齐白石的“似与不似之间”理论(《题枇杷》)是在“衰年变法”之后提出的评价绘画的标准,对于当代中国画的发展及创新求变意义巨大。这一理论用语简括,但气象宏阔,继承并突破了前人的形似、神似理论,形成了形、神、趣相互关联的理论。在传统阐释中,学者大多重视“似与不似”背后的绘画造型与笔墨神韵的关系研究,也有人关注绘画的外在与内质的研究。但或许这一理论背后的雅俗之辩、突破程式及自由创造的绘画理念等,对当代中国绘 Qi Baishi’s theory of “similarity between similarity and similarity” (“title loquat”) is the standard of evaluation painting proposed after “change of age”, which is of great significance to the development and innovation of contemporary Chinese painting. This theory is loosely worded, but its ambitious atmosphere inherits and breaks through the antecedents’ resemblance and theology-like theory, forming a theory of mutual connection between form, spirit and interest. In the traditional interpretation, most scholars pay more attention to the research on the relationship between the painting style behind the “likeness and notness” and the charm of the brush and ink. Some people also pay attention to the study of the external and the internal quality of painting. But perhaps the debate behind the theory of elegance and vulgarism, the breakthrough program and the concept of painting freely created,