Qi Baishi has a few strokes, and the dark color shows movement. A pair of heavy ink eyes, a little Jiao Mo in the middle of the head, and two light inks on the left and right, which makes the shrimp head varied. Hard shell is transparent, from deep to shallow. And shrimp loin, one section at a time, several strokes in a row, forming the rhythm of shrimp loin from thick to thin.
The change of Qi Baishi's pen makes the shrimp waist present various abnormal States, some bow forward and some swim straight. There are also people who bend over and crawl. The shrimp tail is also a few strokes, which is both elastic and transparent. A pair of front paws of shrimp, from thin to thick, from several joints to two paws, are like pliers, one opening and one closing. Shrimp tentacles are drawn with several light ink lines.
For the shrimp in the water, in order to show that sense of perspective, Qi Baishi's lines are empty and solid, simple and appropriate, soft and firm, broken and solid, straight and curved, chaotic and orderly, and the shrimp on the paper seems to be playing and swimming in the water, and the tentacles seem to be moving.
Qi Baishi's shrimp painting has entered the realm of transformation. In his concise pen and ink, he shows the group of shrimp swimming in the water. The thick arrowhead mushroom and dried shrimp are transparent and light, which shows the maturity of Qi Baishi's painting art in his later years.
Extended data
Every plastic artist has his own aesthetic standards. When Qi Baishi painted morning glory, the leaves were all viewed from the front, the flowers were viewed from the side, and the buds were as straight as red candles. This is the unity of local consistency and overall momentum, which is the characteristic of modeling.
The rich peony flowers, the soaring interest of palm trees, the mud toy style of tumblers, the roundness of cattle and its back, the long and narrow shape of shrimp and its side, the eyes and bearing structure of owls are all related to the shape of objects and the way artists feel.
Qi Baishi's ability to describe fine grass insects is due to the fact that folk craftsmen show off their skills. The appearance of those thick brush branches and leaves in the same frame embodies the beauty of contrast, which is determined by the complexity of Qi Baishi's dual personality as a farmer and scholar.
Qi Baishi's famous painting language about modeling-"the beauty of painting is between similarity and dissimilarity, too kitsch to be deceived" is not only Qi Baishi's modeling view, but also his aesthetic interest in communicating secularism and literati in the whole artistic style. It is neither kitsch nor crazy choice to cheat the world and steal fame.
Like Qi Baishi's view of "fairness and justice", the interesting modeling between likeness and dissimilarity is that this artist can create at two extremes with great ingenuity and simplicity, but ultimately refuses to stick to the middle point of modeling scale and aesthetics chosen by any extreme artist.
In his later years, Qi Baishi's increasingly simplified painting style strengthened the shape of "likeness" and the dominant position of "spirit", reaching the realm of "the simpler the pen, the more complete the spirit". Qi Baishi's "confusion" in the last year of his life is also a rare confusion in art, a breakthrough in regular script brushwork and the highest realm for artists to dominate artistic images.
Baidu Encyclopedia-Qi Baishi (Master of Modern Chinese Painting)