齐白石画牵牛花约始自十九世纪二十年代，牵牛花源自一段与梅兰芳先生的友情。1920年秋天，齐白石经好友齐如山引荐到前门外北芦草园拜访梅兰芳，梅兰芳在他的书斋“缀玉轩”接待了齐白石等人。这次雅集对于齐白石来说最大的收获是在梅家见到讲究的布置，尤其是园中栽植的花木更令齐白石流连忘返，仅牵牛花就有100多个种类，有的花朵竟有碗口般大小，这让齐白石眼界大开。自此之后，每逢花期齐白石必至梅处观赏，有诗记曰：“百本牵牛花碗大，三年无梦到梅家”。

Qi Baishi's painting of morning glories began around the 1820s and originated from a friendship with Mr. Mei Lanfang. In the autumn of 1920, Qi Baishi, introduced by his good friend Qi Shan, visited Mei Lanfang in the North Reed Garden outside the front door. Mei Lanfang received Qi Baishi and others in the "jade Porch" of his study. The biggest harvest for Qi Baishi was the exquisite arrangement he saw in Mei's house, especially the flowers and trees planted in the garden. There were more than 100 kinds of morning glory, and some flowers were as big as the mouth of a bowl. This greatly broadened Qi Baishi's horizon. From then on, qi Baishi would go to mei's place to enjoy the flower every time it bloomed. There was a poem that said, "A hundred bowls of morning glory are so big that I did not dream of mei's home for three years."

自从于梅兰芳家见其手种硕大之牵牛后，牵牛花即成为白石老人笔下经常的审美对象。 而此审美对象与白石的红花墨叶画法一结合，便生出无限审美情趣。如此幅《牵牛花》在清新中又透露着酣畅淋漓的墨气。齐白石以洋红画花，淡墨彩墨挥洒出叶苔、藤蔓，寥寥数笔，牵牛花的生动形态便跃然纸上。整幅画面疏密有度，穿插有致，朵朵牵牛生气盎然，娇丽动人。淡墨湿润的三两笔阔叶墨彩丰富，与牵牛花朵的红色交相辉映。画家又巧妙地在喇叭口向上的花朵上画上两只蜜蜂，花静蜂动，更加衬出画面的鲜活。聚散下垂的墨叶以及缠绕藤蔓来布置空间，使画面结构清晰，愈发穿插有致。

Ever since I saw mei Lanfang planting huge morning glory in his hands, morning glory has become a frequent aesthetic object under the pen of Old Man Baishi. And this aesthetic object and the white stone safflower ink leaf painting method a combination, will produce infinite aesthetic taste. Such a picture "morning Glory" in the fresh and fresh and revealed a dripping ink. Qi Baishi painted flowers in magenta with light ink and colored ink spilling out leaf moss and vines. With a few strokes, the vivid shape of morning glories appeared on the paper. The whole picture has a degree of density, interspersed with send, blossoming petunia lively, charming and moving. Two or three strokes of light ink wet broad leaf ink color rich, with the red morning glory flowers of each other. The painter ingeniously painted two bees on the flowers with the flared mouth upward, and the static bees moved the flowers to make the picture more vivid. The drooping ink leaves and tangled vines decorate the space, making the structure of the picture clear and more interspersed.

白石笔下，无论花卉、鱼虫、飞禽走兽，皆能于妙趣天然间蕴含着浓浓田园之情。齐白石画牵牛花约始自1920年代，牵牛花源自一段与梅兰芳先生的友情。自从于梅兰芳家见其手种硕大之牵牛后，牵牛花即成为白石老人笔下经常的审美对象。

White stone, no matter flowers, fish, insects, birds and animals, all can be in the interesting natural contains a deep pastoral feeling. Qi Baishi's painting of morning glory dates back to about 1920s, when he had a friendship with Mr. Mei Lanfang. Ever since I saw mei Lanfang planting huge morning glory in his hands, morning glory has become a frequent aesthetic object under the pen of Old Man Baishi.

