Change Qi Yuanji’s poetic picture axis

[Gaiqi Yuanji Poetic Map Axis]

Yuanji Poetic Map Axis, Qing Dynasty, Gaiqi painting, silk version, color setting, vertical 99 cm, horizontal 32 cm
The title of this picture is “The poetic image of the Yuan Dynasty, the picture of the old man of the autumn family, which is now in the garden. In the early summer of Yiyou, the seven Xiangs changed into Qi and were recorded together.” The seal is “Seven Xiangs” and “Yunyang”
“Yiyou” is the fifth year of Daoguang in the Qing Dynasty (1825)
At the top left of the painting is the title of Shen Wu of the Qing Dynasty in the tenth year of Tongzhi (1871). This article introduces the origin of Yu Ji’s painting of the Poetic Map of the Yuan Dynasty for Huang Liupu. There are two seals under the title: “Shen Wu examined and approved” and “Xuting Secret Collection”
This picture was painted by Gai Qi when he was 53 years old. He saw the “Poetic Picture of Yuan Ji” created by Yu Ji (No. Autumn Room), a contemporary painter, at his friend Huang Rongpu. The style of the painting is beautiful and elegant, and the style is clear and clear, which is quite touching. So he took advantage of the time to draw this picture
Gai Qi’s paintings of beautiful women date back to the Tang and Song dynasties, and are close to the laws of the Ming and Qing dynasties. They promote the style of clean and elegant ink strokes of Chongming Tang Yin, Qiu Ying, Cui Zizhong and others. The paintings cover a wide range of subjects, including boudoirs and prostitutes in real life, beauties and beauties in the ideal world, and illustrations for literary works such as “A Dream of Red Mansions”. He also devotes himself to the representation of lower-class women who have had unfortunate experiences in history, such as the family prostitute Lvzhu of Shi Chong, a senior official in the Western Jin Dynasty, the famous prostitute in Chang’an in the middle of the Tang Dynasty, Xue Tao, a famous prostitute in the middle of the Tang Dynasty, Bian Yujing, a famous prostitute in Qinhuai in the late Ming Dynasty, and Yu Yuanji, a female Taoist in the Tang Dynasty
Picture the scene of Yuyuanji manually displaying poems and sitting sideways on the rattan gall chair. Her thin body, haggard face, and a trace of reserved and desolate resentment in her eyes are exactly what the literati painters of the Qing Dynasty deliberately sought for women’s “pure and quiet” interest. In order to accurately express this kind of interest, the author did not use the bold lines with obvious square folds or the halo dyeing method with thick ink and heavy color in the technique, but used a soft and simple pen to outline the graceful and fine lines with light ink lines, and used light color to cover and dye at the lines of the clothing pattern, making the lines more soft and moist. At the same time, the author pays attention to the use of color. The picture is mainly in cold colors. The white jacket and white skirt on the Yuan fuselage are cool colors. The ribbons at the neckline, cuffs and waist and the blue shawl held by both arms are cool colors. The simple and elegant colors create a dignified atmosphere. In order to enrich the color of the picture and reflect the beauty of the Yuan machine body as a young woman, the author dyed the collar and cuffs of the Yuan machine liner with warm red color, and further rendered the melancholy and sad mood of the Yuan machine in the mutual contrast of cold and warm colors.