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class="vector-toc-link" href="#Comparison_with_other_Lingnan_founders"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Comparison with other Lingnan founders</span> </div> </a> <ul id="toc-Comparison_with_other_Lingnan_founders-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Style" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Style"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Style</span> </div> </a> <ul id="toc-Style-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Gallery" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Gallery"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Gallery</span> </div> </a> <ul id="toc-Gallery-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Explanatory_notes" class="vector-toc-list-item vector-toc-level-1 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vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input 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.hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">In this <a href="/wiki/Chinese_name" title="Chinese name">Chinese name</a>, the <a href="/wiki/Chinese_surname" title="Chinese surname">family name</a> is <i> <a href="/wiki/Gao_(surname)" title="Gao (surname)">Gao</a></i>.</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Gao Qifeng</div></th></tr><tr><td colspan="2" class="infobox-subheader" style="font-size:125%;"><div class="nickname" lang="Chinese"><span lang="zh">高奇峰</span></div></td></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Gao_Qifeng,_Liangyou,_1927-08-30_(3x4_cropped).jpg" class="mw-file-description"><img alt="A black-and-white headshot of a man in a high-collared shirt" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg/250px-Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg" decoding="async" width="220" height="295" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg/330px-Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/09/Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg/500px-Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg 2x" data-file-width="761" data-file-height="1022" /></a></span><div class="infobox-caption">Gao, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1927</span></div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Gao Weng (<span lang="zh">高嵡</span>)</div><br />13 June 1889<br /><div style="display:inline" class="birthplace"><a href="/wiki/Panyu,_Guangzhou" title="Panyu, Guangzhou">Panyu County</a>, <a href="/wiki/Guangdong" title="Guangdong">Guangdong</a>, <a href="/wiki/Qing_dynasty" title="Qing dynasty">Qing dynasty</a></div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">2 November 1933<span style="display:none">(1933-11-02)</span> (aged 44)<br /><div style="display:inline" class="deathplace"><a href="/wiki/Shanghai" title="Shanghai">Shanghai</a>, <a href="/wiki/Republic_of_China_(1912-1949)" class="mw-redirect" title="Republic of China (1912-1949)">Republic of China</a></div></td></tr><tr><th scope="row" class="infobox-label">Movement</th><td class="infobox-data category"><a href="/wiki/Lingnan_School" title="Lingnan School">Lingnan School</a></td></tr><tr><th scope="row" class="infobox-label">Relatives</th><td class="infobox-data"><a href="/wiki/Gao_Jianfu" title="Gao Jianfu">Gao Jianfu</a> (brother)</td></tr><tr><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546" /></td></tr><tr style="display:none;"><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546" /></td></tr><tr><th colspan="2" class="infobox-header" style="color: #202122;background-color: #b0c4de;">Chinese name</th></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Chinese_language" title="Chinese language">Chinese</a></th><td class="infobox-data"><span title="Chinese-language text"><span lang="zh-Hani" style="font-size: 1rem;"><a href="https://en.wiktionary.org/wiki/%E9%AB%98" class="extiw" title="wikt:高">高</a><a href="https://en.wiktionary.org/wiki/%E5%A5%87" class="extiw" title="wikt:奇">奇</a><a href="https://en.wiktionary.org/wiki/%E5%B3%B0" class="extiw" title="wikt:峰">峰</a></span></span></td></tr><tr><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546" /><table class="infobox-subbox mw-collapsible mw-collapsed" style="display:inline-table; text-align: left;"><tbody><tr><th colspan="2" class="infobox-above" style="font-size: 100%; text-align: left;color: #202122; background-color: #f9ffbc;">Transcriptions</th></tr><tr><th colspan="2" class="infobox-header" style="color: #202122;background-color: #dcffc9;"><a href="/wiki/Standard_Chinese" title="Standard Chinese">Standard Mandarin</a></th></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Hanyu_Pinyin" class="mw-redirect" title="Hanyu Pinyin">Hanyu Pinyin</a></th><td class="infobox-data"><span title="Chinese-language romanization"><span style="font-style: normal" lang="zh-Latn">Gāo Qífēng</span></span></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Wade%E2%80%93Giles" title="Wade–Giles">Wade–Giles</a></th><td class="infobox-data"><span title="Chinese-language romanization"><span style="font-style: normal" lang="zh-Latn"><span>Kao<sup>1</sup> Chʻi<sup>2</sup>-feng<sup>1</sup></span></span></span></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Help:IPA/Mandarin" title="Help:IPA/Mandarin">IPA</a></th><td class="infobox-data"><span class="IPA" lang="cmn-Latn-fonipa" style="white-space:nowrap"><a href="/wiki/Help:IPA/Mandarin" title="Help:IPA/Mandarin">[káʊ tɕʰǐ.fə́ŋ]</a></span></td></tr><tr><th colspan="2" class="infobox-header" style="color: #202122;background-color: #dcffc9;"><a href="/wiki/Cantonese" title="Cantonese">Yue: Cantonese</a></th></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Yale_romanization_of_Cantonese" title="Yale romanization of Cantonese">Yale Romanization</a></th><td class="infobox-data"><span title="Yue Chinese-language romanization"><span style="font-style: normal" lang="yue-Latn"><span>Gou<sup>1</sup> Kei<sup>4</sup>-fung<sup>1</sup></span></span></span></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Hong_Kong_Government_Cantonese_Romanisation" title="Hong Kong Government Cantonese Romanisation">Hong Kong Romanisation</a></th><td class="infobox-data"><span title="Yue Chinese-language romanization"><span style="font-style: normal" lang="yue-Latn">Ko Kei-fung</span></span></td></tr><tr><th scope="row" class="infobox-label" style="font-weight:normal;"><a href="/wiki/Help:IPA/Cantonese" title="Help:IPA/Cantonese">IPA</a></th><td class="infobox-data"><span class="IPA" lang="yue-Latn-fonipa" style="white-space:nowrap"><a href="/wiki/Help:IPA/Cantonese" title="Help:IPA/Cantonese">[kɔw˥ kʰej˩.fʊŋ˥]</a></span></td></tr></tbody></table></td></tr><tr style="display:none"><td colspan="2"> </td></tr><tr style="display:none"><td colspan="2"> </td></tr></tbody></table> <p><b>Gao Qifeng</b> (<a href="/wiki/Traditional_Chinese_characters" title="Traditional Chinese characters">Chinese</a>: <span lang="zh-Hant">高奇峰</span>; <a href="/wiki/Pinyin" title="Pinyin">pinyin</a>: <i><span lang="zh-Latn">Gāo Qífēng</span></i>; 13 June 1889 –  2 November 1933) was a Chinese painter who co-founded the <a href="/wiki/Lingnan_School" title="Lingnan School">Lingnan School</a> with his older brother <a href="/wiki/Gao_Jianfu" title="Gao Jianfu">Gao Jianfu</a> and fellow artist <a href="/wiki/Chen_Shuren" title="Chen Shuren">Chen Shuren</a>. Orphaned at a young age, Gao spent much of his childhood following Jianfu, learning the techniques of <a href="/wiki/Ju_Lian" title="Ju Lian">Ju Lian</a> before travelling to <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a> in 1907 to study <a href="/wiki/Western_painting" title="Western painting">Western</a> and <a href="/wiki/Japanese_painting" title="Japanese painting">Japanese painting</a>. While abroad, Gao joined the revolutionary organization <a href="/wiki/Tongmenghui" title="Tongmenghui">Tongmenghui</a> to challenge the <a href="/wiki/Qing_dynasty" title="Qing dynasty">Qing dynasty</a>; after he returned to China, he published the <a href="/wiki/Chinese_nationalism" title="Chinese nationalism">nationalist</a> magazine <i><a href="/wiki/The_True_Record" title="The True Record">The True Record</a></i>, which later fell afoul of the <a href="/wiki/Beiyang_government" title="Beiyang government">Beiyang government</a>. Although offered a position in the <a href="/wiki/Republic_of_China_(1912%E2%80%931949)" title="Republic of China (1912–1949)">Republic of China</a>, Gao chose to focus on his art. He moved to <a href="/wiki/Guangzhou" title="Guangzhou">Guangzhou</a> in 1918, taking a series of teaching positions that culminated with an honorary professorship at <a href="/wiki/Lingnan_University_(Guangzhou)" title="Lingnan University (Guangzhou)">Lingnan University</a> in 1925. Falling ill in 1929, Gao left the city for <a href="/wiki/Ersha_Island" title="Ersha Island">Ersha Island</a>, where he took students and established the Tianfang Studio. </p><p>In his painting, Gao blended traditional <a href="/wiki/Chinese_painting" title="Chinese painting">Chinese approaches</a> with foreign ones, using Japanese techniques for light and shadow as well as Western understandings of geometry and perspective. Although he painted landscapes and figures, he is most recognized for his paintings of animals, particularly eagles, lions, and tigers. In his brushwork, he combined the vigour of his brother's technique with the elegance of Chen's. Gao taught numerous students, including <a href="/wiki/Chao_Shao-an" title="Chao Shao-an">Chao Shao-an</a> and <a href="/wiki/Huang_Shaoqiang" title="Huang Shaoqiang">Huang Shaoqiang</a>; he was particularly close to <a href="/wiki/Zhang_Kunyi" title="Zhang Kunyi">Zhang Kunyi</a>, with whom he may have been romantically involved. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Biography">Biography</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=1" title="Edit section: Biography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Early_life">Early life</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=2" title="Edit section: Early life"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Gao was born Gao Weng (<span lang="zh">高嵡</span>) in Yuangang Township, <a href="/wiki/Panyu,_Guangzhou" title="Panyu, Guangzhou">Panyu County, Guangdong</a>,<sup id="cite_ref-FOOTNOTEZhu2017_1-0" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> on 13 June 1889. The family was poor, and his father Boxiang died in 1895; his mother followed two years later.<sup id="cite_ref-FOOTNOTEChu19816_2-0" class="reference"><a href="#cite_note-FOOTNOTEChu19816-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> A sickly child, Gao was sent to live with a relative.<sup id="cite_ref-FOOTNOTEChu19816_2-1" class="reference"><a href="#cite_note-FOOTNOTEChu19816-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> One of six brothers, he ultimately became the ward of his brother <a href="/wiki/Gao_Jianfu" title="Gao Jianfu">Jianfu</a> –  ten years his elder<sup id="cite_ref-FOOTNOTECroizier202316_3-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202316-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> –  and followed him into the arts.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>In his youth, Gao learned the water infusion and "<a href="/wiki/Mogu" title="Mogu">boneless</a>" painting techniques employed by <a href="/wiki/Ju_Lian" title="Ju Lian">Ju Lian</a>.<sup id="cite_ref-FOOTNOTEChu19816_2-2" class="reference"><a href="#cite_note-FOOTNOTEChu19816-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Sources disagree to the provenance of this knowledge. Gao Jianfu is known to have studied under Ju at his Xiaoyue Qin Pavilion,<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup> and thus he is often attributed as teaching them to his brother.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Others have suggested that Gao Qifeng studied directly with Ju.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>b<span class="cite-bracket">]</span></a></sup> No archival material has been found to support the latter scenario,<sup id="cite_ref-FOOTNOTELiang2022a_8-0" class="reference"><a href="#cite_note-FOOTNOTELiang2022a-8"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> and Ralph Croizier notes in his study of the <a href="/wiki/Lingnan_School" title="Lingnan School">Lingnan School</a> that, if true, Gao studied under Ju only briefly.