原标题：齐白石的虾（赏析）

齐白石(1863-1957)，现代杰出画家，书法家，篆刻家。原名齐璜，纯芝，字渭青、号白石、濒生、阿芝、借山吟馆主者、寄萍老人等。湖南湘潭人。曾任美术家协会主席等，1953年中央文化部授予“人民艺术家”称号。齐白石画虾可说是画坛一绝，灵动活泼，栩栩如生，神韵充盈，用淡墨掷笔，绘成躯体，浸润之色，更显虾体晶莹剔透之感。以浓墨竖点为睛，横写为脑，落墨成金，笔笔传神。细笔写须、爪、大螯，刚柔并济、凝练传神，显示了画家高妙的书法功力。画家写虾，来自生活，却超越生活，大胆概括简化，更得传神妙笔。

Qi Baishi (1863-1957), an outstanding modern painter, calligrapher and seal engraver. The original name is Qi Juang, Chunzhi, Weiqing, Baishi, Endangered, Azhi, the owner of the Yin Museum borrowed from the mountain, the old man who sent Pingping, etc. Hunan Xiangtan people. In 1953, the Central Ministry of Culture awarded the title "People's Artists". Qi Baishi's shrimp painting can be said to be a unique, lively, lifelike, full of charm, with light ink throwing pen, painted into the body, the color of infiltration, more transparent shrimp body. Take the vertical point of thick ink as the eye, the horizontal writing as the brain, the ink into gold, the pen vivid. Fine brushwork with whiskers, claws and cheeks shows the artist's excellent calligraphy skills. Painters write shrimp from life, but beyond life, bold generalization and simplification, more vivid.

他画虾最初是学的朱雪个、李复堂、郑板桥等人，六十岁前主要摹古，多是单只，形象动态单一，画得并不成熟，这是第一阶段——略似。

His shrimp painting was originally learned by Zhu Xuege, Li Futang, Zheng Banqiao and others. Before he was sixty years old, he mainly imitated antiquity. Most of them were single, and their images were single, so they were not mature. This was the first stage - a little similar.

从六十二岁开始，他在案头水盂里蓄养长臂青虾，每日数次进行细心观察或写生作画，对虾的结构和各种动态进行认真研究。以写实为主，外形很像，但精神不足，头胸部没有变化，眼睛为小黑点，腹部五节，小腿十条，触须六条呈放呈放射状无变化，仅注意到外形上的逼真，看不出虾的动感和半透明的质感。这是第二阶段——逼真。

Since the age of 62, he has kept long-arm prawns in his desk water tank. He observes them carefully or draws sketches several times a day, and carefully studies the structure and dynamics of prawns. It is mainly realistic and has a similar appearance, but lacks of spirit. The head and chest remain unchanged. The eyes are small black spots, the abdomen is five sections, the legs are ten, and the tentacles are six radial and unchanged. It only pays attention to the vividness of the appearance, but it can not see the dynamic and translucent texture of shrimp. This is the second stage - lifelike.

到六十六岁，他对虾的动势和神态作了进一步细致的观察，熟悉了虾前进后退、急游缓游、斗殴跳跃等多种情态，利用生宣纸的特性，在表现技法上作了更深一层的研究。用笔用墨变化增多，虾体开始出现透明质感，头胸前端有了坚硬感，腹部第三节拱起以强调“虾公背”，长臂钳分出三节，最前端一节较粗，前腿已伸直，后腿由十只减至八只，虾须稍具开合变化，虾体间也出现了浓淡变化。到六十八岁时，他成功的运用“破墨法”在墨色未干之际加了一笔浓墨在头胸部的淡墨上，不但加重了虾的分量，也表现出了虾体躯干的透明。同时改进了虾的眼睛画法，两黑点改向外横。这就是他说的第三变——色分深澹。

By the age of sixty-six, he had made a further detailed observation of the movement and attitude of shrimp, familiarized with shrimp's forward and backward, rapid swimming, fighting and jumping and other modalities, and made a deeper study of the performance techniques by using the characteristics of raw rice paper. The change of pen and ink increased, the shrimp body began to have a transparent texture, the front of the head and chest had a hard feeling, the third section of the abdomen arched to emphasize the "public back of shrimp", the long arm forceps were divided into three sections, the front section was thicker, the front leg was straightened, the back leg was reduced from ten to eight, the shrimp had to open and close slightly, and the shrimp body also had a strong and light change. By the age of sixty-eight, he succeeded in using the "ink breaking method" to add a strong ink to the light ink on the head and chest before the ink was dry, which not only increased the weight of the shrimp, but also showed the transparency of the body and trunk of the shrimp. At the same time, the eye drawing method of shrimp was improved, and the two black spots were changed to outward and transverse. This is what he said about the third change - deep color.

