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上款人鐵夫，即李鐵夫，四川敘永人，早年留學日本，回國後從軍、從政，是川軍將領“西南王”劉文輝的幕僚長。1947年3月-1948年6月任成都市長。曾代表劉文輝與解放軍接洽起義投誠(見《全國文史資料》第三十三輯劉文輝回憶錄)。
李鐵夫愛收藏，與齊白石在四川的門人余中英及姚石倩均屬川軍同僚文友，所以與齊白石稔熟。齊白石曾於辛未 (1931年) 冬，為他治“鐵夫珍藏”朱文印一方 (見圖1)。
齊白石曾說：“善寫意者，專言其神；工寫生者，只重其形。要寫生而後寫意，寫意而後寫生，自能神形俱見，非偶然可得也。”這幅水墨鯰魚大中堂，神形俱見，水墨淋漓，充分體會齊白石寫生創作，及筆墨技巧。題為大有之年，得自：“歲歉曰飢饉之年，年豐曰大有之年”《幼學瓊林 — 歲時類》。有豐收年歲之意，神形之外，寓意玩味，是為齊白石畫獨有之趣。
QI BAISHI (1863-1957)
齊白石 大有之年 水墨紙本 鏡框
細節
齊白石 大有之年 水墨紙本 鏡框
題識：鐵夫仁弟清玩。借山翁齊白石大有之年製于寄萍堂上。
鈐印：借山翁、牽牛不飲洗耳水
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The painting was dedicated to Li Tiefu, a native of Sichuan, who studied in Japan in his early years before he returned to his home country to serve in the military and government. Li served as Mayor of Chengdu between March 1947 to June 1948 and was part of Sichuan military leader Liu Wenhui's team of negotiators during discussions with the People's Liberation Army.
Li enjoyed collecting Chinese paintings, and was friends with Qi's Sichuan students Yu Zhongying and Yao Shiqian, as they were all in the military together. Qi also carved a seal specially for Li in the winter of 1931 as a sign of their friendship (see Image 1).
Qi Baishi once articulated that he wished to combine both xie yi and gong bi styles, as those who were skilled in free sketch and spontaneous expression (xieyi) focused on the spirit of their subjects, while those who were skilled in careful and precise paintings (gongbi) placed heavy focus on the details, forms and standards of their subjects - his reason for combining the two was so that both spirit and form could be perfected.
Catfish is a great example of the combination of the two - in one strong brushstroke Qi was able to delineate the fluidity of the fish's body, capturing the form and detail of the fish completely without forgoing his own simplified style and flair.
With special reference to a fruitful year, Qi also inscribed the painting with expressions of abundance and success.
Li enjoyed collecting Chinese paintings, and was friends with Qi's Sichuan students Yu Zhongying and Yao Shiqian, as they were all in the military together. Qi also carved a seal specially for Li in the winter of 1931 as a sign of their friendship (see Image 1).
Qi Baishi once articulated that he wished to combine both xie yi and gong bi styles, as those who were skilled in free sketch and spontaneous expression (xieyi) focused on the spirit of their subjects, while those who were skilled in careful and precise paintings (gongbi) placed heavy focus on the details, forms and standards of their subjects - his reason for combining the two was so that both spirit and form could be perfected.
Catfish is a great example of the combination of the two - in one strong brushstroke Qi was able to delineate the fluidity of the fish's body, capturing the form and detail of the fish completely without forgoing his own simplified style and flair.
With special reference to a fruitful year, Qi also inscribed the painting with expressions of abundance and success.
榮譽呈獻
Ben Kong
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