作者郭瑞暄

我是郭瑞暄，熱愛一切美的事物，繪畫與各種藝術(shù)形式如同呼吸般自然融入我的生活。在創(chuàng)作的世界里，我總能找到一種身心沉浸其中的寧靜與愜意，仿佛時間在筆墨流轉(zhuǎn)間變得溫柔而緩慢。在接觸國畫之前，我已在藝術(shù)的海洋中盡情探索，濕水彩的靈動變幻、插畫的精巧構(gòu)思、動畫的生動表達、手工藝的質(zhì)樸韻味，還有小提琴的悠揚旋律、戲劇舞臺的情感張力都讓我對“美”有了更豐富的理解。這些經(jīng)歷像是一塊塊拼圖，逐漸拼出我對藝術(shù)整體面貌的認知。

I'm Elaine. I love all things beautiful. Painting and various art forms are as natural as

breathing in my life. In the world of creation, I can always find a kind of serenity and

comfort that allows my body and mind to immerse themselves, as if time becomes

gentle and slow in the flow of brush and ink. Before delving into traditional Chinese painting, I had already explored the vast ocean of art with great enthusiasm. The fluid and ever-changing nature of watercolor, the ingenious conception of illustrations, the vivid expression of animation, the simple charm of handicrafts, as well as the melodious tunes of the violin and the emotional intensity of the stage in drama, all enriched my understanding of "beauty". These experiences were like pieces of a puzzle, gradually forming my overall perception of art.

十二歲那年，我向父親提出想系統(tǒng)學習繪畫，機緣之下，有幸?guī)煆拇尴壬?。其實在這之前，家中早已有中華文化氛圍的熏陶，我的母親熱愛書法與國畫，偶爾也研究古琴。耳濡目染間，我對筆墨紙硯并不陌生，也對“以畫寫意”有了一層朦朧的向往。

When I was twelve years old, I asked my father if I could systematically study painting. By chance, I was fortunate enough to become a student of Mr. Cui. In fact, before that, there was already a cultural atmosphere of Chinese culture in my family. My mother loved calligraphy and traditional Chinese painting and occasionally studied the guqin. Through constant exposure, I was not unfamiliar with the brush, ink, paper and ink-stone, and I also had a vague yearning for "expressing one's feelings through painting"

我從六年級開始跟隨崔先生學習，轉(zhuǎn)眼已六年光陰。這段時光里，我從最基礎(chǔ)的水墨控制、筆法運用，逐步深入到色彩的敷染技巧、構(gòu)圖的經(jīng)營之道，再到花鳥畫的研習刻畫，寫意的灑脫自如，都讓我深刻體會到國畫不僅是技法的錘煉，更是一種與自然對話、與傳統(tǒng)共鳴的修行。

I began to study under Mr. Cui in the sixth grade, and it has been six years in the blink of an eye. During this period, I started from the most basic control of ink and water, the application of brushstrokes, gradually delved into the techniques of color application and composition, and then into the study and depiction of flower-and-bird paintings, as well as the free and easy style of freehand brushwork. All these have deeply made me realize that Chinese painting is not only about the refinement of techniques, but also a kind of practice that involves dialogue with nature and resonance with tradition.