<sup id="cite_ref-FOOTNOTECroizier202316_3-1" class="reference"><a href="#cite_note-FOOTNOTECroizier202316-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Gao attended a Christian school by the age of fourteen,<sup id="cite_ref-FOOTNOTECroizier202316_3-2" class="reference"><a href="#cite_note-FOOTNOTECroizier202316-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> and later converted to Christianity. In the mid-1900s, he took an apprenticeship with Pastor Wu Shiqing, painting lampshades at his Yongming Zhai glass shop. He later worked with Wu's brother Jinghun to open another storefront.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> As an adult, he took the <a href="/wiki/Courtesy_name" title="Courtesy name">courtesy name</a> Qifeng.<sup id="cite_ref-FOOTNOTEZhu2017_1-1" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> On his early paintings, he used the <a href="/wiki/Art_name" title="Art name">art name</a> Fei Pu (<span lang="zh">飞瀑</span>); the <a href="/wiki/Seals_in_the_Sinosphere" title="Seals in the Sinosphere">seal</a> with which he signed his paintings was marked Fei Pu Sketching.<sup id="cite_ref-FOOTNOTEZhu2017_1-2" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Artistic_career">Artistic career</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=3" title="Edit section: Artistic career"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1907, Gao travelled to Tokyo with his brother to further study art.<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-0" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> While Jianfu was enrolled at the <a href="/wiki/Tokyo_University_of_the_Arts" title="Tokyo University of the Arts">Tokyo School of Fine Arts</a>,<sup id="cite_ref-FOOTNOTECai2023_11-0" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Gao became a student of <a href="/wiki/Tanaka_Raisho" class="mw-redirect" title="Tanaka Raisho">Tanaka Raishō</a>;<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-1" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> he appears to have also drawn influence from artists such as <a href="/wiki/Takeuchi_Seih%C5%8D" title="Takeuchi Seihō">Takeuchi Seihō</a> and <a href="/wiki/Hashimoto_Kansetsu" title="Hashimoto Kansetsu">Hashimoto Kansetsu</a>. All of these artists promoted the <i><a href="/wiki/Nihonga" title="Nihonga">nihonga</a></i> style, which blended Western techniques with Japanese ones.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>c<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Through his studies, Gao learned Western approaches to <a href="/wiki/Perspective_(graphical)" title="Perspective (graphical)">perspective</a> and sketching<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-2" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> and became familiar with the works of the <a href="/wiki/Kyoto_school_(art)" title="Kyoto school (art)">Kyoto school</a>. He developed a style that blended these various influences, seeking to combine the <a href="/wiki/Realism_(art)" class="mw-redirect" title="Realism (art)">naturalism</a> of Western art with the <a href="/wiki/Lyricism" title="Lyricism">lyricism</a> and philosophy of traditional <a href="/wiki/Chinese_painting" title="Chinese painting">Chinese painting</a>.<sup id="cite_ref-FOOTNOTECai2023_11-1" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:The_True_Record_Vol_1,_No_12.jpg" class="mw-file-description"><img alt="A black-and-white image of a magazine cover depicting a tiger" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/80/The_True_Record_Vol_1%2C_No_12.jpg/170px-The_True_Record_Vol_1%2C_No_12.jpg" decoding="async" width="170" height="253" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/80/The_True_Record_Vol_1%2C_No_12.jpg/255px-The_True_Record_Vol_1%2C_No_12.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/80/The_True_Record_Vol_1%2C_No_12.jpg/340px-The_True_Record_Vol_1%2C_No_12.jpg 2x" data-file-width="790" data-file-height="1175" /></a><figcaption><i><a href="/wiki/The_True_Record" title="The True Record">The True Record</a></i>, with a cover illustration by Gao</figcaption></figure> <p>After returning to China in 1908,<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-3" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> the Gao brothers moved to <a href="/wiki/Nanhai,_Foshan" title="Nanhai, Foshan">Nanhai</a>.<sup id="cite_ref-FOOTNOTEChu19818_14-0" class="reference"><a href="#cite_note-FOOTNOTEChu19818-14"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Gao Qifeng became a teacher at the Nanhai Middle School, while also learning psychology and sociology, holding that the truth, goodness, and beauty of art could better address the <a href="/wiki/Human_condition" title="Human condition">human condition</a> with insight into the problems of society.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>d<span class="cite-bracket">]</span></a></sup> Teaching art, Gao believed, would allow the transmission of a better understanding of ethics and social conditions.<sup id="cite_ref-FOOTNOTECai2023_11-2" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In 1908, he donated several paintings to a fundraiser for flooding victims in western Guangdong.<sup id="cite_ref-FOOTNOTEUrban_Council198122_16-0" class="reference"><a href="#cite_note-FOOTNOTEUrban_Council198122-16"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>In Japan, the Gao brothers had joined the <a href="/wiki/Tongmenghui" title="Tongmenghui">Tongmenghui</a>, an organization established to overthrow the <a href="/wiki/Qing_dynasty" title="Qing dynasty">Qing dynasty</a>.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_17-0" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-17"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Gao Jianfu arranged the assassinations of several Qing leaders, with the death of General <a href="/wiki/Fengshan_(general)" title="Fengshan (general)">Fengshan</a> attributed to a painter whom he had recruited;<sup id="cite_ref-FOOTNOTEAndrewsShen201235_17-1" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-17"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Gao Qifeng may also have been involved in this cell,<sup id="cite_ref-FOOTNOTEWang2008_18-0" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> and his friend and fellow revolutionary <a href="/wiki/Wang_Jingwei" title="Wang Jingwei">Wang Jingwei</a> recalled him sleeping soundly in a room full of explosives.<sup id="cite_ref-FOOTNOTECroizier202363_19-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202363-19"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> After the <a href="/wiki/1911_Revolution" title="1911 Revolution">1911 Revolution</a>, the brothers were offered positions in the new <a href="/wiki/Republic_of_China_(1912%E2%80%931949)" title="Republic of China (1912–1949)">Republic of China</a> by Tongmenghui leader <a href="/wiki/Sun_Yat-sen" title="Sun Yat-sen">Sun Yat-sen</a>, but declined.<sup id="cite_ref-FOOTNOTEWang2008_18-1" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>Instead, the Gao brothers moved to <a href="/wiki/Shanghai" title="Shanghai">Shanghai</a> and established <i><a href="/wiki/The_True_Record" title="The True Record">The True Record</a></i>, a large-format magazine that consisted of pictures, paintings, cartoons, chronicle paintings, essays, reviews, and sketches.<sup id="cite_ref-FOOTNOTECai2023_11-3" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> This <a href="/wiki/Chinese_nationalism" title="Chinese nationalism">nationalist</a> magazine, subsidized in part by the new government,<sup id="cite_ref-FOOTNOTEChu199869_20-0" class="reference"><a href="#cite_note-FOOTNOTEChu199869-20"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> published seventeen issues between June 1912 and March or April 1913, with Gao Qifeng as the editor-in-chief.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> The Gaos believed that pictorials could best "arouse people's patriotic thoughts and support the order of social progress".<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>e<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWang2008_18-2" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> In essays, the brothers called for the creation of a new approach to art, as well as improvements in art education; other parts of the magazine offered news and social commentary.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_17-2" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-17"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> They also decried the increasingly authoritarian <a href="/wiki/Beiyang_government" title="Beiyang government">Beiyang government</a>.<sup id="cite_ref-FOOTNOTECai2023_11-4" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>Gao –  writing with Xie Yingbo and Ma Xiaojin –  published an article in 1913 implicating Provisional President <a href="/wiki/Yuan_Shikai" title="Yuan Shikai">Yuan Shikai</a> in the assassination of nationalist leader <a href="/wiki/Song_Jiaoren" title="Song Jiaoren">Song Jiaoren</a>. According to the writer <a href="/w/index.php?title=Cai_Dengshan&action=edit&redlink=1" class="new" title="Cai Dengshan (page does not exist)">Cai Dengshan</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://zh.wikipedia.org/wiki/%E8%94%A1%E7%99%BB%E5%B1%B1" class="extiw" title="zh:蔡登山">zh</a>]</span>, Yuan thus issued a warrant for their arrest, and Gao began a self-imposed exile in Japan.<sup id="cite_ref-FOOTNOTECai2023_11-5" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> This claim is not supported universally among scholars,<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>f<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWang2008_18-3" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> though Gao is thought to have spent time learning <a href="/wiki/Woodblock_printing_in_Japan" title="Woodblock printing in Japan">woodblock printing in Japan</a>.<sup id="cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-0" class="reference"><a href="#cite_note-FOOTNOTEAu,_Gao_Qifeng-24"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> As the decade continued and China's nascent democracy devolved into corruption and <a href="/wiki/Warlord_Era" title="Warlord Era">warlordism</a>, Jianfu grew disenchanted with politics; the art critic Li Yuzhong suggests that Qifeng was likely influenced by his brother in this regard.<sup id="cite_ref-FOOTNOTEWang2008_18-4" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>In the 1910s, the Gaos had established the Aesthetic Institute, a combined gallery, exhibition hall, and publishing house, in Shanghai.<sup id="cite_ref-FOOTNOTEZhu2017_1-3" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Through the bookstore, they sold reproductions of Chinese and Western paintings,<sup id="cite_ref-FOOTNOTEWang2008_18-5" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> including their own works.<sup id="cite_ref-FOOTNOTEAndrewsShen201235_17-3" class="reference"><a href="#cite_note-FOOTNOTEAndrewsShen201235-17"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> As the decade continued, Gao devoted himself exclusively to painting and teaching. He moved to Guangzhou in 1918 to lead the Art and Printmaking Department at the Class A Industrial School.<sup id="cite_ref-OC_25-0" class="reference"><a href="#cite_note-OC-25"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> He also established the Aesthetics Museum on Fuxue West Street.<sup id="cite_ref-FOOTNOTECai2023_11-6" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In 1925, Gao was made an honorary professor at <a href="/wiki/Lingnan_University_(Guangzhou)" title="Lingnan University (Guangzhou)">Lingnan University</a> (now part of <a href="/wiki/Sun_Yat-sen_University" title="Sun Yat-sen University">Sun Yat-sen University</a>).<sup id="cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-1" class="reference"><a href="#cite_note-FOOTNOTEAu,_Gao_Qifeng-24"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> He was provided land upon which he built a studio;<sup id="cite_ref-FOOTNOTECai2023_11-7" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> according to the curator Christina Chu, these were his most productive years.<sup id="cite_ref-FOOTNOTEChu198110_26-0" class="reference"><a href="#cite_note-FOOTNOTEChu198110-26"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>Through the 1920s, Gao gained increasing recognition for his artwork, and he was frequently featured in <i><a href="/wiki/The_Young_Companion" title="The Young Companion">The Young Companion</a></i>, a bilingual pictorial magazine published in Shanghai.