拍品 1145 齊白石的山水畫不取象徵寓意，而意在強調平樸格調和生活氣息；不求層次之豐富，而求簡括疏朗；不求含蓄內斂，而突出率真雄健。《歸帆》繪江村一角，岸邊小屋數間，江面風帆出沒，美不勝收。畫面開闊浩渺，靜中寓動。水紋以中鋒用富於頓挫和變化的細線勾出，以刻劃浩渺煙波和浮光動感。橫向的構圖營造了遠近的空間關係，推展了畫面的景深。如題識所載，此作書於舊絹之上，絹不化墨，因此要以強調空間對比關係來突出主題，其構圖格局舒展，氣息流動，充分展現了齊白石深厚的構圖功力。

QI BAISHI (1863-1957)

齊白石歸帆水墨絹本鏡框

已結束2013年5月28日

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齊白石歸帆水墨絹本鏡框題識：此幅乃昔日得舊絹，甚喜。一日秋風不寒，晨起把筆，欣然成之，與新紙雖多異，然別具情趣耳。東生先生見之，能識其未醜，欲携去，余即歡然讓之。白石山翁又記。鈐印：老白

來源：香港佳士得，中國近現代畫拍賣，2008年12月2日，編號1509。

Qi Baishi's landscape paintings focus on his down-to-earth style and attitude toward life, not on symbolism. They employ simplicity and spaciousness rather than being multi-layered and are characterized by sincerity and power rather than by modesty.
Sailing depicts a small corner of a river village with a few houses along the riverbank and several sails on the river - a very picturesque scene. The image communicates a sense of openness and greatness, suggesting dynamism within stillness. Qi used the center of the brush to create fine lines with varied force to illustrate the waves in order to capture the misty and shiny surface of the water. The horizontal composition emphasizes the depth of the scene and therefore creates a greater sense of space.
As the inscription suggests, this painting was made on old silk, which did not absorb the ink well. Therefore, it is important to stress the contrast in space to dramatize the subject. The composition of the painting is spacious and allows fluid movement, which further reflects Qi's remarkable skills in composition.

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QI BAISHI (1863-1957)

齊白石歸帆水墨絹本鏡框

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QI BAISHI (1863-1957)

齊白石 歸帆 水墨絹本 鏡框

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齊白石歸帆水墨絹本鏡框