以下來簡單談談我對國畫要素與技法的理解。

一、貫穿書法筆法：以筆傳神，氣韻生動

書法筆法是國畫造型的基礎(chǔ)，通過筆墨傳遞神韻。其核心在于四種基本技法的靈活運用：

勾勒：用筆要剛?cè)嵯酀．嬏m葉時要像書法寫撇捺般流暢自然，畫枝干則要運筆沉穩(wěn)有力，體現(xiàn)出樹木的堅韌特質(zhì)。

皴擦：通過不同的用筆方式表現(xiàn)物體質(zhì)感。畫山石時，用筆可剛勁如斧劈，也可柔和如麻絲，通過墨色濃淡表現(xiàn)立體感。

點染：點如畫龍點睛，染如輕紗薄霧。畫荷葉時先用淡墨渲染朦朧，再用濃墨點出葉脈精神，使畫面生動有致。

二、墨色：墨分五色，水潤墨章

墨色的濃淡變化可以表現(xiàn)豐富的畫面意境：

濃淡干濕：濃墨用于重點刻畫，淡墨營造悠遠意境。干筆顯得蒼勁有力，濕墨顯得溫潤柔和，需要根據(jù)畫面需要靈活運用。

墨法運用：破墨讓水墨自然交融，積墨通過層層疊加使畫面有層次而不呆板，這些都是表現(xiàn)墨色韻味的重要方法。

三、章法：構(gòu)圖布局，意境為先

構(gòu)圖不只為安排景物位置，更要營造意境：

虛實結(jié)合：重點景物細致刻畫，次要部分適當簡化。如近處的樹木精細描繪，遠處的枝葉輕淡處理，形成空間層次。

主次分明：畫面的重點與襯托，如詩歌起承轉(zhuǎn)合。主要景物突出表現(xiàn)，次要景物巧妙襯托，使整體和諧統(tǒng)一。

留白意境：空白處不是空缺，而是意境的延伸。適當?shù)牧舭啄茏層^者產(chǎn)生無限遐想，使畫面氣韻流動。

Here is a simple explanation of my understanding of the elements and techniques of traditional Chinese painting.

I. Integration of Calligraphic Brushwork: Conveying Spirit Through the Brush, Creating Vitality and Rhythm

Calligraphic brushwork forms the foundation of Chinese painting’s expressiveness, using ink and brush to convey spirit and charm. Its essence lies in the flexible application of four fundamental techniques:

Outlining and Delineating (勾勒): The brush should combine strength and softness. Painting orchid leaves should flow as naturally as calligraphic strokes, while branches should be rendered with steady, forceful brushwork to reflect the resilience of trees.

Texture Strokes (皴擦): Different brush techniques are used to depict texture. When painting mountains and rocks, strokes can be forceful like an axe chop or gentle like hemp fibers, using variations in ink tone to create a three-dimensional effect.

Dotting and Layering (點染): Dotting adds focal points, while layering creates subtle gradations. For lotus leaves, light ink is first applied to create a hazy effect, followed by darker ink dots to highlight the veins, bringing the painting to life.

II. Ink Tones: Five Shades of Ink, Moisture-Enriched Expression

Variations in ink intensity can express rich artistic conceptions:

Density, Lightness, Dryness, and Wetness: Dark ink is used for emphasis, while light ink creates a sense of depth. Dry brushstrokes appear vigorous, while wet ink conveys softness and fluidity. These should be applied flexibly according to the painting’s needs.

Ink Techniques: Techniques like pomo (breaking ink) allow ink and water to blend naturally, while jimo (layering ink) creates depth without rigidity.

These methods are essential for expressing the subtle charm of ink.

III. Composition: Arranging Elements with Artistic Conception as the Priority

Composition is not just about placing elements but also about evoking an artistic mood:

Balance of Solid and Void (虛實結(jié)合): Key elements are depicted in detail, while secondary parts are simplified. For example, trees in the foreground are rendered meticulously, while distant foliage is treated lightly to create spatial depth.

Clear Hierarchy (主次分明): The relationship between focal points and supporting elements should be harmonious, much like the structure of a poem. The main subjects stand out, while secondary elements complement them, ensuring unity and balance.

Meaningful Blank Space (留白意境): Empty areas are not voids but extensions of the artistic conception. Skillful use of blank space invites viewers’imagination and enhances the painting’s rhythmic flow.

回過頭看，國畫于我，早已不止是一門技藝。它是我與美對話的媒介，也是讓我在紛擾中安放內(nèi)心的方式。正如古人所言“外師造化，中得心源”，我仍在路上，筆墨也仍將繼續(xù)。

Looking back, for me, traditional Chinese painting is no longer merely a skill. It is a medium through which I communicate with beauty, and also a way for me to find peace within myself amidst the chaos. Just as the ancients said, "Learn from

nature externally and obtain the essence internally," I am still on this journey, and my brushstrokes will continue as well.

【迎春燕子圖】

這幅寫意花鳥圖是我的首個作品，畫面以明麗的迎春花為主體，花朵形態(tài)嬌俏，似在微風中輕輕搖曳。兩只燕子姿態(tài)靈動，或俯沖、或翱翔，為畫面增添了生機與動感。以簡練的筆墨勾勒出花枝的輪廓與烏兒的身形，色彩運用明快卻不艷俗，表現(xiàn)出春日花鳥的活潑意趣，盡顯寫意畫重神韻、簡概括的特點，營造出充滿生機的中式意境。

【Spring Swallows Painting】

This freehand flower and bird painting is my first work. The

picture features bright chrysanthemums as the main subject. The

flower shapes are delicate and seem to sway gently in the breeze.

