While retrospecting Qi Baishi’s artistic creations throughout his life, freehand flower-and-bird paintings occupy a major position and are highly praised. In contrast, his landscape paintings were once not understood by the people of that time and he even suffered from a lot of criticism. Qi Baishi once wrote about himself, “I painted landscapes, and I was criticized a lot for them, so that I almost quitted it.” The disapproval of the audience and the market made Qi Baishi’s landscapes mostly become gifts for friends who truly understood the changes in his art. This is the main reason for the smaller volume of Qi’s landscape paintings left now. But it is precisely these landscape paintings that can fully convey the originality and innovation of Qi Baishi’s art, and there are great artistic conceptions among them.
This exhibition gathers the most important landscape paintings by Qi Baishi throughout his life: such as the “Twenty-Four Sceneries of Shimen” carefully drawn by Qi Baishi for his friends at the beginning of his early travels, which is collected by the Liaoning Provincial Museum; and “Borrowed Landscapes of Mountains”, which was transformed from the realistic scenes of his sketches (existing twenty-two pieces); “Twelve Screens of Mountains and Waters”, were Qi Baishi’s masterpiece of landscape paintings in his later years, are collected by the Chongqing China Three Gorges Museum, made its debut in Beijing. It can be said that this exhibition is the largest gathering of Qi Baishi’s landscape paintings.
“Landscapes in the Chest Are Known for Wonders in the World—Qi Baishi’s Artistic Conception of Ink and Wash Landscape Paintings II” comprehensively sorts out the development and evolution of Qi Baishi’s landscape paintings through a wealth of exhibits and a variety of scientific and technological means.