作者簡(jiǎn)介：齊白石(1864─1957)，祖籍安徽宿州碭山，生于湖南長(zhǎng)沙府湘潭(今湖南湘潭)人。原名純芝，字渭青，號(hào)蘭亭。后改名璜，字瀕生，號(hào)白石、白石山翁、老萍、餓叟、借山吟館主者、寄萍堂上老人、三百石印富翁。是近現(xiàn)代中國(guó)繪畫大師，世界文化名人。早年曾為木工，后以賣畫為生，五十七歲后定居北京。擅畫花鳥、蟲魚、山水、人物，筆墨雄渾滋潤(rùn)，色彩濃艷明快，造型簡(jiǎn)練生動(dòng)，意境淳厚樸實(shí)。所作魚蝦蟲蟹，天趣橫生。齊白石書工篆隸，取法于秦漢碑版，行書饒古拙之趣，篆刻自成一家，善寫詩(shī)文。曾任中央美術(shù)學(xué)院名譽(yù)教授、中國(guó)美術(shù)家協(xié)會(huì)主席等職。代表作有《蛙聲十里出山泉》《墨蝦》等。
About the author: Qi Baishi (1864-1957), whose ancestral home is Dangshan, Suzhou, Anhui Province, was born in Xiangtan, Changsha City, Hunan Province. The original name is Chunzhi, the word Weiqing, and the name is Lanting. Later, he changed his name to Huang, and his name was biansheng. He was named Baishi, Baishi shanweng, Laoping, hungry old man, the owner of borrowing mountain chanting hall, the old man of Jiping hall, and 300 stone printing rich man. He is a master of modern Chinese painting and a world cultural celebrity. In his early years, he was a carpenter, and later he made a living by selling paintings. He settled in Beijing at the age of 57. He is good at painting flowers and birds, insect fish, mountains and rivers, figures, vigorous and moist ink, rich and bright colors, concise and vivid modeling, and honest and simple artistic conception. The fish, shrimps, insects and crabs are full of natural interest. Qi Baishi is a calligrapher of Zhuan Li, which is based on the inscriptions of Qin and Han Dynasties. He is a master of seal cutting and is good at writing poems. He once served as honorary professor of the Central Academy of fine arts and chairman of China Artists Association. His representative works are "frogs come out of the mountain spring in ten li" and "Mo shrimp", etc.
濃厚的鄉(xiāng)土氣息，純樸的農(nóng)民意識(shí)和天真浪漫的童心，富有余味的詩(shī)意，是齊白石藝術(shù)的內(nèi)在生命，而那熱烈明快的色彩，墨與色的強(qiáng)烈對(duì)比，渾樸稚拙的造型和筆法，工與寫的極端合成，平正見奇的構(gòu)成，作為齊白石獨(dú)特的藝術(shù)語(yǔ)言和視覺(jué)形狀，相對(duì)而言則是齊白石藝術(shù)的外在生命。現(xiàn)實(shí)的情感要求與之相適應(yīng)的形式，而這形式又強(qiáng)化了情感的表現(xiàn)，兩者相互需求、相互生發(fā)、相互依存，共同構(gòu)成了齊白石的藝術(shù)生命，即齊白石藝術(shù)的總體風(fēng)格。
Strong local flavor, simple peasant consciousness, naive and romantic childlike innocence and poetic flavor are the inner life of Qi Baishi's art. The warm and bright color, the strong contrast between ink and color, the simple and naive modeling and writing, the extreme combination of work and writing, and the ordinary and strange composition are Qi Baishi's unique artistic language and visual shape The external life of Baishi art. The realistic emotion demands the form that adapts to it, and this form strengthens the expression of emotion. The two need each other, grow and depend on each other, which together constitute Qi Baishi's artistic life, that is, the overall style of Qi Baishi's art.
他筆下的草蟲或精致入微，或?qū)懸鈧魃瘢瑹o(wú)論工與寫，皆形神兼?zhèn)洌蜩蛉缟绕涫撬麆?chuàng)造的獨(dú)特藝術(shù)語(yǔ)言——工蟲花卉，使那些過(guò)去作為花卉畫點(diǎn)綴的草蟲，成為作品真正的主角和中心，飽含著畫家對(duì)這些小生靈真摯的情感。
The grass insects in his works are delicate and delicate, or the freehand brushwork is vivid. His unique artistic language, gongchong flowers, makes those grass insects that used to be ornamented by flower paintings become the real protagonists and centers of the works, which is full of the painter's sincere feelings for these small creatures.
在齊白石的草蟲畫和其他花鳥畫中經(jīng)常出現(xiàn)一個(gè)詞語(yǔ)——“草間偷活”，這其實(shí)是畫家對(duì)自己身處亂世的一種深切感悟。
In Qi Baishi's grass and insect paintings and other flower and bird paintings, a word often appears: "stealing from the grass", which is actually a painter's deep understanding of his own being in a chaotic world.
齊白石生活的近百年漫長(zhǎng)歲月，正是中國(guó)社會(huì)最動(dòng)蕩、最苦痛的時(shí)期，甲午戰(zhàn)爭(zhēng)、百日維新、戊戌政變、庚子事變……稍有違拒，巨禍立至，沒(méi)有一天不是提心吊膽的茍全性命。因此，齊白石在卑微且偷活于草間的草蟲中，尋找到共鳴，常以之自喻。
Qi Baishi lived for nearly a hundred years, which was the most turbulent and painful period in Chinese society. The Sino Japanese War, hundred day reform, 1898 coup and gengzi incident A little disobey, catastrophe to, not a day is not afraid of the whole life. Therefore, Qi Baishi found resonance among the grass insects who lived in the grass, often with self metaphor.
齊白石對(duì)于草蟲的關(guān)注，包含了他對(duì)寧?kù)o田園生活的留戀、對(duì)悲苦窮人的同情以及對(duì)蒔花養(yǎng)蟲和平生活的向往。在他的筆下，所有的草蟲都充滿生機(jī)與活力，齊白石的藝術(shù)表達(dá)，更多的是連接了人們對(duì)于生活的熱愛(ài)。
Qi Baishi's concern for the grass and insects includes his nostalgia for the quiet pastoral life, his sympathy for the miserable poor, and his yearning for a peaceful life with flowers and insects. In his works, all the grass and insects are full of vigor and vitality. Qi Baishi's artistic expression is more connected with people's love for life.
他畫的草蟲得其翻飛鳴躍之相， 翻者折翅能見動(dòng)作，飛者振羽如臨風(fēng)聲，鳴者切股能聞音響。 令人嘆為觀止， 表現(xiàn)了極強(qiáng)的繪畫功力，成為中國(guó)繪畫史上的奇葩。
His paintings of grass and insects show the appearance of flying, whistling and leaping. When they turn, they fold their wings to see their movements; when they fly, they vibrate their feathers like the sound of the wind; when they whine, they can hear the sound. It is breathtaking, showing a strong painting skills, and has become a wonderful flower in the history of Chinese painting.
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