Two swallows have dynamic postures, either diving or soaring,

adding vitality and movement to the picture. The use of concise

brushstrokes to outline the branches and the forms of the birds,

with bright but not overly garish colors, which well express the

lively charm of spring flowers and birds, fully demonstrating the

characteristics of freehand painting that emphasizes spirit and

simplicity, creating a vibrant Chinese-style atmosphere.

【紫藤麻雀圖】

圖中紫藤花以淡紫、粉紫等色彩暈染，花朵繁茂，如瀑布般垂落，盡顯柔美姿態(tài)。兩只麻雀造型生動，或停駐、或振翅，與紫藤花相互映襯。筆墨上，枝干用墨濃淡相宜，展現(xiàn)出蒼勁質(zhì)感，花朵則通過細膩的色彩過渡，表現(xiàn)出輕盈靈動之美。整體構(gòu)圖主次分明，紫藤花為畫面重點，麻雀巧妙襯托，同時留白的背景讓畫面氣韻流動，體現(xiàn)出“詩書畫印”一體的國畫特色，營造出雅致的氛圍。

【W(wǎng)isteria and Sparrow Painting】

In this painting, the wisteria flowers are depicted with various shades of purple

and pink, blooming profusely and cascading down like a waterfall, showcasing a

gentle and graceful posture. Two birds are depicted with vivid shapes, either

perched or flapping their wings, complementing the wisteria flowers. In terms of

brushwork, the branches are depicted with appropriate ink gradations, presenting

a strong and vigorous texture, while the flowers are shown through delicate color

transitions, demonstrating a light and lively beauty. The overall composition is

clear in its emphasis, with the wisteria flowers being the main focus of the

painting, and the birds serving as a subtle contrast. The blank background left in

the painting allows the atmosphere to flow, embodying the unique characteristics

of traditional Chinese painting that integrates poetry, calligraphy, painting, and

seal engraving, creating a refined atmosphere.

【聽花語】

畫面描繪了枝頭花鳥之景，花朵以簡潔的筆墨勾勒形態(tài)，花瓣舒展，花蕊點綴其間，頗具靈動之感。兩只鳥兒神態(tài)各異，一只似在鳴叫，一只似在靜聽，與花朵共同營造出“聽花語”的意境。枝干用筆蒼勁，墨色變化豐富，表現(xiàn)出枝干的挺拔與質(zhì)感。構(gòu)圖上虛實結(jié)合，重點刻畫花鳥，背景適當簡化，形成空間層

次，同時左側(cè)的書法題字與印章，更增添了作品的文化韻味，整體意境清幽雅致。

【Hear the Language of Flowers】

The picture depicts the scene of flowers and birds on the branches. The flowers

are sketched with simple lines, their petals spread out, and the stamens are

scattered among them, giving a sense of liveliness. Two birds have different

postures: one seems to be chirping, while the other seems to be listening quietly.

Together with the flowers, they create the artistic conception of "Listening to the

Language of Flowers". The branches are depicted with vigorous brushstrokes and

rich ink variations, showcasing the firmness and texture of the branches. The

composition combines the use of both light and dark areas, focusing on the

depiction of the flowers and birds, while simplifying the background to create

spatial depth. Additionally, the calligraphy inscription on the left and the seal at

the bottom further enhances the cultural charm of the work, creating an overall

atmosphere of tranquility and elegance.