<sup id="cite_ref-FOOTNOTEYin2013232_27-0" class="reference"><a href="#cite_note-FOOTNOTEYin2013232-27"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Prior to the construction of the <a href="/wiki/Sun_Yat-sen_Memorial_Hall_(Guangzhou)" title="Sun Yat-sen Memorial Hall (Guangzhou)">Sun Yat-sen Memorial Hall</a>, Gao was asked to contribute three of his works: <i>Sea Eagle</i> (<span lang="zh">海鷹</span>), <i>White Horse in the Autumn River</i> (<span lang="zh">秋江白馬</span>), and <i>Lion</i> (<span lang="zh">雄獅</span>); during his lifetime, <a href="/wiki/Sun_Yat-sen" title="Sun Yat-sen">Sun Yat-sen</a> had expressed a fondness for these paintings, none of which has survived.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Later_years_and_death">Later years and death</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=4" title="Edit section: Later years and death"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Tomb_of_Gao_Qifeng_2010-11.jpg" class="mw-file-description"><img alt="A tomb with a round top, located behind a stele on which a Chinese-language inscription is written" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Tomb_of_Gao_Qifeng_2010-11.jpg/170px-Tomb_of_Gao_Qifeng_2010-11.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Tomb_of_Gao_Qifeng_2010-11.jpg/255px-Tomb_of_Gao_Qifeng_2010-11.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Tomb_of_Gao_Qifeng_2010-11.jpg/340px-Tomb_of_Gao_Qifeng_2010-11.jpg 2x" data-file-width="2448" data-file-height="3264" /></a><figcaption>Gao's tomb at <a href="/wiki/Qixia_Mountain" title="Qixia Mountain">Qixia Mountain</a></figcaption></figure> <p>Around 1929, Gao fell ill with <a href="/wiki/Pneumonia" title="Pneumonia">pneumonia</a><sup id="cite_ref-FOOTNOTEChu199871_29-0" class="reference"><a href="#cite_note-FOOTNOTEChu199871-29"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> and removed himself from the city to recover, being admitted to the Zhujiang Nursing Home on <a href="/wiki/Ersha_Island" title="Ersha Island">Ersha Island</a> in the <a href="/wiki/Pearl_River" title="Pearl River">Pearl River</a>.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> After a year, Gao was released, choosing to establish the Tianfang Studio<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>g<span class="cite-bracket">]</span></a></sup> on the island to continue his work. There, he taught numerous students, with the seven most famous becoming known as the Tianfeng Seven.<sup id="cite_ref-FOOTNOTECai2023_11-8" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> However, Gao remained sickly, and his productivity suffered; he only made one trip, to <a href="/wiki/Guilin" title="Guilin">Guilin</a> in 1931, to find new inspirations and materials.<sup id="cite_ref-FOOTNOTEChu198111_32-0" class="reference"><a href="#cite_note-FOOTNOTEChu198111-32"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>In 1933, an exhibition of contemporary Chinese painting was scheduled in Berlin.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>h<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTELiang2022a_8-1" class="reference"><a href="#cite_note-FOOTNOTELiang2022a-8"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Gao was selected as a government representative,<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>i<span class="cite-bracket">]</span></a></sup> and asked to travel to Shanghai for a preliminary meeting.<sup id="cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-2" class="reference"><a href="#cite_note-FOOTNOTEAu,_Gao_Qifeng-24"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> On the ship from Guangzhou, Gao fell ill, and his fellow passenger <a href="/wiki/Ye_Gongchuo" title="Ye Gongchuo">Ye Gongchuo</a> sought medical attention. Gao was diagnosed with <a href="/wiki/Tuberculosis" title="Tuberculosis">tuberculosis</a>, and after the ship arrived in Shanghai he was brought to Dahua Hospital.<sup id="cite_ref-FOOTNOTECai2023_11-9" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>Gao died on 2 November 1933, aged 44. Before his death, he had asked that his artworks be donated to museums and that his Tianfeng Pavilion art studio be maintained as the Qifeng Painting Academy.<sup id="cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-3" class="reference"><a href="#cite_note-FOOTNOTEAu,_Gao_Qifeng-24"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Per his request, funeral preparations were handled by his student <a href="/wiki/Fan_Tchunpi" title="Fan Tchunpi">Fan Tchunpi</a>. A memorial service was held at the China Funeral Parlor on Haige Road (now Huashan Road), attended by artists such as <a href="/wiki/Chen_Shuren" title="Chen Shuren">Chen Shuren</a> and Ye Gongchuo, as well as politicians such as <a href="/wiki/Wang_Jingwei" title="Wang Jingwei">Wang Jingwei</a>, <a href="/wiki/Cai_Yuanpei" title="Cai Yuanpei">Cai Yuanpei</a>, and <a href="/wiki/Wu_Tiecheng" title="Wu Tiecheng">Wu Tiecheng</a>. Other tributes came from <a href="/wiki/Sun_Fo" title="Sun Fo">Sun Fo</a>, <a href="/wiki/Ju_Zheng" title="Ju Zheng">Ju Zheng</a>, and <a href="/wiki/Zhang_Ji_(revolutionary)" title="Zhang Ji (revolutionary)">Zhang Ji</a>.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> Gao's body was subsequently escorted by his student <a href="/wiki/Zhang_Kunyi" title="Zhang Kunyi">Zhang Kunyi</a> to Guangdong, where he was interred at the Christian Cemetery in <a href="/wiki/Haizhu,_Guangzhou" title="Haizhu, Guangzhou">Henan</a>; the national government contributed 2,000 <a href="/wiki/Yuan_(currency)" title="Yuan (currency)">yuan</a> (equivalent to ¥197,000 in 2019) to cover expenses.<sup id="cite_ref-FOOTNOTEWang2008_18-6" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>Zhang pushed for the state to give Gao recognition,<sup id="cite_ref-FOOTNOTEChen2009_36-0" class="reference"><a href="#cite_note-FOOTNOTEChen2009-36"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> finding support from numerous prominent politicians, including Sun Fo, Cai Yuanpei, and <a href="/wiki/Yu_Youren" title="Yu Youren">Yu Youren</a>. They petitioned for Gao to be reinterred closer to the national capital in <a href="/wiki/Nanjing" title="Nanjing">Nanjing</a>, arguing that he deserved the recognition due to his contributions to the country as well as his artistic skill.<sup id="cite_ref-FOOTNOTEWang2008_18-7" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This petition was heeded, and Gao was reinterred at <a href="/wiki/Qixia_Mountain" title="Qixia Mountain">Qixia Mountain</a> on 27 December 1936. A mausoleum was erected, as was a marker bearing an inscription by then-President <a href="/wiki/Lin_Sen" title="Lin Sen">Lin Sen</a>: "The Tomb of Mr. Gao Qifeng, the Sage of Painting".<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>j<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Relationships">Relationships</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=5" title="Edit section: Relationships"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Gao is recognized, together with his brother Jianfu and fellow Ju Lian student Chen Shuren, as a founder of the <a href="/wiki/Lingnan_School" title="Lingnan School">Lingnan School</a> of painting.<sup id="cite_ref-FOOTNOTEYin2013232_27-1" class="reference"><a href="#cite_note-FOOTNOTEYin2013232-27"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> All three shared similar backgrounds, and drew on Western influences in their art,<sup id="cite_ref-FOOTNOTEWang2008_18-8" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> believing that synthesis was necessary to preserve Chinese tradition while creating a new style of "national painting" suited for modern times.<sup id="cite_ref-FOOTNOTEAndrews199412_39-0" class="reference"><a href="#cite_note-FOOTNOTEAndrews199412-39"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> Among Gao's students were Zhang Kunyi, Zhou Yifeng, Ye Shaobing, He Qiyuan, Rong Shushi, <a href="/wiki/Huang_Shaoqiang" title="Huang Shaoqiang">Huang Shaoqiang</a>, and <a href="/wiki/Chao_Shao-an" title="Chao Shao-an">Chao Shao-an</a>. These students, later known as the Tianfeng Seven as they had studied at the studio, continued to spread the influence of the Lingnan School.<sup id="cite_ref-FOOTNOTEZhu2017_1-4" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Several of them later settled in <a href="/wiki/Hong_Kong" title="Hong Kong">Hong Kong</a> and <a href="/wiki/Macau" title="Macau">Macau</a>, bringing the school and its teachings to these territories.<sup id="cite_ref-FOOTNOTEChu199875_40-0" class="reference"><a href="#cite_note-FOOTNOTEChu199875-40"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Gao had five brothers: Guiting (<span lang="zh">桂庭</span>), Lingsheng (<span lang="zh">灵生</span>), Guantian (<span lang="zh">冠天</span>), Jianfu (<span lang="zh">剑父</span>), and Jianseng (<span lang="zh">剑僧</span>);<sup id="cite_ref-FOOTNOTECai2023_11-10" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Lingsheng had been born to Gao Boxiang's second wife.<sup id="cite_ref-FOOTNOTEChu19816_2-3" class="reference"><a href="#cite_note-FOOTNOTEChu19816-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Guantian had been a partner in the Aesthetic Institute, though he was not an artist.<sup id="cite_ref-FOOTNOTECroizier202364_41-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202364-41"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Another brother, Jianseng, travelled to Japan in 1911, and as with Qifeng and Jianfu developed a style that blended Japanese, Western, and traditional Chinese art.<sup id="cite_ref-FOOTNOTECroizier202327_42-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202327-42"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> He died in 1916, not having gained the same prestige.<sup id="cite_ref-FOOTNOTECroizier2023116_43-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023116-43"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Gao married the <a href="/wiki/Suzhou" title="Suzhou">Suzhou</a>-born Yang Cuixing in 1915 and had a daughter named Liandi the following year. The marriage ended in 1921 when Gao's wife took their daughter and left.<sup id="cite_ref-FOOTNOTEUrban_Council198122_16-1" class="reference"><a href="#cite_note-FOOTNOTEUrban_Council198122-16"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Cai Dengshan attributes this to Gao's devoting himself entirely to art.<sup id="cite_ref-FOOTNOTECai2023_11-11" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>Gao had a close relationship with his student Zhang Kunyi, who has been described as his goddaughter<sup id="cite_ref-FOOTNOTEYin2013214_44-0" class="reference"><a href="#cite_note-FOOTNOTEYin2013214-44"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> or adopted daughter,<sup id="cite_ref-FOOTNOTECai2023_11-12" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> but was also rumoured to have been his lover.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>k<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWang2008_18-9" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Gao dedicated several paintings to her in the late 1920s.<sup id="cite_ref-FOOTNOTECroizier2023107_46-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023107-46"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> She, meanwhile, moved in with Gao despite being married.<sup id="cite_ref-FOOTNOTESullivan199655_47-0" class="reference"><a href="#cite_note-FOOTNOTESullivan199655-47"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> After he became ill, she tended to him, handled the housework, and studied art under him.<sup id="cite_ref-FOOTNOTECai2023_11-13" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Cai Dengshan writes that, after Gao's death, Zhang was so distraught that she mixed her tears with powder to paint <a href="/wiki/Plum_blossom" class="mw-redirect" title="Plum blossom">plum blossoms</a>, using her own blood for the <a href="/wiki/Sepal" title="Sepal">sepals</a>; he attributes this to <a href="/wiki/Filial_piety" title="Filial piety">filial piety</a>.<sup id="cite_ref-FOOTNOTECai2023_11-14" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Gao Jianfu's student Zheng Danran recalled that the Gao brothers had a falling out, which he attributed to Qifeng's relationship with Zhang.