使用副词undeniably增强了语气，表达了毫无疑问的肯定。
Chen Shiceng passed away in 1923, leaving Qi Baishi without his only confidant and making him a target of harsh criticism from his peers. At that time, the conservative circles of the Beijing art scene attacked Qi's work relentlessly, dismissing it as 'wild fox Zen' or 'vulgar,' and even claiming it was 'unfit for high society.'
Yet, hope emerged from despair. In 1929, the final year of Qi Baishi's 'ten-year seclusion,' the 66-year-old artist was recognized by Xu Beihong, who had recently arrived in Beijing. To Xu, Qi was undeniably a master painter. Amidst the noise of his detractors, Xu Beihong championed him, praising his works for 'simulating nature' and achieving 'grandeur through exquisite detail.' To elevate Qi's status, Xu did more than just placing orders at exhibitions; he curated art albums for him, wrote prefaces, and arranged for their publication in Shanghai. Furthermore, Xu invited Qi to serve as a professor at the Beijing Art Academy, where Xu was the director, even personally driving a carriage to escort Qi to his classes. Xu once told his students, 'Qi Baishi is comparable to any master in history; he can be not only your teacher, but mine as well.'
In a letter to Xu Beihong, who was 32 years his junior, Qi Baishi wrote: 'My parents gave me life, but you are the one who truly understands me!'
陈师曾于1923年英年早逝，失去唯一知己的齐白石随即遭到同行的口诛笔伐。当时的北京画坛保守派对齐白石的作品攻击极力，斥其画作是“野狐之禅”、“俗气熏人”，甚至称其“不能登大雅之堂”。
然而，绝望中也孕育着希望。1929年，正值齐白石“十载关门”的最后一年，年过六旬的齐白石被初到北京的徐悲鸿慧眼识珠。在徐悲鸿看来，齐白石绝对是大师级的画家。面对反对派的嘈杂声，徐悲鸿大声疾呼，赞誉齐白石的作品“妙造自然”且“致广大，尽精微”。为了提升齐白石的地位，徐悲鸿不仅在展览会上通过预定画作来造势，还亲自为齐白石编纂画集并撰写序言，将其送往上海出版。此外，徐悲鸿还邀请齐白石到他担任院长的北京艺术学院任教，并亲自驾马车接送齐白石上课。徐悲鸿曾对学生们盛赞：“齐白石可以与历史上任何丹青妙手媲美，他不仅可以做你们的老师，也可以做我的老师。”
齐白石曾在一封写给比自己小32岁徐悲鸿的信中感叹：“生我者父母，知我者君也！”