| Qi Baishi’s flower and bird painting art is combined in the form of painting noumenon,inscription and seal seal.In the art style of integration and sudden creation,these elements are in harmony with each other in the limited painting.In the face of the current lack of discussion on the function of Qi Baishi’s calligraphy art in the study of Qi Baishi,and the unique and interlinked relationship between calligraphy and painting,it is necessary to re-examine the formal responsibility of his calligraphy.Based on the academic standpoint of calligraphy,this paper discusses the role of Qi Baishi’s calligraphy art in the spatial composition of his flower-and-bird paintings,and attempts to extend the significance of calligraphy to painting.The first chapter of this paper is an introduction,discussing the correlation between Qi Baishi’s calligraphy,painting and seal cutting,and summarizing the relevant achievements of contemporary Qi Baishi’s calligraphy space research.The second chapter discusses the space dimension of Qi Baishi’s calligraphy art and the inheritance relationship between Qi Baishi’s flower-and-bird painting and the tradition of flower-and-bird painting left by predecessors.The third chapter discusses the structure,composition and charm of the calligraphy space in Qi Baishi’s flower-and-bird paintings in specific forms.The fourth chapter discusses the constructive role of his calligraphy in the space of flower-and-bird painting,involving the musical ensemble of calligraphy and painting,calligraphy,and the prominence of Qi Baishi’s unique artistic style in flower-and-bird painting.The fifth chapter deals with the supplement of Qi Baishi’s seal cutting to the calligraphy space,the comparison between the calligraphy space in landscape painting and the calligraphy space in flower-and-bird painting,and extends to the discussion of the influence on the calligraphy space in flower-and-bird painting from the perspective of Qi Baishi’s painting selling activities. |
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