages)
Qi Baishi
Traditional Chinese painting
Each page: 23.2×29.6cm
1945
Collection of NAMOC
蓮蓬蜻蜓(7／8冊(cè)頁(yè))
齊白石
中國(guó)畫
23.2×29.6cm
1945年
中國(guó)美術(shù)館藏
Lotus Seed Pods and Dragonfly
Album of Flowers and Insects (7 of 8 pages)
Qi Baishi
Traditional Chinese painting
Each page: 23.2×29.6cm
1945
Collection of NAMOC
油燈飛蛾(8／8冊(cè)頁(yè))
齊白石
中國(guó)畫
23.2×29.6cm
1945年
中國(guó)美術(shù)館藏
Oil Lamp and Moth
Album of Flowers and Insects (8 of 8 pages)
Qi Baishi
Traditional Chinese painting
Each page: 23.2×29.6cm
1945
Collection of NAMOC
牡丹
齊白石
中國(guó)畫
68×33.8cm
1957年
中國(guó)美術(shù)館藏
Peony
Qi Baishi
Traditional Chinese painting
68×33.8cm
1957
Collection of NAMOC
窄道漫步
齊白石
中國(guó)畫
103.5×45.2cm
1929年
中國(guó)美術(shù)館藏
Ramble on Narrow Path
Qi Baishi
Traditional Chinese painting
103.5×45.2cm
1929
Collection of NAMOC
順風(fēng)破浪
齊白石
中國(guó)畫
136.4×39.5cm
1934年
中國(guó)美術(shù)館藏
Sail Through Winds and Waves
Qi Baishi
Traditional Chinese painting
136.4×39.5cm
1934
Collection of NAMOC
教子圖
齊白石
中國(guó)畫
136.8×33.4cm
1934年
中國(guó)美術(shù)館藏
Teach Son
Qi Baishi
Traditional Chinese painting
136.8×33.4cm
1934
Collection of NAMOC
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