Appreciation of Qi Gong's Calligraphy and Painting - Read Image Era Collection Hall

Author: Yu Le
Publisher:
Publish Date: 2007-01-01
Features: Qigong Mr. is a renowned scholar jointly admired by both domestic and international communities. He has profound expertise and has published extensively in numerous fields such as classical literature, linguistic and textual studies, paleography, artifact authentication, poetry composition, history, redology, and religion. At the same time, he has made unique contributions to the creation and research of traditional Chinese calligraphy and painting, earning the title of a master of his generation. Qigong Mr. has achieved remarkable accomplishments in the art of calligraphy and painting. In calligraphy, he has assimilated various styles, integrated them into a unique system, and gained fame worldwide, being praised as the "Wang Xizhi of the modern era." In Chinese painting, his works are poetic, distinctive, elegant, profound, and have elevated traditional literati painting to its pinnacle. The benevolent and wise Qigong Mr., along with his academic and artistic achievements, is a timeless masterpiece. Studying him is indeed a broad and profound field of knowledge.
The small book we have compiled aims to provide readers with a preliminary understanding of Qigong Mr.'s calligraphy and painting through our initial appreciation, thereby inspiring more people to conduct further research. In the section on calligraphy appreciation, this book selects representative works from different periods, styles, forms, and techniques of Qigong Mr.'s calligraphy, some of which have never been published before and are extremely valuable. In our writing, we strive to introduce Mr.'s calligraphic achievements and related content from multiple perspectives, including his calligraphic style, his unique techniques in brushwork, structure, and composition, his important calligraphic theories, his journey and experience in learning calligraphy, as well as anecdotes and stories about him, to deepen readers' understanding of the works.
In the section on Chinese painting appreciation, this book selects twenty-five of his representative works. From these pieces, we can clearly see his exquisite and meticulous creative techniques, his profound and elegant artistic realm, as well as his deep understanding of the emotions in painting. He not only inherited the tradition of literati painting but also developed and innovated upon it, skillfully incorporating poetry, calligraphy, and philosophy into his works.
X. Harmonious and Engaging Inscriptions
Since the Ming and Qing dynasties, a complete calligraphic work, in addition to the main text, often includes inscriptions.
Inscriptions, also known as supplementary text, are descriptive words attached to the main text. From the perspective of the composition of the work, the main text is the center and the main body, while inscriptions are subordinate and serve a supplementary role. However, from the aesthetic perspective of the overall layout of the entire piece, inscriptions are inseparable from the main text and are an integral part of the work, balancing and harmonizing the composition. Inscriptions are to the main text as green leaves are to red flowers—properly handled, they create a harmonious and complementary artistic effect. The inscriptions in these two works (Figures 35 and 36) are very representative.
First, in terms of script, the inscriptions in these two works are in running script, the same as the main text. Generally, inscriptions should be more lively than the main text but not too different. For example, if the main text is in running or cursive script, the inscriptions should also be in running or cursive script; if the main text is in regular script, the inscriptions should be in regular or semi-regular script (running script is generally not used); if the main text is in clerical script, the inscriptions are usually in regular or semi-regular script; if the main text is ancient script (including oracle bone script, bronze script, and small seal script), the inscriptions are typically in regular script and never in ancient script. Here, running script is used, with a liveliness similar to the main text, making it easier to achieve consistency in style.
Second, in terms of size, the inscriptions in these two works are about half to one-third the size of the main text. Generally, inscriptions should be smaller than the main text, though there is no fixed ratio. For example, if the main text consists of only one character, the difference in size between the main text and the inscriptions can be significant. Of course, under normal circumstances, a ratio of half to one-third is appropriate. This ratio makes it easy to distinguish the main and secondary elements, creating a sense of hierarchy, while also avoiding excessive disparity and loss of coordination.
Third, in terms of placement, these two works have a large remaining blank space at the end of the main text. If a new line were started for the inscription, leaving these blanks would easily disrupt the balance of the piece. Therefore, the inscriptions in both works begin immediately after the main text. Qigong Mr. first writes the source of the main text, followed by the name of the recipient, placing it at the top of the line, while his own name is written below, showing respect for the recipient. Additionally, in both inscriptions, the recipient's name is at the top of the line but still lower than the main text, does not extend beyond the main text at the end of the line, and the space between this line and the end of the main text is slightly smaller than the line spacing of the main text, to avoid the inscription appearing disconnected from the main text. It is clear that these arrangements are all to ensure that the inscription remains in a subordinate position while still being harmonious with the main text, forming an organic whole, promoting balance and harmony in the overall piece, and maintaining clarity between the main and secondary elements, creating a lively and dynamic effect.