我国古代一些花鸟画家往往陶醉于自然界的花鸟虫鱼之美,他们并不满足简单地再现这些物象的本来面目,而总是热衷于将花鸟虫鱼巧妙地加以“人化”,使“思与境偕”、“神与物游”,从而将自然美与广阔的社会生活及画家深邃的思考融汇贯通起来。这便使绘画中的花鸟虫鱼常常寄寓着画家个人的志意和情趣,乃至在一定意义上成了艺术家本人的化身。古代赵孟坚的兰草,王元章的墨梅,徐清藤的葡萄,朱雪个的水鸟,郑板桥的竹石均可作如是观,现代齐白石的螃蟹,徐悲鸿的奔马也莫不如此。这里谈及的孙其峰两幅近作,表现的是清峻挺秀 In ancient China, some flower and bird painters often indulge in the beauty of flowers, birds and insects in nature. They are not content to simply reproduce the true features of these objects, but are always keen to “flower” birds and insects delicately to “humanize” Kai “and” god and object tour ", thus integrating natural beauty with vast social life and deep thinking of painters. This makes the flowers and insects in the paintings often convey the artist’s personal aspiration and taste, and in a certain sense, becomes the incarnation of the artist himself. Ancient Zhao Mengjian blue grass, Wang Yuanzhang’s Meimei, Xu Qing vine grapes, Zhu Xue a waterfowl, Zheng Banqiao bamboo can be used for such as the concept of modern Qi Baishi crabs, Xu Beihong’s running all the more so. Sun Qifeng here referred to two recent works, the performance is auspicious Tingxiu