齊白石，原名純芝，字渭青，號蘭亭。后改名璜，字瀕生，號白石、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。是近現代中國繪畫大師，世界文化名人。齊白石畫蝦堪稱畫壇一絕。齊白石畫蝦通過畢生的觀察，力求深入表現蝦的形神特征。齊白石將中國畫的精神與時代精神統一地完美無瑕，使中國畫得到了世界的重視，畫面中的蝦，用淡墨擲筆，繪成軀體，浸潤之色，更顯蝦體晶瑩剔透之感。以濃墨豎點為睛，橫寫為腦，落墨成金，筆筆傳神，顯示了畫家高妙的書法功力濃墨點出的雙眼似在活動，蝦須、蝦足和蝦鉗錯落有致，讓人絲毫不感凌亂，用筆柔中有剛，極富神韻。簡練概括，超越生活。齊白石畫蝦經過了一個由繁到簡的過程，為了追求簡潔的效果他將蝦身由六節減成五節，這樣蝦的撓足也大大減少，真正達到了“以少勝多”的神效。墨法高超，晶瑩剔透。齊白石自創的“以水兌墨，墨中點水“的方法，使他畫的蝦給人一種通體透明、晶瑩逼真之感令人稱嘆。局部夸張，適度變形。為了突出蝦的動感，對蝦須、蝦鉗進行適度夸張放大，超長的蝦須與蝦鉗明顯增強了蝦的靈動與動態。聚散有法，布局講究。畫蝦之難在于如何巧妙地處理肢體的穿插、疊加和呼應，齊白石在這一點上有精深的研究，疏密安排恰當，擁而不擠，密而不亂。用筆的變化，使蝦的腰部呈現各種異態，有躬腰向前的，有直腰游蕩的。也有彎腰爬行的。蝦的尾部也是三筆，既有彈力，又有透明感。蝦的一對前爪，由細而粗，數節之間直到兩螯，形似鉗子，有開有合。蝦的觸須用數條淡墨線畫出。活靈活現，生動傳神。齊白石畫蝦的最大特點就是是一個“活“字，他畫的蝦個個惟妙惟肖，躍然紙面，活力四射。

Qi Baishi, formerly known as Chunzhi, with the word Weiqing and the name Lanting. Later, it was renamed Huang, and the word was born, named Baishi, Baishishan Weng, Lao Ping, Hungry Old Man, the owner of the mountain yin hall, the old man in Jipingtang, and the rich man with three hundred stone seals. He is a master of modern Chinese painting and a world cultural celebrity. Qi Baishi's painting of shrimp is a must in painting circles. Qi Baishi paints shrimps through lifelong observation, and strives to deeply express the characteristics of shrimps. Qi Baishi unifies the spirit of Chinese painting and the spirit of the times to perfection, which makes Chinese painting attract the attention of the world. The shrimp in the painting is painted with light ink to form the body, the color of infiltration, and the shrimp body is crystal clear. With thick ink vertical dots as the eyes, horizontal writing as the brain, the ink becomes golden, the pen and the pen is vivid, showing the artist's ingenious calligraphy skills. The eyes dotted by the thick ink seem to be moving. It doesn't feel messy at all, and the brush is soft and firm, which is very charming. Succinctly summarize, go beyond life Qi Baishi went through a process from complicated to simple in painting shrimp. In order to pursue the effect of simplicity, he reduced the shrimp body from six to five, so that the scratching of the shrimp's feet was greatly reduced, and the miraculous effect of "less wins more" was truly achieved. The ink is superb and crystal clear. Qi Baishi's own method of "mixing ink with water and dotting water in the ink" makes the shrimps he paints have a sense of transparency and crystal clearness. Local exaggeration, moderate deformation. In order to highlight the dynamics of the shrimp, the shrimp whiskers and the shrimp tongs are exaggeratedly enlarged. The extra-long shrimp whiskers and the shrimp tongs obviously enhance the agility and dynamics of the shrimp. There are methods for gathering and scattering, and the layout is exquisite. The difficulty of painting shrimp lies in how to skillfully handle the interpenetration, superposition and echoing of the limbs. Qi Baishi has made in-depth research on this point. The density is arranged properly, crowded but not crowded, dense but not chaotic. The change of the pen makes the waist of the shrimp show a variety of abnormal states, some bowed forward, some straight waist wandering. There are also crawling. The tail of the shrimp is also three strokes, both elastic and transparent. A pair of front paws of a shrimp are thin and thick, from several nodes to two claws, which are shaped like pliers, open and closed. The tentacles of the shrimp are drawn with several light ink lines. Lively and vividly. The most important feature of Qi Baishi's painting of shrimps is that it is a "live" character. All the shrimps he painted are vivid and vivid.