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Qiao Yi
Qiao Yi
Personal Profile
Qiao Yi, styled Xiaoyi, styled himself "Northern Xiao Qiaomu", son of Shenyang's Anti-Enemy generation, master of the Scholarly Fragrance Studio, whose studio is named "Scholarly Fragrance Studio". Born in 1959, he is a native of Shen County, Hebei Province, and currently serves as a council member of the China Huaxia Ten Thousand Miles Journey Calligraphers and Painters Association, artistic advisor to the Hebei Domestic and Overseas Celebrities and Enterprises Exchange Association, vice president of the Hebei Landscape Painting Academy, director of the Hebei Enlarged-Character Calligraphy Association, council member of the Hebei Cultural Celebrities Public Welfare Alliance, member of the Hebei Taihang Painting Academy, academician of the Hebei Elder Professors Calligraphy and Painting Academy, and academician of Hebei Tianxiang Calligraphy and Painting Academy.
Qiao Yi has loved calligraphy and painting since childhood. In 1980, he began specializing in freehand-style bird-and-flower painting, studying under his uncle—renowned Shanghai-school bird-and-flower master Mr. Qiao Mu. In 1983, he graduated with outstanding grades from the China Calligraphy and Painting Correspondence University, studying under masters Tian Xinpeng, Du Bingshen, Zhao Shiheng, and Zhang Songling, from whom he received genuine teachings. Following his teachers' instructions, he diligently explored various techniques and accompanied his uncle Mr. Qiao Mu on teaching tours and exhibitions, absorbing strengths from different schools and integrating them into his own practice. Eventually, he emerged prominently in the field of freehand bird-and-flower painting, creating a unique artistic style widely acclaimed by the Chinese painting community. Qiao Yi’s freehand bird-and-flower paintings are rooted in the traditions of the Shanghai school and classical Chinese bird-and-flower painting theory. He excels in color application and the principle of incorporating calligraphic brushwork into painting, blending tradition with contemporary relevance to achieve an elegant yet accessible aesthetic境界. His compositions are lively yet simple, pursuing pure and unadorned beauty. With graceful brushwork and skillful ink rendering, his works present a serene and refreshing atmosphere; the playful abstraction originates from nature yet overflows with poetic charm. Even within a small-format painting, upon quiet contemplation, one instantly feels immersed in a sublime artistic realm, experiencing boundless delight. Qiao Yi emphasizes harmony in composition and layout, balancing main and secondary elements, emptiness and solidity, sparsity and density, yin and yang—all contributing to the painting’s core message. His creative intent precedes the brushstroke; with expressive ink variations in thickness, dryness, moisture, and lustrous, colorful washes, he transcends rigid rules, often producing brilliant ideas and spiritually elevated masterpieces. His work <> exemplifies these techniques: in the painting, green bamboos stand upright, their joints rendered with alternating swift and slow strokes conveying both strength and suppleness; bamboo leaves are painted with calligraphic precision, using both central and side brush techniques, each stroke full of vitality and spirit. Surrounded by vibrant new shoots and delicately textured rocks, the bamboos appear to sway gently in the breeze, displaying graceful postures. Two red-beaked blue magpies—one perched on a bamboo branch calling out, the other fluttering its tail while gazing from atop a rock—create a dynamic contrast, vividly capturing form and spirit, serving as the perfect focal point that enhances the overall flow and visual impact of the piece. This effectively conveys the artist’s joyful emotions and profound emotional depth drawn from life experiences. Many freehand bird-and-flower painters emphasize mood at the expense of detail, greatly weakening visual impact. Qiao Yi’s works successfully balance both, fully expressing the spirit of xieyi (freehand expression). He pursues mastery in dotting, staining, misty toning, and meticulous rendering of trees, rocks, and moss, ensuring every stroke reflects refined elegance and noble character. These qualities are evident in his painting <>: the subtle yellow of autumn leaves contrasts against large, fiery-red maple branches, while two magpies interacting vertically express a magnificent vision reminiscent of the golden years of old age. The composition is simple yet profoundly meaningful—every branch and leaf serves a purpose, every hue and ink tone expresses genuine emotion—truly the work of a master hand. This painting embodies traditional principles of beginning, development, transition, and conclusion, as well as harmonious integration of points, lines, and surfaces, combined with insights gained through sketching from life and deep artistic reflection. He follows rules, breaks them, and then discovers new ones, wandering freely in thought with a clear and meditative mind. Indeed, Qiao Yi has grasped the true essence and Zen-like meaning of painting, uniquely dwelling in his own vast realm of brush and ink.
Qiao Yi has loved calligraphy and painting since childhood. In 1980, he began specializing in freehand-style bird-and-flower painting, studying under his uncle—renowned Shanghai-school bird-and-flower master Mr. Qiao Mu. In 1983, he graduated with outstanding grades from the China Calligraphy and Painting Correspondence University, studying under masters Tian Xinpeng, Du Bingshen, Zhao Shiheng, and Zhang Songling, from whom he received genuine teachings. Following his teachers' instructions, he diligently explored various techniques and accompanied his uncle Mr. Qiao Mu on teaching tours and exhibitions, absorbing strengths from different schools and integrating them into his own practice. Eventually, he emerged prominently in the field of freehand bird-and-flower painting, creating a unique artistic style widely acclaimed by the Chinese painting community. Qiao Yi’s freehand bird-and-flower paintings are rooted in the traditions of the Shanghai school and classical Chinese bird-and-flower painting theory. He excels in color application and the principle of incorporating calligraphic brushwork into painting, blending tradition with contemporary relevance to achieve an elegant yet accessible aesthetic境界. His compositions are lively yet simple, pursuing pure and unadorned beauty. With graceful brushwork and skillful ink rendering, his works present a serene and refreshing atmosphere; the playful abstraction originates from nature yet overflows with poetic charm. Even within a small-format painting, upon quiet contemplation, one instantly feels immersed in a sublime artistic realm, experiencing boundless delight. Qiao Yi emphasizes harmony in composition and layout, balancing main and secondary elements, emptiness and solidity, sparsity and density, yin and yang—all contributing to the painting’s core message. His creative intent precedes the brushstroke; with expressive ink variations in thickness, dryness, moisture, and lustrous, colorful washes, he transcends rigid rules, often producing brilliant ideas and spiritually elevated masterpieces. His work <
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Qiao Yi