<sup id="cite_ref-FOOTNOTEWang2008_18-10" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> In the 1940s, Zhang arranged for ninety of Gao's works to be brought on a touring exhibition through the United States and Canada.<sup id="cite_ref-FOOTNOTEChen2009_36-1" class="reference"><a href="#cite_note-FOOTNOTEChen2009-36"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Analysis">Analysis</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=6" title="Edit section: Analysis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Comparison_with_other_Lingnan_founders">Comparison with other Lingnan founders</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=7" title="Edit section: Comparison with other Lingnan founders"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Stylistically, Gao Qifeng had many similarities with Gao Jianfu and Chen Shuren, the other founders of the Lingnan School. All three had learned the techniques of Ju Lian, and all three had spent time in Japan learning Japanese and Western approaches to painting. Collectively, these artists sought a balance between innovation and tradition, absorbing new ideas while keeping Chinese techniques foundational.<sup id="cite_ref-FOOTNOTECai2023_11-15" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In their early years, the Gaos both drew extensively from contemporary Japanese art,<sup id="cite_ref-FOOTNOTEGu2013138_48-0" class="reference"><a href="#cite_note-FOOTNOTEGu2013138-48"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> with Croizier noting "strong stylistic evidence" that Gao Qifeng had attended the <a href="/wiki/Japan_Fine_Arts_Exhibition" title="Japan Fine Arts Exhibition">Japan Fine Arts Exhibition</a> and imitated works presented therein.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>l<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECroizier202338–41_50-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202338–41-50"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> All embraced, to varying extents, the "boneless" technique.<sup id="cite_ref-FOOTNOTECroizierLiang2022_51-0" class="reference"><a href="#cite_note-FOOTNOTECroizierLiang2022-51"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> Likewise, all produced works that combined traditional Chinese techniques with Western understandings of perspective and <a href="/wiki/Chiaroscuro" title="Chiaroscuro">chiaroscuro</a>, thereby blending romanticism and realism.<sup id="cite_ref-FOOTNOTECroizierLiang2022_51-1" class="reference"><a href="#cite_note-FOOTNOTECroizierLiang2022-51"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Gao,_Qifeng;_The_Roar_of_the_Night;_Dated_1916.jpg" class="mw-file-description"><img alt="A long painting of a tiger, its head held high as it seems to snarl" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg/170px-Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg" decoding="async" width="170" height="355" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg/255px-Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg/340px-Gao%2C_Qifeng%3B_The_Roar_of_the_Night%3B_Dated_1916.jpg 2x" data-file-width="3110" data-file-height="6499" /></a><figcaption><i>The Roar of the Night</i> (1916); Gao has been noted for his paintings of tigers</figcaption></figure> <p>They also had their individual styles, with Chen remarking to Jianfu, "You partake of the strange and marvelous; I of the orthodox; Mr. Qifeng maintains a middle position."<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>m<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECroizier2023117_53-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023117-53"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Cai Dengshan agrees, writing that, where Jianfu employed a majestic and innovative approach and Chen's style was dignified and elegant, Qifeng balanced the strengths of both of his peers.<sup id="cite_ref-FOOTNOTECai2023_11-16" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Similarly, Li notes that Gao blended the vigour of his brother's brushstrokes with the elegance of Chen's.<sup id="cite_ref-FOOTNOTEWang2008_18-11" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Croizier writes that, of the three, Gao Qifeng was the most strongly influenced by their Japanese training, with a proclivity for broad ink washes and strong tonal contrasts reminiscent of the <a href="/wiki/Shij%C5%8D_school" title="Shijō school">Shijō school</a>.<sup id="cite_ref-FOOTNOTECroizier202373_54-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202373-54"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> Each artist favoured different subjects, with Gao Qifeng being best known for his beasts, Gao Jianfu for his <a href="/wiki/Landscape_painting" title="Landscape painting">landscapes</a>, and Chen for his <a href="/wiki/Bird-and-flower_painting" title="Bird-and-flower painting">bird-and-flower scenes</a>.<sup id="cite_ref-FOOTNOTECroizierLiang2022_51-2" class="reference"><a href="#cite_note-FOOTNOTECroizierLiang2022-51"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>Gao Qifeng's works tend to fetch higher prices than those of the other Lingnan masters. As of 2014<sup class="plainlinks noexcerpt noprint asof-tag update" style="display:none;"><a class="external text" href="https://en.wikipedia.org/w/index.php?title=Gao_Qifeng&action=edit">[update]</a></sup>, his most expensive painting is <i>Lion</i> (<span lang="zh">雄狮</span>, 1915), which was sold by <a href="/wiki/China_Guardian" title="China Guardian">China Guardian</a> in 2010 for 6.72 million <a href="/wiki/Renminbi" title="Renminbi">yuan</a> (US$993,000).<sup id="cite_ref-FOOTNOTELu2014_55-0" class="reference"><a href="#cite_note-FOOTNOTELu2014-55"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> At <a href="/wiki/Sotheby%27s" title="Sotheby's">Sotheby's Hong Kong</a> in 2004, his <i>Four Landscape Screens</i> (<span lang="zh">山水四屏</span>) sold for 3.982 million <a href="/wiki/Hong_Kong_dollars" class="mw-redirect" title="Hong Kong dollars">Hong Kong dollars</a> (US$511,300). That same year, <a href="/wiki/Beijing_Hanhai" title="Beijing Hanhai">Beijing Hanhai</a> sold Gao's <i>Pine and Monkey</i> (<span lang="zh">松猿图</span>) for 1.32 million yuan (US$159,000).<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> The higher auction prices of Gao's works may be attributed, at least in part, to their relative paucity compared to those of his longer-lived peers.<sup id="cite_ref-FOOTNOTEWang2008_18-12" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Style">Style</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=8" title="Edit section: Style"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Regarding his approach to painting, Gao narrated: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>I [...] picked out the finest points of Western art, such as the masterful strokes of the pen, composition, inking, coloring, inspiring background, poetic romance, etc. and applied them to my Chinese techniques. In short, I tried to retain what was exquisite in the Chinese art of painting, and at the same time to adopt the best methods of composition which the world's art schools had to offer, thereby blending the East and the West into a harmonious whole.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>n<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEChu199867–68_58-0" class="reference"><a href="#cite_note-FOOTNOTEChu199867–68-58"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>As with his peers, Gao drew from diverse sources. His paintings show the influence of Ju Lian and his relative <a href="/wiki/Ju_Chao" title="Ju Chao">Chao</a>, though not as prominently as in those of Gao Jianfu.<sup id="cite_ref-FOOTNOTEZhu2017_1-5" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> These influences are most evident in his earliest works, which employ water infusion and the "boneless" technique while leaving the backgrounds as <a href="/wiki/Negative_space" title="Negative space">negative space</a>.<sup id="cite_ref-FOOTNOTEChu19816_2-4" class="reference"><a href="#cite_note-FOOTNOTEChu19816-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> After his interactions with the <i>nihonga</i> school, Gao began to blend traditional Chinese approaches to painting with foreign ones, sketching his subjects before rendering them with ink and colour.<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-4" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> His use of light and shadow reflects Japanese tradition, while his understandings of geometry and perspective draw from Western ones.<sup id="cite_ref-FOOTNOTEZhu2017_1-6" class="reference"><a href="#cite_note-FOOTNOTEZhu2017-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Gao's later works employed a more freehand approach,<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-5" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> with the paintings produced after his illness being described as direct and straightforward, with reduced narrative and little diversity in colour.<sup id="cite_ref-FOOTNOTECai2023_11-17" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> According to Croizier, they appear rougher yet more intimate, with meticulous detail giving way to more spontaneous imagery.<sup id="cite_ref-FOOTNOTECroizier2023118_59-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023118-59"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>According to Li Gongming of the <a href="/wiki/Guangzhou_Academy_of_Fine_Arts" title="Guangzhou Academy of Fine Arts">Guangzhou Academy of Fine Arts</a>, Gao favoured vigorous yet delicate brushwork and vivid images.<sup id="cite_ref-FOOTNOTEWang2008_18-13" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> He used these primarily to depict flora and fauna in a naturalistic manner; his depictions of eagles, lions, and tigers are particularly celebrated. Li Yuzhong suggests that Gao's angry lions and roaring tigers evoke a "bold and unyielding spirit",<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>o<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWang2008_18-14" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> while Sun Yat-sen deemed his depictions of animals to reflect a revolutionary spirit.<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-6" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Croizier describes Gao as the Lingnan School's premiere painter of tigers, employing a painstaking realism that implies a deep absorption of <a href="/wiki/Meiji-era" class="mw-redirect" title="Meiji-era">Meiji-era</a> techniques,<sup id="cite_ref-FOOTNOTECroizier202340_61-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202340-61"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> though he also showed great skill with large birds.<sup id="cite_ref-FOOTNOTECroizier202378_62-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202378-62"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>Landscapes and figures are also attested in Gao's oeuvre.<sup id="cite_ref-FOOTNOTEGuangdong_Museum2017_10-7" class="reference"><a href="#cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Several works depict moonlit nights and winter snows, which Cai Dengshan describes as often having a "delicate, graceful, crystal clear, and clean charm".<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>p<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECai2023_11-18" class="reference"><a href="#cite_note-FOOTNOTECai2023-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> However, pure landscapes are rare, as Gao's images of trees –  some of which were completed with the assistance of his brother<sup id="cite_ref-FOOTNOTEWang2008_18-15" class="reference"><a href="#cite_note-FOOTNOTEWang2008-18"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> –  and riverbanks are used as settings for animal subjects. "Boneless" colour washes are common in these works.<sup id="cite_ref-FOOTNOTECroizier202376_64-0" class="reference"><a href="#cite_note-FOOTNOTECroizier202376-64"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> His figures, meanwhile, are mostly religious, and include holy figures such as <a href="/wiki/Bodhidharma" title="Bodhidharma">Bodhidharma</a>,<sup id="cite_ref-FOOTNOTECroizier2023102_65-0" class="reference"><a href="#cite_note-FOOTNOTECroizier2023102-65"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> though a portrait of the poet <a href="/wiki/Li_Bai" title="Li Bai">Li Bai</a> after <a href="/wiki/Liang_Kai" title="Liang Kai">Liang Kai</a> is known.