三四根花架间，藤蔓错落交叉，叶子以列队式自上而下，浓淡有致；蓝色的牵牛花亭亭玉立，自有一种朴实优美的姿态和卓然风骨流露其间。齐白石画盛开的牵牛花，看似一笔为之，实则不然，其以两个圆弧一上一下巧妙组合成花朵，接口处若有若无的点触，契合了观者的视觉感受。整幅作品在清新中又透露着酣畅淋漓的墨气。齐白石以蓝色画花，淡墨浓墨挥洒出叶苔，干墨枯墨画藤蔓，寥寥数笔，牵牛花的生动形态便跃然纸上。整幅画面疏密有度，穿插有致，形成黑色阵营中的朵朵蓝花，娇丽动人。浓淡湿润的三两笔阔叶墨色与牵牛花朵的蓝色交相辉映。画家又巧妙地以喇叭口向上的花朵和聚散下垂的墨叶以及缠绕穿插的藤蔓来布置空间。如果没有细致的观察和满溢的生活情趣，怎能表现得了身边的这些朴实而美好的生命呢？

Among the three or four flower frames, the vines are scattered and crossed, and the leaves are arranged from top to bottom, with a certain shade; The blue morning glory stands erect and graceful, have a kind of guileless and graceful posture and outstanding character reveal meantime. Qi Baishi's painting of blooming morning gloryflowers looks like a brushstroke, but in fact it is not. The flowers are skillfully combined with two arcs, one on one side and the other, and there are many dots on the connection, which fits the visual feeling of the viewers. The whole work in the fresh and fresh and reveals the dripping ink. Qi Baishi painted flowers in blue, with light ink and thick ink spilling out leaf moss, and dry ink and dry ink painting vines. With a few strokes, the vivid shape of morning glories appeared on the paper. The whole picture has a degree of density, interspersed with send, the formation of the black camp blossoming blue flowers, charming and moving. Two or three shades of wet broad-leaved ink and the blue of morning glory flowers complement each other. The painter cleverly arranged the space with flowers that flared upwards and drooping ink leaves and tangled vines. Without careful observation and full of life interest, how can the performance of these simple and beautiful life around it?

所绘牵牛花及花苞沿叶片左侧分布排列着，这是白石老人惯用的牵牛花分布方式，在其众多牵牛花题材的作品中，牵牛花大多分布在丛叶左侧或上部，且花团锦簇，多是繁茂枝叶中零星几朵施以点缀。本幅作品中叶子的数量并不繁多，而花朵与花苞的分布又似将几片叶子包围其中，叶片与花朵花苞相互围绕，叶中探花，花外展叶，呼应成趣。画中无论牵牛花朵亦或花苞，均以笔直向上之姿矗立。每朵花的喇叭口像是平行复制而出，又略生变化，花口巧妙的留白使花更为灵动鲜活，每瓣红色中略施的浓淡之别，亦是凸显体积之感。花苞的布置使得整幅画面充实饱满，不顾藤蔓怎样蜿蜒缠绕，都以挺立之姿呈现，亦有蒸蒸日上之意。花与叶下立有一只若隐若现的螳螂，螳螂后足分散站立，呈稳定便于跳跃姿势；头带上身前驱，两只螳臂向前伸出；翅膀耸起，有振翅欲飞感。螳螂用色与全画相随，和谐整体，夸张的形体表现与花叶形成动静对比，为画面增添生气与活力。

