Jakabffy Imre szerk.: Az Iparművészeti Múzeum Évkönyvei 13. (Budapest, 1971)

HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Horváth, Tibor: Report on the Activities of the Hopp Museum of Eastern Asiatic Arts in 1969 and 1970

Fig. 4. Ch'i Pai-shih (18641957). Bamboos. Scroll painting. The painting is in Chinese ink on paper, mounted on white silk brocade. The effect of the painting is based on die vivid contrast of wel and dry brush strokes. The three" stalks extending upwards from the left corner arc painted in light, pale ink. while the right half is dominated by the wet, dark bamboo leaves showing some blurring at their edges and the effect of quick dry strokes at the ends. The lighter leaves under them appeal' shadowlike. The arrangement of the leaves is rather irregular, loose. On the left side, along a bamboo stalk we find the signature of the painter: Paishih shan weng (Pai-shih, Old Alan from the mountains) and below a red positive seid: Ch'i Ta. The painting is in an excellent slate. 74./ X '14 cm. Inv. No. 70.24. The master followed here the style of his ideal. Cheng Hsie (1693-1765) of Yangehou, who was a poet, calligraphist and a painter of orchids and bamboos. His influence is attested on a number of bamboo paintings — one of the "four gentlemen" — by Ui'i Pai-shih. not only- in style but in text reference too. The signature "Old Alan from the mountains" occurs frequently on the paintings of Ch'i Pai-shih from about 1925. According lo L. Ilajck, the mentioned seal appeal's in four variations on his paintings; the most similar one was used in ihe thirties and about 1940. According to the owner, the painting came from Czechoslovakia into the possession of a I fungarian family between the two world wars. As the labels tell, il was put on show by the Art Society of Moravia and in the late