<sup id="cite_ref-FOOTNOTEChu198110_26-1" class="reference"><a href="#cite_note-FOOTNOTEChu198110-26"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="Gallery">Gallery</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=9" title="Edit section: Gallery"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 153.33333333333px"> <div class="thumb" style="width: 151.33333333333px;"><span typeof="mw:File"><a href="/wiki/File:%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg" class="mw-file-description" title="Deer (undated)"><img alt="A painting of two deer; the stag stands with head held high, while the doe grazes." src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg/227px-%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg" decoding="async" width="152" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg/341px-%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c9/%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg/454px-%E9%AB%98%E5%A5%87%E5%B3%B0_%E9%B9%BF.jpg 2x" data-file-width="1263" data-file-height="2500" /></a></span></div> <div class="gallerytext"><i>Deer</i> (undated)</div> </li> <li class="gallerybox" style="width: 164px"> <div class="thumb" style="width: 162px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg" class="mw-file-description" title="White Horse (undated)"><img alt="A painting of a white horse standing underneath a tree, leaves falling around it" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg/243px-Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg" decoding="async" width="162" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg/364px-Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg/485px-Gao_Qifeng_-_White_horse_-_Google_Art_Project.jpg 2x" data-file-width="1594" data-file-height="2954" /></a></span></div> <div class="gallerytext"><i>White Horse</i> (undated)</div> </li> <li class="gallerybox" style="width: 152.66666666667px"> <div class="thumb" style="width: 150.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng,_Two_Geese_in_Reed_Fields_(1916).jpg" class="mw-file-description" title="Two Geese in Reed Fields (1916)"><img alt="A painting of two geese, one pecking the ground and the other walking away" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg/226px-Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg" decoding="async" width="151" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg/340px-Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg/453px-Gao_Qifeng%2C_Two_Geese_in_Reed_Fields_%281916%29.jpg 2x" data-file-width="912" data-file-height="1810" /></a></span></div> <div class="gallerytext"><i>Two Geese in Reed Fields</i> (1916)</div> </li> <li class="gallerybox" style="width: 158.66666666667px"> <div class="thumb" style="width: 156.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg" class="mw-file-description" title="Snow in the Wu Ravine (1916)"><img alt="A painting of two monkeys, one hanging from a branch and the other climbing; behind them are white cliffs." src="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg/235px-Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg" decoding="async" width="157" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg/352px-Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/27/Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg/470px-Gao_Qifeng._Snow_in_the_Wu_Ravine._1916._Hong_Kong_Museum_of_Art.jpg 2x" data-file-width="740" data-file-height="1417" /></a></span></div> <div class="gallerytext"><i>Snow in the Wu Ravine</i> (1916)</div> </li> <li class="gallerybox" style="width: 144px"> <div class="thumb" style="width: 142px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng,_Monkey_on_a_Pine_Tree_(1917).jpg" class="mw-file-description" title="Monkey on a Pine Tree (1917)"><img alt="A painting of a monkey hanging from a pine tree" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg/213px-Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg" decoding="async" width="142" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg/320px-Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg/427px-Gao_Qifeng%2C_Monkey_on_a_Pine_Tree_%281917%29.jpg 2x" data-file-width="837" data-file-height="1765" /></a></span></div> <div class="gallerytext"><i>Monkey on a Pine Tree</i> (1917)</div> </li> <li class="gallerybox" style="width: 142px"> <div class="thumb" style="width: 140px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng,_Pear_Blossoms_and_Two_Doves_(1927).jpg" class="mw-file-description" title="Pear Blossoms and Two Doves (1927)"><img alt="A painting of two birds nestled together on the branch of a pear tree" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg/210px-Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg" decoding="async" width="140" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg/316px-Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg/421px-Gao_Qifeng%2C_Pear_Blossoms_and_Two_Doves_%281927%29.jpg 2x" data-file-width="843" data-file-height="1801" /></a></span></div> <div class="gallerytext"><i>Pear Blossoms and Two Doves</i> (1927)</div> </li> <li class="gallerybox" style="width: 126.66666666667px"> <div class="thumb" style="width: 124.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg" class="mw-file-description" title="Woodpecker (1927)"><img alt="A painting of a woodpecker on a tree branch" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/db/%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg/187px-%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg" decoding="async" width="125" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/db/%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg/281px-%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/db/%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg/374px-%E8%BF%91%E4%BB%A3_%E9%AB%98%E5%A5%87%E5%B3%B0_%E5%95%84%E6%9C%A8%E9%B3%A5_%E8%BB%B8-Woodpecker_MET_DT8393.jpg 2x" data-file-width="832" data-file-height="2000" /></a></span></div> <div class="gallerytext"><i>Woodpecker</i> (1927)</div> </li> <li class="gallerybox" style="width: 110px"> <div class="thumb" style="width: 108px;"><span typeof="mw:File"><a href="/wiki/File:Gao_Qifeng,_Angry_Lion_(1927).jpg" class="mw-file-description" title="Angry Lion (1927)"><img alt="A painting of a lion, fangs bared and claw raised to strike" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Gao_Qifeng%2C_Angry_Lion_%281927%29.jpg/250px-Gao_Qifeng%2C_Angry_Lion_%281927%29.jpg" decoding="async" width="108" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Gao_Qifeng%2C_Angry_Lion_%281927%29.jpg/330px-Gao_Qifeng%2C_Angry_Lion_%281927%29.jpg 2x" data-file-width="2880" data-file-height="7991" /></a></span></div> <div class="gallerytext"><i>Angry Lion</i> (1927)</div> </li> </ul> <div class="mw-heading mw-heading2"><h2 id="Explanatory_notes">Explanatory notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=10" title="Edit section: Explanatory notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier (2023</a>, p. 16) translates this as Hall of the Whispering Lute.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">As an example, <a href="#CITEREFCroizier2023">Croizier (2023</a>, p. 16) provides the <i><a href="/wiki/Biographical_Dictionary_of_Republican_China" title="Biographical Dictionary of Republican China">Biographical Dictionary of Republican China</a></i>; Ou Haonian of the <a href="/wiki/Lingnan_Fine_Arts_Museum" title="Lingnan Fine Arts Museum">Lingnan Fine Arts Museum</a> also indicates that Gao Qifeng studied directly under Ju Lian (<a href="#CITEREFAu,_Gao_Qifeng">Au, Gao Qifeng</a>).</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Contemporary art discourse in <a href="/wiki/Meiji_Japan" class="mw-redirect" title="Meiji Japan">Meiji Japan</a> was divided between <i><a href="/wiki/Y%C5%8Dga" title="Yōga">yōga</a></i>, which advocated for high levels of Western-style realism, and <i>nihonga</i>, which sought to blend realism with traditional elements. Gao Jianfu joined art societies associated with both styles (<a href="#CITEREFChu1981">Chu 1981</a>, p. 7).</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu (1981</a>, p. 8) quotes Gao as saying, "In our endeavour to learn how to paint ... we must not only equip ourselves with a useful knowledge about anatomy, colouring, light and shade, philosophy, nature, the <a href="/wiki/Six_principles_of_Chinese_painting" title="Six principles of Chinese painting">six principles</a> handed down by ancient artists, and the development of the art, but must also conduct adequate researches into the realm of psychology and sociology in order that we may gain a clear idea of what is most adapted to the present needs of society. We can then make use of the principle of vividness, naturalness, and beautifulness and turn out such inspiring and allegorical pictures as will tend to blot out the blemishes of society." Translation by Chu.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢唤起人群爱国之思想，扶植社会进行之秩序｣</span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Gao's Japanese exile is also mentioned by the <a href="/wiki/Hong_Kong_Museum_of_Art" title="Hong Kong Museum of Art">Hong Kong Museum of Art</a> (<a href="#CITEREFUrban_Council1981">Urban Council 1981</a>, p. 22) and <a href="#CITEREFLiang2022b">Liang (2022b)</a>. Liang and Cai differ, however, on the year of Gao's return to China. <a href="#CITEREFLiang2022b">Liang (2022b)</a> suggests that Gao returned to China in early 1914, while <a href="#CITEREFCai2023">Cai (2023)</a> asserts that he only returned after Yuan Shikai's death in 1916.</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Also "Pavilion". Tianfang translates to "Heavenly Breeze" (<a href="#CITEREFHKHM,_The_Heavenly_Breeze">HKHM, The Heavenly Breeze</a>) or "Heavenly Wind" (<a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 86).</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Titled the <span title="German-language text"><i lang="de">Ausstellung Chinesische Malerei der Gegenwart</i></span> ("Exhibition of Contemporary Chinese Painting") (<a href="#CITEREFLiang2022a">Liang 2022a</a>), this was one of several events highlighting Chinese painting that were organized in Europe between 1931 and 1935; others were held in Frankfurt (1931), Paris (1933), and London (1935) (<a href="#CITEREFSu2021">Su 2021</a>, p. 144).</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Other representatives included <a href="/wiki/Xu_Beihong" title="Xu Beihong">Xu Beihong</a>, <a href="/wiki/Chen_Shuren" title="Chen Shuren">Chen Shuren</a>, <a href="/wiki/Liu_Haisu" title="Liu Haisu">Liu Haisu</a>, and <a href="/wiki/Ye_Gongchuo" title="Ye Gongchuo">Ye Gongchuo</a> (<a href="#CITEREFCai2023">Cai 2023</a>). Liu was the primary organizer (<a href="#CITEREFSu2021">Su 2021</a>, p. 136).</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢畫聖高奇峰先生之墓｣</span></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Chen Jianying, writing for the <i><a href="/wiki/Southern_Metropolis_Daily" title="Southern Metropolis Daily">Southern Metropolis Daily</a></i>, suggests that they had intended to marry in 1933. At the time, <a href="/wiki/Cohabitation" title="Cohabitation">cohabitation</a> was not considered socially acceptable, and thus a premarital relationship would have been scandalous (<a href="#CITEREFChen2009">Chen 2009</a>).</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">The brothers produced copies of several Japanese works, with Gao Qifeng's <i>Two Water Buffaloes</i> drawing extensively from a 1909 painting by Hikida Hoshö (<a href="#CITEREFCroizier2023">Croizier 2023</a>, pp. 38–41). The practice of copying has a lengthy history in Chinese art, being considered one of the <a href="/wiki/Six_principles_of_Chinese_painting" title="Six principles of Chinese painting">six principles of Chinese painting</a>. It was understood that, by imitating the works of their predecessors, artists would simultaneously preserve earlier artworks and draw from the experiences, pictorial vocabulary, and insight of acknowledged masters (<a href="#CITEREFSullivan1961">Sullivan 1961</a>, pp. 98–99). Gao Jianfu explicitly extended this principle to foreign works, arguing that the principle originally referred to the copying of Indian works that were transmitted to China together with the spread of Buddhism (<a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 198).