到七十岁后他画的虾才基本定型，但仍在用笔用墨和突出虾的特征上下功夫。增加了重要特征的短须，减少了次要部位的虾腿，经过了无数次的反复改进，使虾的形象日臻完美，到八十岁后达到了炉火纯青的境地。

It was not until he was seventy years old that the shrimp he painted was basically stereotyped, but he was still working hard with pen and ink and highlighting the characteristics of shrimp. With the addition of short whiskers with important characteristics and the reduction of shrimp legs in secondary parts, the image of shrimp has been perfected day by day through numerous repeated improvements, reaching the state of pure fire after the age of eighty.

这幅画表现了虾的形态，活泼、灵敏、机警，有生命力。为了熟悉虾的各种变化，白石老人在水缸里养了几只大虾，闲时常常仔细地观察虾的游动、跃进、觅食以及体态的各种变化。因为他掌握了虾的特征，所以画起来得心应手。就以画面上的三虾为例：虾头上的三笔，有墨色的深浅浓淡，水分的渗透干湿，而又表现出一种动感。左右一对浓墨眼睛，脑袋中间用一点焦墨，左右二笔淡墨，于是使虾的头部变化多端，硬壳透明，由深到浅。而虾的腰部，一笔一节，连续数笔，形成了虾腰节奏的由粗渐细。用笔的变化，使虾的腰部呈现各种异态，有躬腰向前的，有直腰游荡的，也有弯腰爬行的。虾的尾部也有三笔，既有弹力，也有透明感。虾的一对前爪，由细而粗，数节之间直到两螯，形似钳子，有开有合。虾的触须用数条淡墨线画出，看似容易，实则极难：画得活，则虾之生命自出；画僵了，也就失去了生命。虾须的线条似柔实刚，似断实连，直中有曲，乱中有序，纸上之虾似在水中嬉戏游动，触须也像似动非动。

This painting shows the shape of shrimp, lively, sensitive, alert and vitality. In order to familiarize himself with the various changes of shrimp, the old man Baishi kept several big shrimps in the water tank. In his spare time, he often carefully observed the movement, leap, foraging and various changes of body shape of shrimp. Because he has mastered the characteristics of shrimp, he can draw it well. Take the picture of three shrimps as an example: three strokes on the head of the shrimp, dark or shade of ink, moisture permeation, dry and wet, and show a sense of movement. A pair of thick ink eyes, a little burnt ink in the middle of the head and two light ink strokes on the left and right make the head of the shrimp varied and transparent, from deep to shallow. And the waist of shrimp, one by one, continuous several pens, forming the rhythm of shrimp waist from thick to thin. With the change of pen, the waist of shrimp presents various abnormalities, including bowing forward, straightening loitering, and bending crawling. The tail of the shrimp also has three strokes, both elastic and transparent. A pair of forepaws of shrimp, ranging from thin to thick, several segments to two claws, resembling pliers, open and closed. The tentacles of shrimps are drawn with a few light ink lines, which seems easy but extremely difficult: if they are painted well, the life of shrimps will come out; if they are stiff, they will lose their lives. The lines of shrimp whiskers are soft and rigid, they seem to be firm and even, straight and musical, disorderly and orderly, the shrimps on paper seem to play and swim in the water, and the tentacles seem to be motionless.

白石老人对老舍先生说道：“实际上虾爪上的东西还很多，可是我不用画这些玩意。”可见他画虾不是单纯对实物的摹拟。在用笔上有用侧锋，有用中锋，有用笔根的。落笔有轻重疾徐，起承转合；用墨有浓淡深浅，润湿干燥，尤其宣纸有渗化迅速的效果，一笔下去不能改动，这要有坚实的笔墨功夫。而白石老人的用水功夫更是臻妙，他画的虾身似乎永远是湿淋淋的，好像真的生活在水中，一张白纸变成了一溪清水。这就是白石老人画虾的创造性。

The old man Baishi said to Mr. Laoshe, "Actually, there are many things on the claws of shrimps, but I don't need to draw them." It can be seen that his painting of shrimp is not a mere imitation of the real thing. There are useful flanks, centers and pen roots on the pen. Writing is light and rapid, starting and turning; using ink has shade and depth, wetting and drying, especially Xuan paper has a rapid effect of infiltration, a stroke can not be changed, which requires a solid pen and ink skills. The old man Baishi's water skills are even more wonderful. The shrimp body he painted always seems to be wet, as if he really lived in the water. A piece of white paper turned into a stream of clear water. This is the creativity of Baishi's shrimp painting.返回搜狐，查看更多

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