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細節
齊白石 牧豬 設色紙本 鏡框
題識：寄萍老人白石曾牧之于星塘屋後。
鈐印：老齊
出版：《齊白石繪畫作品圖錄》中卷，天津人民美術出版社，2006年，第164頁。
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：寄萍老人白石曾牧之于星塘屋後。
鈐印：老齊
出版：《齊白石繪畫作品圖錄》中卷，天津人民美術出版社，2006年，第164頁。
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
Record of Paintings by Qi Baishi Vol. II, People's Fine Arts Publishing House, Tianjin, 2006, p.164.