Qi Baishi - Training and Education

Training and Education

“Qi Baishi started receiving artistic training from Hu Qinyuan which consisted of fundamentals in gongbi mode, which features fine brushwork and meticulous detail” (Jung Ying Tsao p. 199). He was taught that every aspect of painting mattered, from the subject matter to the way the paint was applied to the paper. His landscape paintings came as a result of his next mentor Tan Pu. Because of his training, he then realized that he could pursue art as his full-time career instead of just dreaming to become a professional artist (Jung Ying Tsao p. 199-201).

Baishi was popular for his variety of works ranging from plant to animal life; because of his natural style collectors both “artistic and political” purchased his work. According to the article, Qi Baishi : "Baishi’s works were based on his life and his character. After the fall of the Qing dynasty Qi Baishi was known for not letting all the political issues affect his work, and keeping his own values and ideas through the harsh times. According to Confucian standards, starting off as nothing and creating a name for yourself, as Baishi did, was very honorable (Xiangtan p. 1).

Qi Baishi did not have any formal education or training in the field of art; however, he managed to master many different techniques including calligraphy and seal-carving. After establishing himself in Hunan, as a painter and artist, it wasn’t until his forties that he began traveling and looking for more inspiration. Baishi came upon the Shanghai School, which was very popular at the time, and met Wu Changshuo who then became another mentor to him and inspired a lot of Baishi’s works. Another influence of Baishi didn’t come until about fifteen years later who was Chen Shizeng who he became close to when he was living in Beijing. Baishi was becoming more and more well-known and sought after. During World War II, many traditional art works and culture were being destroyed and no longer things of value, but Baishi was still respected and was “elected to the National People’s Congress and made honorary Chairman of the National Artist’s’ Association, he represented a continuing commitment to traditional cultural values in revolutionary China” (Xiangtan, p. 1). He died aged 93..