Qi Gong's Calligraphy and Painting

Name: Qi Gong's Calligraphy and Painting
ISBN: 9787102095028

耿建臣People's Fine Arts Publishing House · ChinaJul 2026

Rating 4.0

Word count: 392 words
Chapters: 265
ISBN: 9787102095028

Summary

This volume gathers roughly 300 paintings and calligraphic works by Qi Gong, the renowned contemporary Chinese painter, calligrapher, educator, classical philologist and poet, spanning the years 1937 to 2002.

Qi Gong's calligraphy, also known as the "Qi Gong style," is a manner of writing created by this celebrated modern calligrapher. It emphasizes fluent strokes and concentrated spirit, stressing grand freehand expression, grand presence and grand structure, and holds exceptional artistic value and cultural depth.

This book introduces the essence of Qi Gong's painting and calligraphy so that readers may gain a fuller understanding of this splendid art. Qi Gong was a scholar steeped in Chinese culture, a man of many rare accomplishments and skills.

Beyond his paintings and calligraphy, the book also includes his essay "On the Relationship Between Poetry, Calligraphy and Painting" and his frequently used seals, both to highlight his scholarly depth and to help readers understand him more truly, fully and accurately and authenticate his works.

Editor's review

This volume gathers roughly 300 paintings and calligraphic works by Qi Gong, spanning the years 1937 to 2002. The long time span allows readers to see fairly completely how his painting and calligraphy evolved. Besides the works themselves, the book includes the essay "On the Relationship Between Poetry, Calligraphy and Painting" and his frequently used seals; both help readers understand the scholarly background behind his work and identify his pieces, and they make the book more than a mere album. The calligraphy section shows the familiar "Qi Gong style," with fluent strokes and clear, upright energy; painting and calligraphy are placed side by side so readers can compare and sense the connections he drew among poetry, calligraphy and painting. It serves well as a reference for appreciation and practice, and as a book to keep at hand for readers who want a full view of Qi Gong's painting and calligraphy. Those expecting a systematic technique course or a work-by-work analysis should note that this book is primarily a gathering of works, with relatively restrained commentary.

Who it's for

A good fit for

Calligraphy enthusiasts who want to appreciate and practice the Qi Gong style
Readers interested in modern and contemporary Chinese painting and calligraphy who want an overall view of Qi Gong's work
Art school teachers and students, who may use it as visual material for appreciation and study
Collectors and connoisseurs, who may consult the seals and the appearance of the works

Not a good fit for

Beginning readers hoping for step-by-step technique lessons or a from-scratch calligraphy course
Readers interested only in contemporary art or Western painting, with little interest in traditional Chinese painting and calligraphy
Researchers who need extensive textual commentary analyzing each work

Reading tips

Begin by browsing the works in chronological order to sense changes in Qi Gong's brushwork and style across different periods.
Read "On the Relationship Between Poetry, Calligraphy and Painting" first, then return to the works; it becomes easier to sense the scholarly atmosphere in his painting and calligraphy.
When practicing, choose a few clear works and compare them repeatedly; study structure and flow of the brush before writing, and do not try to do too much at once.

About the publisher

People's Fine Arts Publishing House China · Founded in 1951

People's Fine Arts Publishing House focuses on professional art publishing, educational publishing, and lianhuanhua (Chinese picture-story books). Its 429 titles in the catalog span art theory, literary appreciation, and calligraphy rubbings. Representative publications include the Renmei Shupu series, which presents historical rubbings such as the Eastern Han clerical-script steles Li Qi Bei, Cao Quan Bei, and Yi Ying Bei, along with Northern Song Mi Fu's Shu Su Tie and Tiaoxi Shi Tie and Tang Lu Jianzhi's Wen Fu. Qi Baishi's Art of Painting (4 volumes) and Chen Chuanxi's History of Chinese Landscape Painting (2 volumes) reflect its strength in painting research and art-historical compilation. Alongside Wang Guowei's Renjian Cihua, its authors include scholars and artists such as Hua Rende, Sun Xiaoyun, Lou Shibai, and Lou Shude, giving the press a publishing profile that balances calligraphy rubbings, painting art, and art history and theory.

