齐白石花卉草虫图

齐白石（1864－1957），汉族，湖南湘潭人，二十世纪十大画家之一，世界文化名人。齐白石1864年1月1日（清同治三年癸亥冬月廿二）出生于湘潭县白石铺杏子坞，1957年9月16日（丁酉年八月廿三）病逝于北京，终年九十三岁。宗族派名纯芝，小名阿芝，名璜，字渭清，号兰亭、濒生，别号白石山人，遂以齐白石名行世；并有齐大、木人、木居士、红豆生、星塘老屋后人、借山翁、借山吟馆主者、寄园、萍翁、寄萍堂主人、龙山社长、三百石印富翁、百树梨花主人等大量笔名与自号。 齐白石画工笔草虫的时间，

大约始于19世纪80年代，止于上世纪30年代初。天上飞的、地上爬的、水上游的，他几乎无所不画，还曾立下豪言：“为万虫写照，为百鸟张神”，很难统计他一生究竟画了多少种草虫。 在他被称为阿芝的童年，在湖南湘潭那个山清水秀的农村，迎着风奔跑在山间地头的小男孩，虫子是他们最好的朋友。在《白石老人自述》中齐白石自己回忆：“那时令弟仲葛、仲麦，还不到20岁。暑假放假，常常陪伴我，活泼可爱。我看他们扑蝴蝶、捉蜻蜓，扑捉知了，都给我作了绘画的标本。 所以你一定要看到齐白石笔下的地气儿，那种和泥土的联系，那种对一草一木一花一虫生命的完全尊重。齐白石曾说，画虫“既要工，又要写，最难把握”，

又说：“凡画虫，工而不似乃荒谬匠家之作，不工而似，名手作也。”齐白石画虫绝非凭空想象，而是来自于他自己亲眼所见。“辛丑（1901）以前，白石的画以工笔为主，草虫早就传神。因为他家一直养草虫——纺织娘、蚱蜢、蝗虫之类，还有其他生物，他时常注视其特点，作直接写生的练习，历时既久，自然传神。”从1909年到1919年十一年，速写的或工细的画在毛边纸上的画稿，最少也在一千张以上。每个画稿都不出一张信纸大，有的画几只虫，有的画一只鸟，有的甚至是打乱了的花瓣或折下来的树叶，每一张都附记月日，作些题识。”齐白石笔下的天牛和真实的天牛对比 齐白石专长花鸟，笔酣墨饱，力健有锋，但画虫则一丝不苟，极为精细。尤工虾蟹、蝉、蝶、鱼、鸟、水墨淋漓，洋溢着自然界生气勃勃的气息。齐白石的画，反对不切实际的空想，齐白石经常注意花、鸟、虫、鱼的特点，揣摩它们的精神。 白石四十岁(1902年)以前的画以工笔花卉为主，尤其画草虫早就传神。他在家一直养着纺织娘、蜜蜂、蝴蝶等草虫，还有其他小动物，时常注意它们的特点，仔细观察，直接进行写生。 白石将工笔与写意如此天衣无缝地结合在了一起，创造出自己独特的艺术语言。在历代画家的笔下，草虫仅是花草的点缀，而在齐白石的画中，草虫虽与真虫大小无异，却成为真正的主角与视觉中心。

Qi Baishi (1864-1957), Han nationality, native of Xiangtan, Hunan, is one of the top ten painters in the 20th century and a world cultural celebrity. Qi Baishi was born in Xingziwu, Baishipu, Xiangtan County, on January 1, 1864 (the 22nd day of the winter in Guihai, the third year of Tongzhi in Qing Dynasty), and died in Beijing on September 16, 1957 (the 23rd day of August in Ding Younian) at the age of 93. Clan name Chunzhi, nickname Azhi, name Huang, word Weiqing,No. Lanting, Linsheng, alias Baishishan people, so he went to the world in the name of Qi Baishi; There are many pen names and self-names, such as Qida, Muren, Mujushi, Hongdousheng, descendants of Xingtang Old House, JieShan Weng, owner of Jieshan Yinguan, Jiyuan, Pingweng, owner of Jipingtang, president of Longshan, millionaire of 300 stone seals and owner of Baishu Pear Blossom. Qi Baishi started painting meticulous grass insects in the 1880s and ended in the early 1930s. Flying in the sky, climbing on the ground, and upstream of the water, he painted almost everything. He once made a bold statement: "Portrait a million insects and inspire a hundred birds." It is difficult to count how many kinds of grass insects he painted in his life. In his childhood, when he was called Azhi, in the beautiful countryside of Xiangtan, Hunan, the little boys who ran in the mountains against the wind, worms were their best friends. In Old Man Baishi's Self-Report, Qi Baishi himself recalled: "At that time, your younger brothers Zhong Ge and Zhong Mai were less than 20 years old. Summer vacation, often accompany me, lively and lovely. I saw them flapping butterflies, catching dragonflies, catching cicadas, and they all made me painting specimens. So you must see Qi Baishi's earth atmosphere, the connection with the soil, and the complete respect for the life of plants, trees, flowers and insects. Qi Baishi once said that painting worms "requires both work and writing, which is the most difficult to grasp", and said, "It's an absurd craftsman's work to paint worms, but it's a masterpiece if you don't work." Qi Baishi's painting worms is by no means imaginary, but comes from his own eyes. "Before Xin Chou (1901), Baishi's paintings were mainly meticulous, and grass insects had long been vivid. Because his family has been raising grass insects-textile mothers.