</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Translation by <a href="#CITEREFCroizier2023">Croizier (2023</a>, p. 117).</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Gao provided this explanation during one of his courses at Lingnan University. It is recorded in <i>Collected Paintings by the Late Gao Qifeng</i> (<span lang="zh">高奇峰先生遺畫集</span>, 1935). Translation by <a href="#CITEREFChu1998">Chu (1998</a>, pp. 67–68)</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢了豪放不屈的气魄｣</span></span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Original: <span lang="zh">｢景物常有一种清丽秀润、晶莹光洁的意韵｣</span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=11" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626" /><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-FOOTNOTEZhu2017-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEZhu2017_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEZhu2017_1-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFZhu2017">Zhu 2017</a>.</span> </li> <li id="cite_note-FOOTNOTEChu19816-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChu19816_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu19816_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu19816_2-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu19816_2-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu19816_2-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 6.</span> </li> <li id="cite_note-FOOTNOTECroizier202316-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECroizier202316_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECroizier202316_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTECroizier202316_3-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 16.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 6; <a href="#CITEREFGuangdong_Museum2017">Guangdong Museum 2017</a></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">See, for example, <a href="#CITEREFChu1981">Chu (1981</a>, p. 6) and <a href="#CITEREFCroizier2023">Croizier (2023</a>, p. 16)</span> </li> <li id="cite_note-FOOTNOTELiang2022a-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTELiang2022a_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTELiang2022a_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFLiang2022a">Liang 2022a</a>.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>; <a href="#CITEREFChu1981">Chu 1981</a>, p. 7; <a href="#CITEREFChu1998">Chu 1998</a>, p. 67</span> </li> <li id="cite_note-FOOTNOTEGuangdong_Museum2017-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGuangdong_Museum2017_10-7"><sup><i><b>h</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGuangdong_Museum2017">Guangdong Museum 2017</a>.</span> </li> <li id="cite_note-FOOTNOTECai2023-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECai2023_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-16"><sup><i><b>q</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-17"><sup><i><b>r</b></i></sup></a> <a href="#cite_ref-FOOTNOTECai2023_11-18"><sup><i><b>s</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 7; <a href="#CITEREFChu1998">Chu 1998</a>, p. 67; <a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 41</span> </li> <li id="cite_note-FOOTNOTEChu19818-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu19818_14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 8.</span> </li> <li id="cite_note-FOOTNOTEUrban_Council198122-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEUrban_Council198122_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEUrban_Council198122_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFUrban_Council1981">Urban Council 1981</a>, p. 22.</span> </li> <li id="cite_note-FOOTNOTEAndrewsShen201235-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEAndrewsShen201235_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAndrewsShen201235_17-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFAndrewsShen2012">Andrews & Shen 2012</a>, p. 35.</span> </li> <li id="cite_note-FOOTNOTEWang2008-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEWang2008_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWang2008_18-15"><sup><i><b>p</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWang2008">Wang 2008</a>.</span> </li> <li id="cite_note-FOOTNOTECroizier202363-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202363_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 63.</span> </li> <li id="cite_note-FOOTNOTEChu199869-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu199869_20-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, p. 69.</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><a href="#CITEREFFloriani2023">Floriani 2023</a>, p. 224; <a href="#CITEREFLiang2022b">Liang 2022b</a></span> </li> <li id="cite_note-FOOTNOTEAu,_Gao_Qifeng-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEAu,_Gao_Qifeng_24-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFAu,_Gao_Qifeng">Au, Gao Qifeng</a>.</span> </li> <li id="cite_note-OC-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-OC_25-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>; <a href="#CITEREFAu,_Gao_Qifeng">Au, Gao Qifeng</a></span> </li> <li id="cite_note-FOOTNOTEChu198110-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChu198110_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChu198110_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 10.</span> </li> <li id="cite_note-FOOTNOTEYin2013232-27"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEYin2013232_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEYin2013232_27-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFYin2013">Yin 2013</a>, p. 232.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, p. 70; <a href="#CITEREFCroizierLiang2022">Croizier & Liang 2022</a>; <a href="#CITEREFAu,_Gao_Qifeng">Au, Gao Qifeng</a></span> </li> <li id="cite_note-FOOTNOTEChu199871-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu199871_29-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, p. 71.</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>; <a href="#CITEREFZhu2017">Zhu 2017</a>; <a href="#CITEREFHKHM,_The_Heavenly_Breeze">HKHM, The Heavenly Breeze</a></span> </li> <li id="cite_note-FOOTNOTEChu198111-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu198111_32-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1981">Chu 1981</a>, p. 11.</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text"><a href="#CITEREFCai2023">Cai 2023</a>; <a href="#CITEREFLiang2022a">Liang 2022a</a></span> </li> <li id="cite_note-FOOTNOTEChen2009-36"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEChen2009_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEChen2009_36-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFChen2009">Chen 2009</a>.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><a href="#CITEREFLiang2022a">Liang 2022a</a>; <a href="#CITEREFAu,_Gao_Qifeng">Au, Gao Qifeng</a></span> </li> <li id="cite_note-FOOTNOTEAndrews199412-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAndrews199412_39-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAndrews1994">Andrews 1994</a>, p. 12.</span> </li> <li id="cite_note-FOOTNOTEChu199875-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu199875_40-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, p. 75.</span> </li> <li id="cite_note-FOOTNOTECroizier202364-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202364_41-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 64.</span> </li> <li id="cite_note-FOOTNOTECroizier202327-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202327_42-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 27.</span> </li> <li id="cite_note-FOOTNOTECroizier2023116-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023116_43-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 116.</span> </li> <li id="cite_note-FOOTNOTEYin2013214-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEYin2013214_44-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFYin2013">Yin 2013</a>, p. 214.</span> </li> <li id="cite_note-FOOTNOTECroizier2023107-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023107_46-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 107.</span> </li> <li id="cite_note-FOOTNOTESullivan199655-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESullivan199655_47-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSullivan1996">Sullivan 1996</a>, p. 55.</span> </li> <li id="cite_note-FOOTNOTEGu2013138-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGu2013138_48-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGu2013">Gu 2013</a>, p. 138.</span> </li> <li id="cite_note-FOOTNOTECroizier202338–41-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202338–41_50-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, pp. 38–41.</span> </li> <li id="cite_note-FOOTNOTECroizierLiang2022-51"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTECroizierLiang2022_51-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTECroizierLiang2022_51-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTECroizierLiang2022_51-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCroizierLiang2022">Croizier & Liang 2022</a>.</span> </li> <li id="cite_note-FOOTNOTECroizier2023117-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023117_53-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 117.</span> </li> <li id="cite_note-FOOTNOTECroizier202373-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202373_54-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 73.</span> </li> <li id="cite_note-FOOTNOTELu2014-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELu2014_55-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLu2014">Lu 2014</a>.</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><a href="#CITEREFLu2014">Lu 2014</a>; <a href="#CITEREFWang2008">Wang 2008</a></span> </li> <li id="cite_note-FOOTNOTEChu199867–68-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEChu199867–68_58-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChu1998">Chu 1998</a>, pp. 67–68.</span> </li> <li id="cite_note-FOOTNOTECroizier2023118-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023118_59-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 118.</span> </li> <li id="cite_note-FOOTNOTECroizier202340-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202340_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 40.</span> </li> <li id="cite_note-FOOTNOTECroizier202378-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202378_62-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 78.</span> </li> <li id="cite_note-FOOTNOTECroizier202376-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier202376_64-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 76.</span> </li> <li id="cite_note-FOOTNOTECroizier2023102-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECroizier2023102_65-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCroizier2023">Croizier 2023</a>, p. 102.</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Works_cited">Works cited</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=12" title="Edit section: Works cited"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 40em"> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFGuangdong_Museum2017" class="citation web cs1 cs1-prop-script cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20231203001455/https://www.gdmoa.org/Public_Education/Collection_Learning/artist_story/201709/t20170924_14459.shtml"><bdi lang="zh">【广东美术百年21大家】高奇峰</bdi></a> [21 Fine Arts Masters from Guangdong in the Past 100 Years: Gao Qifeng] (in Chinese). Guangdong Museum. 24 September 2017. Archived from <a rel="nofollow" class="external text" href="https://www.gdmoa.org/Public_Education/Collection_Learning/artist_story/201709/t20170924_14459.shtml">the original</a> on 3 December 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%E3%80%90%E5%B9%BF%E4%B8%9C%E7%BE%8E%E6%9C%AF%E7%99%BE%E5%B9%B421%E5%A4%A7%E5%AE%B6%E3%80%91%E9%AB%98%E5%A5%87%E5%B3%B0&rft.pub=Guangdong+Museum&rft.date=2017-09-24&rft_id=https%3A%2F%2Fwww.gdmoa.org%2FPublic_Education%2FCollection_Learning%2Fartist_story%2F201709%2Ft20170924_14459.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAndrews1994" class="citation book cs1">Andrews, Julia F. (1994). