22/05/2026
Due to copyright protection, only a portion of the painting is shown above. For the complete painting and authentication information, please contact us via WhatsApp: +60145622568
Qi Baishi, *Walking Alone to Visit a Friend*
ID: DPNB QB
Original Artist: Qi Baishi (1864-1957)
Year of Creation: 1948 (Year of the Earth Rat)
Material: Ink and color on paper
Size: 150×66cm
MYR Estimate: 8,000,000 - 10,000,000
Qi Baishi, a native of Xiangtan, Hunan, came from a farming family. He worked as a carpenter in his early years and was known as the "Carpenter's Hermit." At 26, he studied portraiture, and at 27, he studied flower-and-bird painting and systematically studied poetry and prose. At 37, he became a disciple of Wang Kaiyun, becoming "Xiangqi's Disciple," and progressed in both poetry and painting. He was highly accomplished in poetry, calligraphy, painting, and seal carving, earning him the title of "Four Perfections." He was often paired with Zhang Daqian as "Zhang in the South and Qi in the North," representing the pinnacle of modern Chinese painting and being hailed as a "People's Artist." In 1946, at the invitation of Xu Beihong, he taught at the Beiping Art Academy. In his later years, he took Li Kuchan and Li Keran as his students.
While Qi Baishi is renowned for his flower-and-bird paintings, his landscape paintings are even rarer and more precious. He broke free from the stylized constraints of the "Four Wangs," advocating "the wonders of the world reside in the heart, eliminating the need for mere imitation." His brushwork largely stemmed from sketching, emphasizing the "between resemblance and non-resemblance." His landscape paintings conveyed the literati ideal of "a place to live and travel," embodying a spirit of returning to nature and detachment from fame and fortune. His brushwork is robust, his colors bright and simple, offering a refreshing and natural visual pleasure.
"Walking Alone to Visit Friends" is a typical example of his style after his "five journeys out and five returns": novel composition, simple brushwork, and a strong personal touch. The painting employs the traditional vertical scroll technique and the "three distances" (high distance, deep distance, and level distance), achieving a balanced composition and a strong sense of depth through the interplay of solid and void. Layered mountains, cascading waterfalls, and ancient pines collectively create a spiritual haven that is both habitable and enjoyable. A waterfall cascades amidst verdant mountains, shrouded in mist; a wooden bridge spans a stream, upon which two scholars stand, one pausing, the other visiting a friend, conveying a profound and evocative atmosphere. The overall composition is full and layered, with scattered houses highlighting the pursuit of "harmony between man and nature."
Technically, the lines are strong and vigorous, the trees and rocks meticulously depicted, and the texturing of the rocks and the treatment of pine needles demonstrate a strong foundation in traditional techniques, echoing the themes of visiting friends in Ming Dynasty Zhejiang and Wu School paintings. In terms of pigments, mineral colors (azurite, malachite, ochre, cinnabar) and plant-based colors (Prussian blue, gamboge) are used together, with ink forming the framework, resulting in vibrant and enduring colors.
The painting bears the inscription in running-cursive script: "Qi Baishi, Winter Month of the Year Wuzi." "Wuzi" refers to 1948, and "Winter Month" is the eleventh month of the lunar calendar. At that time, Qi Baishi was 84 years old (he signed himself "Eighty-Eight"), at the peak of his later years. The signature "Baishi" was his usual name. The calligraphy is vigorous and powerful, with lines possessing a "metallic and stone-like" quality. The characters flow naturally, their postures lively, and the ink tones natural, reflecting the transformative philosophy of "simplifying complexity."
The theme of "Visiting Friends" has a long history, with masterpieces by figures such as Fan Kuan of the Northern Song Dynasty, Dai Jin and Wen Zhengming of the Ming Dynasty, and Wang Hui of the Qing Dynasty. Its core spirit is a celebration of noble friendship and a reclusive life. This painting subtly aligns with the Daoist concept of "harmony between man and nature," placing the figures within a magnificent natural setting and emphasizing the harmony between humanity and nature. Qi Baishi's "Visiting Friends Alone" is an outstanding modern interpretation of this traditional theme, blending his unique brushwork with a populist aesthetic, making it highly valuable for art and collection.