The morning glories and bracts painted are distributed along the left side of the leaves, which is the usual distribution mode of morning glories used by Old Baishi. In his numerous works on the subject of morning glories, most of the morning glories are distributed on the left or upper side of the leaves, and the flowers are in abundance, most of which are dotted with a few flowers among the luxuriant branches and leaves. The number of leaves in this work is not very large, but the distribution of flowers and bracts seems to surround several leaves. Leaves and flower bracts surround each other, exploring the flowers in the leaves and spreading the leaves, which echo each other. In the painting, both the petunia flowers and buds stand upright and upward. The flared mouth of each flower is like a parallel copy out, and slightly changed, flower mouth clever white leaves make the flower more flexible and fresh, each petal in the shade of red slightly different, also is to highlight the sense of volume. The arrangement of flower buds makes the whole picture full and full. Regardless of how the vines wind and twist, they are presented in a standing posture, and they also have the meaning of flourishing. There is a looming mantis standing under the flowers and leaves. The mantis rear foot is dispersed and stands in a stable and easy jumping posture. With its head and upper body in front, two gladiators' arms extended forward; Wings rise, there are wings to fly feeling. Mantis color and the whole painting together, the harmony of the whole, exaggerated body performance and Mosaic contrast, to add vitality and vitality to the picture.

齐白石的绘画灵感绝大部分来自亲身体验，造型、方法源自对客观物象的观察，虽言“超凡”，但没见过的东西从不入画。正因如此，齐白石早于心中成像，在落笔成画时便大胆变法，创新自我，发扬“胆敢独造”、“随缘成迹”精神。此画在叶的处理上尤下工夫，加之花的娇艳，全图更显精致细微，巧夺天工。齐白石大师的名言：“作画妙在似与不似之间，太似为媚俗，不似为欺世。”他本人乃是“以神取形”画，“既不杜撰非目所知的抽象，也不甘写极目所知的表像，只倾心于以意为之的意象”，为的是“缘物寄情”。齐白石的画作都是其内心镜像的写照，他将情感注入笔尖，随心书写，只为保留朴实的泥土气息，热烈的乡间情思。

Most of Qi Baishi's painting inspiration comes from personal experience, and his modeling and methods come from the observation of objective objects. Although he says "extraordinary", he never paints anything he has never seen. Because of this, Qi Baishi was early in his mind. When he finished his painting, he made bold changes, innovated himself, and carried forward the spirit of "daring to create independently" and "following the fate to make a track". This painting on the processing of leaves especially hard, together with the delicate flowers, the full picture is more delicate, wonderful work. Master Qi Baishi's famous saying: "Painting is wonderful Between like and not, too like to kitsch, not like to deceive the world." He himself painted "in the form of God", "neither creating abstractions that are not known to the eye, nor writing images that are known to the eye, but preferring ideographic images" for the purpose of "affection from the object". Qi Baishi's paintings are the mirror image of his heart. He puts emotion into the pen and writes as he wishes, only to retain the earthy atmosphere and passionate thoughts of the countryside.

白石老人的画作是笔性、墨性、水性的综合发挥，自成一体，寥寥数笔之间就能露出大方之家的独有神韵，大师笔下的花卉虫草生动逼真，天趣自然，别出心裁。正如本画中所绘，往往简要几笔的增减就可使物象生动之姿跃然纸上，纵横淋漓，有超脱豪放，有轻盈点染，笔笔精工，敷色也精而不俗。此作是其精湛的笔艺、技艺的高度凝练，能如此生动鲜活的展现物象，是大师长期艺术修炼和对生活的细密观察所铺就的，理当奉为瑰宝。

Old Man Baishi's painting is a comprehensive display of brush, ink and water, which is an organic whole. A few strokes can reveal the unique charm of a big family. The flowers and cordyceps sinensis painted by the master are vivid, natural and unique. As the painting, often a few brief strokes of the increase and decrease can make the image of the vivid posture on the paper, vertical and horizontal dripping, there are unrestrained, there are lightsome dots, pen precision, apply color is also fine and not common. This work is his exquisite pen art, the high degree of technical conciseness, can show the object so vividly, is the master's long-term artistic cultivation and the life of the detailed observation paved, should be regarded as a treasure.返回搜狐，查看更多