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=h3kDsTxGSJMC"><i>Painters and Politics in the People's Republic of China, 1949–1979</i></a>. Berkeley: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-07981-6" title="Special:BookSources/978-0-520-07981-6"><bdi>978-0-520-07981-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Painters+and+Politics+in+the+People%27s+Republic+of+China%2C+1949%26ndash%3B1979&rft.place=Berkeley&rft.pub=University+of+California+Press&rft.date=1994&rft.isbn=978-0-520-07981-6&rft.aulast=Andrews&rft.aufirst=Julia+F.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dh3kDsTxGSJMC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAndrewsShen2012" class="citation book cs1">Andrews, Julia F.; Shen, Kuiyi (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Ks0lDQAAQBAJ"><i>The Art of Modern China</i></a>. Berkeley: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-23814-5" title="Special:BookSources/978-0-520-23814-5"><bdi>978-0-520-23814-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Modern+China&rft.place=Berkeley&rft.pub=University+of+California+Press&rft.date=2012&rft.isbn=978-0-520-23814-5&rft.aulast=Andrews&rft.aufirst=Julia+F.&rft.au=Shen%2C+Kuiyi&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKs0lDQAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAu,_Gao_Qifeng" class="citation web cs1 cs1-prop-script cs1-prop-foreign-lang-source"><a href="/wiki/Au_Ho-nien" title="Au Ho-nien">Au, Ho-nien</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240715115152/https://lnfam.sinica.edu.tw/pages/2736"><bdi lang="zh">畫家介紹─高奇峰先生簡介</bdi></a> [Introduction to the Painters: Gao Qifeng] (in Chinese). Lingnan Fine Arts Museum. Archived from <a rel="nofollow" class="external text" href="https://lnfam.sinica.edu.tw/pages/2736">the original</a> on 15 July 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%E7%95%AB%E5%AE%B6%E4%BB%8B%E7%B4%B9%E2%94%80%E9%AB%98%E5%A5%87%E5%B3%B0%E5%85%88%E7%94%9F%E7%B0%A1%E4%BB%8B&rft.pub=Lingnan+Fine+Arts+Museum&rft.aulast=Au&rft.aufirst=Ho-nien&rft_id=https%3A%2F%2Flnfam.sinica.edu.tw%2Fpages%2F2736&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFUrban_Council1981" class="citation book cs1">"Biographical Notes". <i>The Art of Gao Qifeng</i>. Hong Kong: Urban Council. 1981. pp. <span class="nowrap">20–</span>24. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-962-215-040-9" title="Special:BookSources/978-962-215-040-9"><bdi>978-962-215-040-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Biographical+Notes&rft.btitle=The+Art+of+Gao+Qifeng&rft.place=Hong+Kong&rft.pages=%3Cspan+class%3D%22nowrap%22%3E20-%3C%2Fspan%3E24&rft.pub=Urban+Council&rft.date=1981&rft.isbn=978-962-215-040-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCai2023" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Cai Dengshan (蔡登山) (25 August 2023). <a rel="nofollow" class="external text" href="https://archive.today/20240917214212/https://www.dutenews.com/n/article/7705087"><bdi lang="zh">番禺高奇峰：未尽其才的"岭南三杰</bdi></a> [Panyu Gao Qifeng: The "Three Heroes of Lingnan" Who Did Not Use His Talents to Their Fullest]. <i>Dute News</i> (in Chinese). Shenzhen Media Group. Archived from <a rel="nofollow" class="external text" href="https://www.dutenews.com/n/article/7705087">the original</a> on 17 September 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Dute+News&rft.atitle=%E7%95%AA%E7%A6%BA%E9%AB%98%E5%A5%87%E5%B3%B0%EF%BC%9A%E6%9C%AA%E5%B0%BD%E5%85%B6%E6%89%8D%E7%9A%84%22%E5%B2%AD%E5%8D%97%E4%B8%89%E6%9D%B0&rft.date=2023-08-25&rft.aulast=Cai&rft.aufirst=Dengshan&rft_id=https%3A%2F%2Fwww.dutenews.com%2Fn%2Farticle%2F7705087&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFChen2009" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Chen Jianying (陈坚盈) (6 April 2009). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240118094131/https://www.gzlib.org.cn/gzlp/151926.jhtml"><bdi lang="zh">张坤仪（1892-1969）她的一生只为奇峰而画</bdi></a> [Zhang Kunyi (1892–1969) She only Painted for Qifeng in Her Life]. <i>Southern Metropolis Daily</i> (in Chinese). Archived from <a rel="nofollow" class="external text" href="https://www.gzlib.org.cn/gzlp/151926.jhtml">the original</a> on 18 January 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">18 September</span> 2024</span> – via Guangzhou Digital Library.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Southern+Metropolis+Daily&rft.atitle=%E5%BC%A0%E5%9D%A4%E4%BB%AA%EF%BC%881892-1969%EF%BC%89+%E5%A5%B9%E7%9A%84%E4%B8%80%E7%94%9F%E5%8F%AA%E4%B8%BA%E5%A5%87%E5%B3%B0%E8%80%8C%E7%94%BB&rft.date=2009-04-06&rft.aulast=Chen&rft.aufirst=Jianying&rft_id=https%3A%2F%2Fwww.gzlib.org.cn%2Fgzlp%2F151926.jhtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFChu1981" class="citation book cs1">Chu, Christina (1981). "The Art of Gao Qifeng: An Investigation of Historical Background and Stylistic Development". <i>The Art of Gao Qifeng</i>. Hong Kong: Urban Council. pp. <span class="nowrap">6–</span>12. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-962-215-040-9" title="Special:BookSources/978-962-215-040-9"><bdi>978-962-215-040-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Art+of+Gao+Qifeng%3A+An+Investigation+of+Historical+Background+and+Stylistic+Development&rft.btitle=The+Art+of+Gao+Qifeng&rft.place=Hong+Kong&rft.pages=%3Cspan+class%3D%22nowrap%22%3E6-%3C%2Fspan%3E12&rft.pub=Urban+Council&rft.date=1981&rft.isbn=978-962-215-040-9&rft.aulast=Chu&rft.aufirst=Christina&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFChu1998" class="citation book cs1">Chu, Christina (1998). "The Lingnan School and Its Followers: Radical Innovation in Southern China". In Andrews, Julia Frances; Shen, Kuiyi (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Yr1PAAAAMAAJ"><i>A Century in Crisis: Modernity and Tradition in the Art of Twentieth-century China</i></a>. New York: Guggenheim Museum. pp. <span class="nowrap">40–</span>79. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8109-6909-4" title="Special:BookSources/978-0-8109-6909-4"><bdi>978-0-8109-6909-4</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240918210847/https://books.google.com/books?id=Yr1PAAAAMAAJ">Archived</a> from the original on 18 September 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">18 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Lingnan+School+and+Its+Followers%3A+Radical+Innovation+in+Southern+China&rft.btitle=A+Century+in+Crisis%3A+Modernity+and+Tradition+in+the+Art+of+Twentieth-century+China&rft.place=New+York&rft.pages=%3Cspan+class%3D%22nowrap%22%3E40-%3C%2Fspan%3E79&rft.pub=Guggenheim+Museum&rft.date=1998&rft.isbn=978-0-8109-6909-4&rft.aulast=Chu&rft.aufirst=Christina&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DYr1PAAAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCroizier2023" class="citation book cs1">Croizier, Ralph (2023). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=-GvfEAAAQBAJ"><i>Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906–1951</i></a>. Berkeley: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-33696-4" title="Special:BookSources/978-0-520-33696-4"><bdi>978-0-520-33696-4</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20241009001133/https://books.google.com/books?id=-GvfEAAAQBAJ">Archived</a> from the original on 9 October 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">18 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+and+Revolution+in+Modern+China%3A+The+Lingnan+%28Cantonese%29+School+of+Painting%2C+1906%26ndash%3B1951&rft.place=Berkeley&rft.pub=University+of+California+Press&rft.date=2023&rft.isbn=978-0-520-33696-4&rft.aulast=Croizier&rft.aufirst=Ralph&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D-GvfEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCroizierLiang2022" class="citation journal cs1">Croizier, Ralph; Liang, Tian S. (2022). Liang, Tian S. (ed.). <a rel="nofollow" class="external text" href="https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000051207">"Lingnan School"</a>. <i>Grove Art Online</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fgao%2F9781884446054.article.T051207">10.1093/gao/9781884446054.article.T051207</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-884446-05-4" title="Special:BookSources/978-1-884446-05-4"><bdi>978-1-884446-05-4</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">2 October</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Grove+Art+Online&rft.atitle=Lingnan+School&rft.date=2022&rft_id=info%3Adoi%2F10.1093%2Fgao%2F9781884446054.article.T051207&rft.isbn=978-1-884446-05-4&rft.aulast=Croizier&rft.aufirst=Ralph&rft.au=Liang%2C+Tian+S.&rft_id=https%3A%2F%2Fwww.oxfordartonline.com%2Fgroveart%2Fdisplay%2F10.1093%2Fgao%2F9781884446054.001.0001%2Foao-9781884446054-e-7000051207&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFFloriani2023" class="citation book cs1">Floriani, Giulia Pra (2023). "Photographic Portraits of Leaders of the 1911 Revolution: The Promise of Historical Rupture in the Chinese Republican Press". In Satterthwaite, Tim; Thacker, Andrew (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=dnLYEAAAQBAJ"><i>Magazines and Modern Identities: Global Cultures of the Illustrated Press, 1880–1945</i></a>. London: Bloomsbury. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-350-27865-3" title="Special:BookSources/978-1-350-27865-3"><bdi>978-1-350-27865-3</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20241008070058/https://books.google.com/books?id=dnLYEAAAQBAJ">Archived</a> from the original on 8 October 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">18 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Photographic+Portraits+of+Leaders+of+the+1911+Revolution%3A+The+Promise+of+Historical+Rupture+in+the+Chinese+Republican+Press&rft.btitle=Magazines+and+Modern+Identities%3A+Global+Cultures+of+the+Illustrated+Press%2C+1880%26ndash%3B1945&rft.place=London&rft.pub=Bloomsbury&rft.date=2023&rft.isbn=978-1-350-27865-3&rft.aulast=Floriani&rft.aufirst=Giulia+Pra&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DdnLYEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGu2013" class="citation journal cs1">Gu, Yi (2013). "What's in a Name? Photography and the Reinvention of Visual Truth in China, 1840–1911". <i>The Art Bulletin</i>. <b>95</b>: <span class="nowrap">120–</span>138. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00043079.2013.10786109">10.1080/00043079.2013.10786109</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Art+Bulletin&rft.atitle=What%27s+in+a+Name%3F+Photography+and+the+Reinvention+of+Visual+Truth+in+China%2C+1840%E2%80%931911&rft.volume=95&rft.pages=%3Cspan+class%3D%22nowrap%22%3E120-%3C%2Fspan%3E138&rft.date=2013&rft_id=info%3Adoi%2F10.1080%2F00043079.2013.10786109&rft.aulast=Gu&rft.aufirst=Yi&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLiang2022a" class="citation journal cs1">Liang, Tian S. (2022). <a rel="nofollow" class="external text" href="https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000138521">"Gao Qifeng"</a>. <i>Grove Art Online</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Foao%2F9781884446054.013.90000138521">10.1093/oao/9781884446054.013.90000138521</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-884446-05-4" title="Special:BookSources/978-1-884446-05-4"><bdi>978-1-884446-05-4</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240609235434/https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000138521">Archived</a> from the original on 9 June 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">3 October</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Grove+Art+Online&rft.atitle=Gao+Qifeng&rft.date=2022&rft_id=info%3Adoi%2F10.1093%2Foao%2F9781884446054.013.90000138521&rft.isbn=978-1-884446-05-4&rft.aulast=Liang&rft.aufirst=Tian+S.&rft_id=https%3A%2F%2Fwww.oxfordartonline.com%2Fgroveart%2Fdisplay%2F10.1093%2Fgao%2F9781884446054.001.0001%2Foao-9781884446054-e-90000138521&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLiang2022b" class="citation journal cs1">Liang, Tian S. (2022). <a rel="nofollow" class="external text" href="https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000138520">"Zhenxiang Huabao"</a> [The True Record]. <i>Grove Art Online</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Foao%2F9781884446054.013.90000138520">10.1093/oao/9781884446054.013.90000138520</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-884446-05-4" title="Special:BookSources/978-1-884446-05-4"><bdi>978-1-884446-05-4</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240603185659/https://www.oxfordartonline.com/groveart/display/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000138520">Archived</a> from the original on 3 June 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">20 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Grove+Art+Online&rft.atitle=Zhenxiang+Huabao&rft.date=2022&rft_id=info%3Adoi%2F10.1093%2Foao%2F9781884446054.013.90000138520&rft.isbn=978-1-884446-05-4&rft.aulast=Liang&rft.aufirst=Tian+S.