.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
“作畫在似與不似之間為妙，太似為媚俗，不似為欺世。”但白石作品之妙趣不止在此，不同的作品有著其別樣的妙處。
魚：
白石老人早年便將魚入畫，但略顯呆板無生氣。而後因大量臨摹八大山人之作品，畫風日益受其影響。他畫魚不畫水，僅憑藉魚兒身體的形態來表現其在水中的靈動和自由。魚兒的表情擬人化，眼神或桀驁不羈，或淡然寧靜。這似乎也是在表明畫家的一種人生態度。畫面只有魚，極致簡潔，但卻給人豐富的遐想空間。
雛雞：
白石老人出身農家，自幼便對家禽非常熟悉。他年輕時便已將雛雞入畫，或用線勾勒，或大筆圓點，充盈稚拙之氣。定居北京後，專門在家飼養雛雞，觀察寫生。六十多歲時，他可通過雞爪的動作和位置來巧妙地表現雛雞的形態。用筆較潤，雛雞毛茸茸的羽毛質感已躍然紙上。七十多歲時，他改變之前使用圓點筆法描繪的一團團的雛雞樣式，用圓點筆法和平塗筆法分別表現雛雞的頭、翅膀和胸腹，將雛雞的形態描繪的更加清晰分明，富於動感。
蝦：
白石老人以畫蝦最為著稱。他青年時開始畫蝦。中年時臨摹徐渭、鄭板橋等明清大家之作，頗得其神韻。60多歲時，為能表現蝦之靈動，於碗中養蝦，置於畫案上。得益於每日悉心的觀察，白石老人筆下的蝦經過不斷的藝術加工和簡化，最終以四筆劃蝦頭，五筆劃蝦身，三筆劃蝦尾，其中蝦身要能彎曲伸彈，第三節要拱起。蝦的雙目在警覺時橫向兩側，老人據此將貼著蝦頭點睛的方法改為兩橫筆，增添了蝦的神采。蝦後腿減為五條，生在每節前端，前腿四條，生在上軀下半部。蝦鉗用筆要硬直挺拔，畫出硬殼質感。蝦須要長而挺，表現出蝦在水中的遊動感。這些看似信手拈來的隨意之筆，其實是他數十載勤奮努力之結果。
蟹：
白石老人畫蟹也源於生活，手法一變再變，晚期蟹殼畫成三筆，蟹殼和蟹足均有質感，自成一格。他五十多歲時畫蟹殼幾無質感，墨色團積。六、七十歲時蟹殼以數筆劃出凹凸質感，長足大鉗已十分生動，但扔缺乏靈氣，大鉗不張，兩眼細長。齊白石八十歲至九十歲左右，將蟹殼概括為三筆，殼的質感強烈。所畫長足既有質感，又能表現出長足的細毛。白石老人創作的螃蟹看起來有種橫行的動感，很是形象。
QI BAISHI (1863-1957)
齊白石 水族小雞 水墨紙本 木框四幅
細節
1.題識：三魚圖。古人有學足三餘之故事。前時畫家畫三魚，題云：三餘借魚字之音，予亦畫三魚，題云畫者工之餘，詩者睡之餘，壽者劫之餘，此齊白石之三餘也，予每畫魚必題及之。
鈐印：苹翁、雕窮小技家聲
2.題識：白石老人畫時其壽正八十六矣。
鈐印：白石翁
3.題識：南嶽山下白石山前寄萍老人白石作。
鈐印：木人、隔花人遠天涯近
4.題識：予曾借百梅祠屋，居時門前之塘中有石能藏蟹。湘綺師為題云：袖手塘頭云云。白石。
鈐印：借山翁、吾家衡嶽山下
更多詳情
Qi Baishi had a motto: "The marvel of a good painting lies between likeness and unlikeness."
Qi used both traditional Chinese freehand brushwork and folk art techniques to create his unique style. By fusing and assimilating both, his artistic maxim was always to create paintings that lay between likeness and unlikeness. As described in Cai Ruohong's preface in Likeness and Unlikeness-Selected Paintings by Qi Baishi, likeness is the concomitance of an actual object with the artist's understanding of it, while unlikess is the artist's abstraction of the object in his treatment of it - unlikeness is a phenomenon of sight, likeness of the heart.
In this selection of the artist's works, their essential aspects are apparent, with the omission of irrelevant features and representing their form and spirit in a matter of a few strokes. Qi's work is concise, working from a simplistic reading on the surface that, upon a deeper study, reveals a play of space and levels of meaning which engage the imagination and intellect and stimulate them. As Qi continued to work on his artistic ambitions over the years, he continued to reduce in the number of strokes in his delineation of objects without reducing its spirit, or understanding of form. By his later years all his works stem from his actual experience in the village, extended study of the animals and an exacting practice of sketching them, combined with his own ideals, painting from memory and from his heart.
Qi used both traditional Chinese freehand brushwork and folk art techniques to create his unique style. By fusing and assimilating both, his artistic maxim was always to create paintings that lay between likeness and unlikeness. As described in Cai Ruohong's preface in Likeness and Unlikeness-Selected Paintings by Qi Baishi, likeness is the concomitance of an actual object with the artist's understanding of it, while unlikess is the artist's abstraction of the object in his treatment of it - unlikeness is a phenomenon of sight, likeness of the heart.
In this selection of the artist's works, their essential aspects are apparent, with the omission of irrelevant features and representing their form and spirit in a matter of a few strokes. Qi's work is concise, working from a simplistic reading on the surface that, upon a deeper study, reveals a play of space and levels of meaning which engage the imagination and intellect and stimulate them. As Qi continued to work on his artistic ambitions over the years, he continued to reduce in the number of strokes in his delineation of objects without reducing its spirit, or understanding of form. By his later years all his works stem from his actual experience in the village, extended study of the animals and an exacting practice of sketching them, combined with his own ideals, painting from memory and from his heart.
榮譽呈獻
Ben Kong
查閱狀況報告或聯絡我們查詢更多拍品資料