Crows Return to Wintry TreesHanging scroll, ink on paper, inscribed by the artist and signed Baishi Qi Huang, with two artist's seals Baishi and Jieshanweng.49½ x 19⅜in (126 x 49cm) 齊白石　古樹歸鴉　水墨紙本　立軸Provenance/來源:Guangzhou Wenwu Shangdian, label to outer mount, prior to 1991畫背具廣州市文物商店標簽，並有「非賣品」字樣Published/出版:Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett. Modern Ink: The Art of Qi Baishi, Berkeley: The Mozhai Foundation, 2014, pp. 118-121林似竹，余國梁，曹仲英, J. May Lee Barrett,《現代水墨：齊白石的藝術》，墨齋基金會，2014年，頁118-121Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-079, p. 208戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版社，東京，2013年，A50-079，頁208Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Museum of Arts, 2007, pp. 454-455Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲牧師珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁454-455Tsao, Jung Ying. The Paintings of Xugu and Qi Baishi, University of Washington Press, 1993, pp. 385-388曹仲英，《虛谷和齊白石的繪畫》，華盛頓大學出版社，美國，1993年，頁385-388Exhibited/展覽:The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 29, 2013-July 13, 2014《齊白石的書法、繪畫及篆刻藝術》，李鐘文亞洲藝術文化中心，舊金山，加州，2013年10月29日至2014年7月13日New Songs on Ancient Tunes, Honolulu Art Museum, Honolulu, Hawaii, August 30-October 28, 2007《古調新歌：費立哲牧師珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日Likely painted in 1950, when Qi Baishi considered himself to be ninety sui, this painting is a rare late-career landscape by the artist. Rendered solely in monochrome ink, the winter landscape depicts a murder of crows flocking to the high barren branches of a waterside tree. Although a footbridge in the lower foreground is the sole hint of a human presence, the animated crows endow the painting with activity. Each of the more than fifty birds is different from the next, but Qi Baishi relies only on black ink and a few strokes to describe them. The painting is informed by the artist's study of calligraphy and seal carving, the brush held vertically as if the ink were incised into the paper, and the only color is the contrast of the two artist's seals that punctuate the composition.本幅成畫於1950年，其時齊白石自謂"九十歲"，因此本幅實為畫家生涯後期罕見之山水畫作。畫家在此僅以水墨表現寒鴉聚於水畔枯木之蕭瑟冬景。雖然近景處一座步橋暗示此處可能亦有人跡，但鴉群動態卻是本幅之動感唯一所在。而畫家只以寥寥幾筆及水墨，已賦予畫中五十餘羽黑鴉各不相同的姿態，由此可見畫家筆法所含的書法及冶印功力。所用垂直筆鋒爽利似刀，筆筆如刻，而畫家的兩方朱鈐印則與全幅墨色形成富有意趣之對比，亦是構圖亮點之一。