版权信息
谈诗书画的的关系——启功
书画合璧成扇
竹懒绝句
仿沈周山水书法扇面
深山观瀑图
春云晓霭
兰竹双清
元人句
墨竹
深山访友
高节图
绘右丞诗意图
松山闻瀑
晏坐观云图
仿米元晖云山水及书法
双清
苏轼诗词之一
临米芾
姜夔诗句
江乡春霁
新婚祝词
飞卿词
藕益大师法语扇面
次韵青峰吴门见怀之作
颠张醉素擅临池
启功致赵敏信札
启功致赵师傅信札
启功致徐邦达信札
书法临帖
李白诗句之一
书法册页
竹石图之一
李白诗句之二
文集摘句
唐人诗句
长生未央
水墨葡萄
伯仲之间见伊吕
李白诗句之三
皮日休诗句
绘兰竹双清图
宋无诗句
王维诗句之一
元稹诗句
韦应物诗句之一
八言联之一
皇甫冉诗句
范仲淹诗句
题松花江绿石砚
自强不息
杜甫诗句之一
梨枣雕镌溯晚唐
杜甫诗句之二
王维诗句之二
渺彤云
良工手挹片云飞
杨炯诗句
韦应物诗句之二
司马光诗句
苏轼诗词之二
李白诗句之四
八言联之二
赵佶诗句
兰亭句
道潜诗句
屈大均诗句
《瘗鹤铭》句之一
张弦先生命书互勉
王安石诗句之一
竹石图之二
崎岖路绕翠盘龙
柳宗元诗句
太上隐者诗句
静观
韩愈语
易乾象辞之一
《瘗鹤铭》句之二
苏轼诗词之三
汉乐府《江南》句
少陵绝唱
王驾诗句
五言联之一
负笈寻根数十秋
春初
杜甫诗句之三
湖畔口占
临东坡书
李壁诗句
佛香高阁暮云稠
卢纶诗句
杜甫诗句之四
登藻鉴堂北眺口占
芳草西池路
庭前柏树子
王蒙诗句
杜甫诗句之五
苏轼诗词之四
苏轼诗词之五
题砚旧作一首
韦庄诗句
苏轼诗词之六
李白诗句之五
悦雅堂
王之涣诗句之一
易乾象辞之二
大雅之一
新篁
止戈书屋
罨画溪山
王维诗句之三
杜甫诗句之六
真赏
王安石诗句之二
古欢
苏轼诗词之七
天机笔妙
春满丹林
四言联
沈说诗句
题月季
王昌龄诗句之一
喜舍
朱竹
戴叔伦诗句之一
苏轼诗词之八
惜阴书屋
大雅之二
秋深犹见柳毵毵
王之涣诗句之二
松苍竹茂
平安
戴叔伦诗句之二
姑苏州建城二千五百周年纪念
王涯诗句
七言联之一
张旭诗句之一
怡心斋
许浑诗句
细雨湿流光
杜甫诗句之七
一纸偏反画格奇
七言联之二
临王羲之《四月廿三日帖》
七言联之三
七言联之四
竹网斋
放牧归来一曲歌
竹斋
行书书论
北客稀谙异卉容
陆龟蒙诗句
杜甫诗句之八
寿
鹤放随游屐
老干部书法展题词
发
敬业乐群古有说
北京建苑书画社
李白诗句之六
永和佳会已千秋
朱竹、湘江玉一枝
行书健康长寿语
王之涣诗句之三
狮城萍水共披襟
苏轼诗词之九
七言联之五
王绩诗句
杜甫诗句之九
孟郊诗句之一
七言联之六
东方虬诗句之一
踏遍西郊路
王安石诗句之四
碧龙轩
西子湖边旧作
兰竹贞石图
吴惟信诗句
声声骤雨打新荷
苏轼诗词之十
摄影大师郎静山作品集
苏轼诗词之十一
古玩字画文物
李峤诗句
《论语》句
苏轼诗词之十二
彩溢轩
周孚诗句
七言联之七
孟郊诗句之二
家运大好
题成亲王书
业精于勤之一
如日之升
寻梦斋
东方虬诗句之二
古都环翠
张旭诗句之二
登科记考
目中山色扑人来
题民国周希丁手拓本《散氏盘》
苏轼诗词之十三
李白诗句之七
百景堂
丰年
白居易诗句之一
神灭神不灭
兰竹双清图
常建诗句
中国当代名人国画选
《兰亭集序》句
风入淇园万竹新
鹤舞
袁枚诗句
七言联之九
七言联之十
留学生第二公寓
长白雪长白
屡见东园客
舟行豁目矮推篷
春城无处不飞花
玉潭六法在吴兴
茶
张祜诗句
苏轼诗词之十四
张旭诗句之三
白露横江晓月孤
富饶丰衍之一
寿比南山
不知老之将至
金山院
任重道远
业精于勤之二
庄子名言
精神文明
勤能补拙
科教兴国
俭以养廉
学然后知不足
高珩诗句
留云斋
王安石诗句之五
富饶丰衍之二
《孙子兵法》句
七言诗四条屏
五言联之二
文房雅集
李建中诗句
半亩清风聊作主
东游旧作
细楷清妍弱自持
水竹本无今古异
八月江南岸
七言联之十一
占断湖山美
五言联之三
温庭筠诗句
自愧非材接众贤
七言联之十二
三笔亭
轻难入地香添溷
七言联之十三
年表
后记
出版说明

FAQ

Does this book contain only plates, or is there text as well?

Besides roughly 300 works of painting and calligraphy, the book includes Qi Gong's essay "On the Relationship Between Poetry, Calligraphy and Painting" and his frequently used seals. The text is not extensive, but it helps readers understand his artistic ideas and identify his works; the book is mainly a collection of plates.

What period do the works in the book cover?

According to the introduction, the book gathers roughly 300 paintings and calligraphic works by Qi Gong from 1937 to 2002. The long time span allows readers to see fairly completely his creative output at different stages.

Is this book suitable for someone who wants to learn Qi Gong style calligraphy?

The book is primarily a collection of works, suitable as a model for appreciation and practice, but it is not a step-by-step technique course. Readers with some calligraphy foundation can study structure and brushwork by comparing the works; complete beginners will also need a dedicated technique textbook.

This site is an index: you start “Search all sources” in your browser, and the entries it lists all point to third-party sites; please judge their availability yourself.

About the author

耿建臣 Author

Geng Jianchen is an author associated with art books, though publicly available information about him is limited. His confirmed works are two titles, A Collection of Qi Gong's Calligraphy and Painting and Qi Gong's Calligraphy and Painting. Both center on Qi Gong's calligraphy, painting, and collecting, and are compilations intended for art appreciation and reference, showing a sustained focus on organizing and introducing calligraphy and painting. In subject matter, his work emphasizes gathering and presenting Qi Gong's art, offering readers accessible material for understanding Qi Gong's artistic achievements. Because further information on his life, identity, and professional background is unavailable, a full assessment of his scholarly context and style is difficult; based on the existing works, however, his editorial direction is clear, concentrating on the compilation and dissemination of works by modern and contemporary calligraphy and painting masters, which offers some reference value to enthusiasts and researchers.