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細節
齊白石 春光圖 設色紙本 立軸
題識：冷盦仁兄法論，齊璜白石。
鈐印：白石翁、齊大
胡橐另詩堂 (水墨紙本 鏡框)： 此幅作品係先師白石老人於八十歲前為先父佩衡公所贈。此畫氣韻生動，十分喜人。白石老人畫山水風景，很少而且一般不畫大幅，十分可貴。庚午 (1990年) 春橐 也題。此幅題名‘春光圖’。
鈐印：胡橐之印、白石弟子
出版：《齊白石繪畫精品集》，北京人民美術出版社，1990年，第59頁。
《齊白石全集》第三卷，湖南美術出版社，1996年，圖版54。
白石老人尊崇徐渭、八大、石濤。他說：“青籐、雪個、大滌子之畫，能橫塗縱抹，或為諸君磨墨理紙。諸君不納，余於門之外，餓而不去，亦快事也。”大眾未能接受此三家筆法，他本人卻不捨離去，即使餓着肚子看畫，也看得快樂。齊白石的山水作品，師法石濤，筆法簡略，意境深遠，深明事物本質，就能知輕重、明暗，大寫意中又見細膩，在似與不似間，滲透絲絲禪意。這或許從石濤畫語一則內，有所體會：
似董非董，似米非米，雨過秋山，光生如洗。
今人古人，誰師誰體？但出但入，憑翻筆底。
思源堂珍藏齊白石精品
思源堂主人，素愛齊白石畫作，喜其花卉自然，幽香四溢，《菊壽延年酒自香》還加上醇酒之香，未嘗已微醺。描繪《牧豬》生動有趣，題識“寄萍老人白石曾牧之于星塘屋後。”是他幼年時牧牛放豬的情景，仍歷歷在目，又表達了勞動階層的感情。畫《虎》是較少有的題材，虎蹲的身體，骨骼架構鮮明，線條輕鬆但準確，皮毛質感頓現，從背面着墨，亦能帶出虎的勇猛和躍躍欲動的意態。白石描畫山水更是獨樹一格，《春光圖》題贈冷庵，即胡佩衡，白石好友，白石山水風格，不為傳統山水支持者接受，諸多批評，而胡氏早年已甚重視齊老山水，所藏頗多此類題材。從胡佩衡兒子胡槖所寫春光圖跋，可知胡氏對齊白石山水之讚譽。
題識：冷盦仁兄法論，齊璜白石。
鈐印：白石翁、齊大
胡橐另詩堂 (水墨紙本 鏡框)： 此幅作品係先師白石老人於八十歲前為先父佩衡公所贈。此畫氣韻生動，十分喜人。白石老人畫山水風景，很少而且一般不畫大幅，十分可貴。庚午 (1990年) 春橐 也題。此幅題名‘春光圖’。
鈐印：胡橐之印、白石弟子
出版：《齊白石繪畫精品集》，北京人民美術出版社，1990年，第59頁。
《齊白石全集》第三卷，湖南美術出版社，1996年，圖版54。
白石老人尊崇徐渭、八大、石濤。他說：“青籐、雪個、大滌子之畫，能橫塗縱抹，或為諸君磨墨理紙。諸君不納，余於門之外，餓而不去，亦快事也。”大眾未能接受此三家筆法，他本人卻不捨離去，即使餓着肚子看畫，也看得快樂。齊白石的山水作品，師法石濤，筆法簡略，意境深遠，深明事物本質，就能知輕重、明暗，大寫意中又見細膩，在似與不似間，滲透絲絲禪意。這或許從石濤畫語一則內，有所體會：
似董非董，似米非米，雨過秋山，光生如洗。
今人古人，誰師誰體？但出但入，憑翻筆底。
思源堂珍藏齊白石精品
思源堂主人，素愛齊白石畫作，喜其花卉自然，幽香四溢，《菊壽延年酒自香》還加上醇酒之香，未嘗已微醺。描繪《牧豬》生動有趣，題識“寄萍老人白石曾牧之于星塘屋後。”是他幼年時牧牛放豬的情景，仍歷歷在目，又表達了勞動階層的感情。畫《虎》是較少有的題材，虎蹲的身體，骨骼架構鮮明，線條輕鬆但準確，皮毛質感頓現，從背面着墨，亦能帶出虎的勇猛和躍躍欲動的意態。白石描畫山水更是獨樹一格，《春光圖》題贈冷庵，即胡佩衡，白石好友，白石山水風格，不為傳統山水支持者接受，諸多批評，而胡氏早年已甚重視齊老山水，所藏頗多此類題材。從胡佩衡兒子胡槖所寫春光圖跋，可知胡氏對齊白石山水之讚譽。
來源
THE SIYUAN TANG COLLECTION OF QI BAISHI PAINTINGS
The owner of the Siyuan Tang collection was a man who loved Qi Baishi's paintings, in particular the naturalistic way he rendered flowers and the spirit with which he depicted them. In Chrysanthemum and a Jar of Wine, Qi painted so realistically that one can almost smell the pungent intoxication of the mix of flowers and wine. Qi sketched a lively and animated Pigs, with the inscription, 'having spent time in the backyard of my Xing Tang house'. Through the painting, Qi recalled his years as a herd boy, as well as the steadfast spirit of the working class. In his rare depiction of Tiger, Qi painted the lines defining its bone structure with fluidity and ease, his meticulousness in depicting a crouching tiger culminating minute details such as its fur, to the overall ferocity and agility of the animal. Qi's depiction of landscapes is also in a class