&rft_id=https%3A%2F%2Fwww.oxfordartonline.com%2Fgroveart%2Fdisplay%2F10.1093%2Fgao%2F9781884446054.001.0001%2Foao-9781884446054-e-90000138520&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLu2014" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Lu Youzhe (吕友者) (6 May 2014). <a rel="nofollow" class="external text" href="https://collection.sina.com.cn/zgsh/20140506/1517150982.shtml?from=wap"><bdi lang="zh">岭南画派的艺术及市场</bdi></a> [The Art Market of the Lingnan School]. <i>Oriental Collection</i> (in Chinese). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20241001232211/https://collection.sina.com.cn/zgsh/20140506/1517150982.shtml?from=wap">Archived</a> from the original on 1 October 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">1 October</span> 2024</span> – via Sina.com.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Oriental+Collection&rft.atitle=%E5%B2%AD%E5%8D%97%E7%94%BB%E6%B4%BE%E7%9A%84%E8%89%BA%E6%9C%AF%E5%8F%8A%E5%B8%82%E5%9C%BA&rft.date=2014-05-06&rft.aulast=Lu&rft.aufirst=Youzhe&rft_id=https%3A%2F%2Fcollection.sina.com.cn%2Fzgsh%2F20140506%2F1517150982.shtml%3Ffrom%3Dwap&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSu2021" class="citation journal cs1">Su, Stephanie (2021). <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/00043079.2021.1882808?needAccess=true">"Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris"</a>. <i>The Art Bulletin</i>. <b>103</b> (3): <span class="nowrap">125–</span>148. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00043079.2021.1882808">10.1080/00043079.2021.1882808</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Art+Bulletin&rft.atitle=Exhibition+as+Art+Historical+Space%3A+The+1933+Chinese+Art+Exhibition+in+Paris&rft.volume=103&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E125-%3C%2Fspan%3E148&rft.date=2021&rft_id=info%3Adoi%2F10.1080%2F00043079.2021.1882808&rft.aulast=Su&rft.aufirst=Stephanie&rft_id=https%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Ffull%2F10.1080%2F00043079.2021.1882808%3FneedAccess%3Dtrue&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSullivan1961" class="citation book cs1">Sullivan, Michael (1961). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=3eW00fHTeC0C"><i>An Introduction to Chinese Art</i></a>. Berkeley: University of California Press. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1069809">1069809</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=An+Introduction+to+Chinese+Art&rft.place=Berkeley&rft.pub=University+of+California+Press&rft.date=1961&rft_id=info%3Aoclcnum%2F1069809&rft.aulast=Sullivan&rft.aufirst=Michael&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D3eW00fHTeC0C&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSullivan1996" class="citation book cs1">Sullivan, Michael (1996). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=G0_hEAAAQBAJ"><i>Art and Artists of Twentieth-Century China</i></a>. Berkeley: University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-07556-6" title="Special:BookSources/978-0-520-07556-6"><bdi>978-0-520-07556-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+and+Artists+of+Twentieth-Century+China&rft.place=Berkeley&rft.pub=University+of+California+Press&rft.date=1996&rft.isbn=978-0-520-07556-6&rft.aulast=Sullivan&rft.aufirst=Michael&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DG0_hEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHKHM,_The_Heavenly_Breeze" class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20240917163141/https://hk.heritage.museum/archive/eng/exhibitions/Past_Exhibitions_187.html">"The Heavenly Breeze: Selected Works of Gao Qifeng and His Disciples"</a>. Hong Kong Heritage Museum. Archived from <a rel="nofollow" class="external text" href="https://hk.heritage.museum/archive/eng/exhibitions/Past_Exhibitions_187.html">the original</a> on 17 September 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Heavenly+Breeze%3A+Selected+Works+of+Gao+Qifeng+and+His+Disciples&rft.pub=Hong+Kong+Heritage+Museum&rft_id=https%3A%2F%2Fhk.heritage.museum%2Farchive%2Feng%2Fexhibitions%2FPast_Exhibitions_187.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWang2008" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Wang Jingjing (汪晶晶) (6 November 2008). <a rel="nofollow" class="external text" href="https://www.gzlib.org.cn/gzlp/151917.jhtml"><bdi lang="zh">高奇峰谁堪画圣之名谁享最风光葬礼</bdi></a> [Gao Qifeng: Who Deserves the Title of the 'Painting Saint', Who has the Most Splendid Funeral]. <i>Southern Metropolis Daily</i> (in Chinese). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240105062925/https://www.gzlib.org.cn/gzlp/151917.jhtml">Archived</a> from the original on 5 January 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span> – via Guangzhou Digital Library.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Southern+Metropolis+Daily&rft.atitle=%E9%AB%98%E5%A5%87%E5%B3%B0+%E8%B0%81%E5%A0%AA%E7%94%BB%E5%9C%A3%E4%B9%8B%E5%90%8D+%E8%B0%81%E4%BA%AB%E6%9C%80%E9%A3%8E%E5%85%89%E8%91%AC%E7%A4%BC&rft.date=2008-11-06&rft.aulast=Wang&rft.aufirst=Jingjing&rft_id=https%3A%2F%2Fwww.gzlib.org.cn%2Fgzlp%2F151917.jhtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFYin2013" class="citation book cs1">Yin, Tongyun (2013). "From Painter to Artist: Representing <i>Guohua</i> Paintings and Painters in <i>Liangyou</i>, 1926–1938". In Pickowicz, Paul; Shen, Kuiyi; Zhang, Yingjin (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=55yXCgAAQBAJ"><i>Liangyou, Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926–1945</i></a>. Leiden: Brill. pp. <span class="nowrap">227–</span>247. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-90-04-26338-3" title="Special:BookSources/978-90-04-26338-3"><bdi>978-90-04-26338-3</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240917165309/https://books.google.com/books?id=55yXCgAAQBAJ">Archived</a> from the original on 17 September 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=From+Painter+to+Artist%3A+Representing+Guohua+Paintings+and+Painters+in+Liangyou%2C+1926%E2%80%931938&rft.btitle=Liangyou%2C+Kaleidoscopic+Modernity+and+the+Shanghai+Global+Metropolis%2C+1926%E2%80%931945&rft.place=Leiden&rft.pages=%3Cspan+class%3D%22nowrap%22%3E227-%3C%2Fspan%3E247&rft.pub=Brill&rft.date=2013&rft.isbn=978-90-04-26338-3&rft.aulast=Yin&rft.aufirst=Tongyun&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D55yXCgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFZhu2017" class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source">Zhu Wanzhang (朱万章) (31 July 2017). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210316190429/https://www.rmzxb.com.cn/c/2017-07-31/1690816.shtml"><bdi lang="zh">高奇峰《松猿图》：画海横舟劈波至勇</bdi></a> [Gao Qifeng's "Pine and Monkey": Painting a Boat Crossing the Sea and Bravely Cutting through the Waves]. <i>rmzxb.com.cn</i> (in Chinese). Chinese People's Political Consultative Conference. Archived from <a rel="nofollow" class="external text" href="https://www.rmzxb.com.cn/c/2017-07-31/1690816.shtml">the original</a> on 16 March 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">17 September</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=rmzxb.com.cn&rft.atitle=%E9%AB%98%E5%A5%87%E5%B3%B0%E3%80%8A%E6%9D%BE%E7%8C%BF%E5%9B%BE%E3%80%8B%EF%BC%9A%E7%94%BB%E6%B5%B7%E6%A8%AA%E8%88%9F+%E5%8A%88%E6%B3%A2%E8%87%B3%E5%8B%87&rft.date=2017-07-31&rft.aulast=Zhu&rft.aufirst=Wanzhang&rft_id=https%3A%2F%2Fwww.rmzxb.com.cn%2Fc%2F2017-07-31%2F1690816.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=13" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation book cs1 cs1-prop-script cs1-prop-foreign-lang-source"> <bdi lang="zh">高奇峰先生遺畫集</bdi> [<i>Collected Paintings by the Late Gao Qifeng</i>] (in Chinese). Shanghai: Min Xiang. 1935. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/849043342">849043342</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%E9%AB%98%E5%A5%87%E5%B3%B0%E5%85%88%E7%94%9F%E9%81%BA%E7%95%AB%E9%9B%86&rft.place=Shanghai&rft.pub=Min+Xiang&rft.date=1935&rft_id=info%3Aoclcnum%2F849043342&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGao+Qifeng" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gao_Qifeng&action=edit&section=14" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/20px-Commons-logo.svg.png" decoding="async" width="12" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/40px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a></span> Media related to <a href="https://commons.wikimedia.org/wiki/Category:Gao_Qifeng" class="extiw" title="commons:Category:Gao Qifeng">Gao Qifeng</a> at Wikimedia Commons</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl 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text" href="https://id.ndl.go.jp/auth/ndlna/00478423">Japan</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an36656485">Australia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p377126888">Netherlands</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500114956">ULAN</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/1369116">Trove</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Gao_Qifeng&oldid=1281870122">https://en.wikipedia.org/w/index.php?title=Gao_Qifeng&oldid=1281870122</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:1889_births" title="Category:1889 births">1889 births</a></li><li><a href="/wiki/Category:1933_deaths" title="Category:1933 deaths">1933 deaths</a></li><li><a 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<script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.eqiad.main-75687f9f4b-plthg","wgBackendResponseTime":178,"wgPageParseReport":{"limitreport":{"cputime":"1.631","walltime":"1.941","ppvisitednodes":{"value":17367,"limit":1000000},"postexpandincludesize":{"value":135307,"limit":2097152},"templateargumentsize":{"value":20372,"limit":2097152},"expansiondepth":{"value":23,"limit":100},"expensivefunctioncount":{"value":7,"limit":500},"unstrip-depth":{"value":0,"limit":20},"unstrip-size":{"value":123341,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1749.086 1 -total"," 23.03% 402.733 1 Template:Infobox_artist"," 21.58% 377.468 103 Template:Sfn"," 15.16% 265.228 1 Template:Infobox_Chinese"," 7.54% 131.949 3 Template:Cite_web"," 6.00% 105.017 1 Template:Authority_control"," 5.88% 102.884 11 Template:Cite_book"," 5.61% 98.103 129 Template:Main_other"," 5.40% 94.534 1 Template:Short_description"," 4.32% 75.555 2 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1,\n [\"Authority control\"] = 1,\n [\"Blockquote\"] = 1,\n [\"Circa\"] = 1,\n [\"Cite book\"] = 11,\n [\"Cite journal\"] = 5,\n [\"Cite news\"] = 5,\n [\"Cite web\"] = 3,\n [\"Commons category-inline\"] = 1,\n [\"DEFAULTSORT:Gao, Qifeng\"] = 1,\n [\"Death date and age\"] = 1,\n [\"Efn\"] = 16,\n [\"Family name hatnote\"] = 1,\n [\"Featured article\"] = 1,\n [\"Formatnum:{{#expr:({{Inflation\"] = 1,\n [\"Harv\"] = 13,\n [\"Harvnb\"] = 24,\n [\"Harvtxt\"] = 10,\n [\"IPAc-cmn\"] = 1,\n [\"IPAc-yue\"] = 1,\n [\"Ill\"] = 1,\n [\"Inflation\"] = 1,\n [\"Infobox Chinese\"] = 1,\n [\"Infobox artist\"] = 1,\n [\"Lang\"] = 1,\n [\"Linktext\"] = 1,\n [\"Notelist\"] = 1,\n [\"Refbegin\"] = 1,\n [\"Refend\"] = 1,\n [\"Reflist\"] = 1,\n [\"Sfn\"] = 103,\n [\"SfnRef\"] = 6,\n [\"Short description\"] = 1,\n [\"Sndash\"] = 7,\n [\"To USD round\"] = 3,\n [\"Tonesup\"] = 2,\n [\"Use Oxford spelling\"] = 1,\n [\"Use dmy dates\"] = 1,\n [\"Zh\"] = 1,\n [\"Zhi\"] = 20,\n}\narticle_whitelist = table#1 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type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"Gao Qifeng","url":"https:\/\/en.wikipedia.org\/wiki\/Gao_Qifeng","sameAs":"http:\/\/www.wikidata.org\/entity\/Q3083166","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q3083166","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2024-09-17T10:36:32Z","dateModified":"2025-03-22T23:57:43Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/09\/Gao_Qifeng%2C_Liangyou%2C_1927-08-30_%283x4_cropped%29.jpg","headline":"Chinese painter (1889\u20131933)"}</script> </body> </html>