of his own. Dedicated to Lengan, who was Hu Peiheng, Qi's good friend, Spring Scenery highlights his unique interpretation of landscapes, containing new methods, distinctive perceptions, and unexpected compositions that propelled and set the tone for a new genre of Chinese paintings. Although Qi's landscape paintings initially received criticism for being too avant-garde in comparison to traditional landscape painting, Hu already saw and understood its immense significance and collected many landscapes by Qi. From the added inscription by Hu Peiheng's son Hu Tuo, one can see the high regard the Hu family as a whole had for Qi's landscape paintings.
The owner of the Siyuan Tang collection was a man who loved Qi Baishi's paintings, in particular the naturalistic way he rendered flowers and the spirit with which he depicted them. In Chrysanthemum and a Jar of Wine, Qi painted so realistically that one can almost smell the pungent intoxication of the mix of flowers and wine. Qi sketched a lively and animated Pigs, with the inscription, 'having spent time in the backyard of my Xing Tang house'. Through the painting, Qi recalled his years as a herd boy, as well as the steadfast spirit of the working class. In his rare depiction of Tiger, Qi painted the lines defining its bone structure with fluidity and ease, his meticulousness in depicting a crouching tiger culminating minute details such as its fur, to the overall ferocity and agility of the animal. Qi's depiction of landscapes is also in a class of his own. Dedicated to Lengan, who was Hu Peiheng, Qi's good friend, Spring Scenery highlights his unique interpretation of landscapes, containing new methods, distinctive perceptions, and unexpected compositions that propelled and set the tone for a new genre of Chinese paintings. Although Qi's landscape paintings initially received criticism for being too avant-garde in comparison to traditional landscape painting, Hu already saw and understood its immense significance and collected many landscapes by Qi. From the added inscription by Hu Peiheng's son Hu Tuo, one can see the high regard the Hu family as a whole had for Qi's landscape paintings.
出版
Masterpiece of Painting by Qi Baishi, People's Fine Arts Publishing House, Beijing, 1990, p. 59.
The Collected Works of Qi Baishi Vol. III, Hunan Fine Arts Publishing House, 1996, pl.54.
The Collected Works of Qi Baishi Vol. III, Hunan Fine Arts Publishing House, 1996, pl.54.