【秋塘靜艷】

此圖展現(xiàn)了秋塘邊的景象，一只鴨子造型生動，羽毛通過墨色與色彩的巧妙結(jié)合，表現(xiàn)出豐富的層次與質(zhì)感，鴨子神態(tài)悠然，似在塘邊休憩。旁邊的植物枝葉繁茂，紅色的果實點綴其中，為畫面增添了秋日的艷麗色彩。筆墨運用上，植物枝葉用墨淋漓，果實色彩鮮明，與鴨子的墨色形成對比。構(gòu)圖主次分明，鴨子為畫面重點，植物作為襯托，整體營造出秋塘靜謐又不失艷麗的獨特意境。

【Autumn Pond with Tranquil Beauty】

This painting depicts the scene near the autumn pond. A duck is depicted with

great detail, and its feathers are beautifully combined through the harmonious

blending of ink and colors, showcasing rich layers and texture. The duck appears

relaxed, as if resting by the pond. The surrounding plants have lush branches and

leaves, with red fruits scattered among them, adding vibrant autumn colors to the

picture. In terms of brushwork, the plant branches are generously inked, while the

fruits have distinct colors, creating a contrast with the ink color of the duck. The

composition is clear in its emphasis, with the duck being the main focus and the

plants serving as a backdrop. Overall, it creates a unique and serene yet colorful

atmosphere of the autumn pond.

【清風圖】

這幅畫以蒼松為描繪對象，是對我個人極具挑戰(zhàn)性的一幅作品，因要展現(xiàn)出松的蒼勁，松樹主干挺拔，紋理通過濃淡墨色的巧妙運用，展現(xiàn)出蒼勁斑駁的質(zhì)

感，仿佛歷經(jīng)歲月滄桑。松枝向四周伸展，松針以細致的筆墨勾勒，繁而不亂，盡顯松樹的堅韌與生機。畫面以黑白墨色為主，通過墨色的濃淡干濕變化，表現(xiàn)出松樹的立體感與空間感。構(gòu)圖簡潔大氣，突出松樹的主體地位，營造出一種清峻、剛勁的意境。

【Green Wind Painting】

This painting focuses on depicting a towering pine tree. This is one of the most

challenging works for me personally. The main trunk of the pine is straight and

strong, and the texture is beautifully portrayed through the skillful use of light

and dark ink colors, giving a sense of rugged and intricate texture, as if it has

weathered through the ages. The pine branches extend in all directions, and the

pine needles are delicately outlined with fine brushstrokes, being numerous yet

not chaotic, fully showcasing the pine tree's tenacity and vitality. The painting

mainly uses black and white ink colors, and through the changes in ink thickness,

dryness and wetness, it presents the three-dimensionality and spatial sense of the

pine tree. The composition is simple and grand, highlighting the dominant

position of the pine tree, creating a clear and vigorous atmosphere.

【清風圖】

這幅畫以水墨繪就荷塘之景，荷葉用濃淡墨色表現(xiàn)出舒展的形態(tài)與層次感，墨色的暈染自然靈動，仿佛帶著水汽。荷花或含苞、或初綻，用筆簡練卻盡顯嬌美姿態(tài)。還有一只紅色蜻蜓停于荷莖，為素凈的水墨畫面增添一抹亮色與生機。畫面右側(cè)的書法題字與印章，體現(xiàn)了“詩書畫印”一體的國畫特色，整體營造出清幽雅致、充滿自然意趣的“清風”意境。

【Clear Wind Painting】

This painting depicts the scene of a lotus pond using ink. The lotus

leaves are depicted with varying shades of ink to show their

stretched form and layering effect. The ink blending is natural and

lively, as if carrying water vapor. The lotus flowers are either in

bud or just blooming, with concise brushstrokes yet showcasing

their delicate and beautiful posture. There is also a red dragonfly

perched on the lotus stem, adding a bright and lively touch to the

plain ink painting. The calligraphy inscription and seal on the right

side of the painting reflect the unique feature of "poetry,

calligraphy, painting, and seal" in traditional Chinese painting,

creating a serene and elegant "clear wind" atmosphere full of

natural charm.

【墨竹小雞圖】

畫面展現(xiàn)了墨竹與小雞的組合。墨竹枝干挺拔，以濃淡墨色和流暢的線條勾勒，竹葉疏密有致，用筆勁健，盡顯竹子的勁節(jié)與氣韻。兩只小雞造型可愛，以簡潔的水墨點染而成，神態(tài)生動，仿佛在竹下嬉戲。右側(cè)的書法題字與印章，豐富了畫面的文化內(nèi)涵，整體營造出清新自然、充滿生趣的氛圍。

【Illustration of Bamboo and Chickens】

The picture depicts the combination of bamboo and chickens. The

bamboo branches are upright and are depicted with varying shades

of ink and smooth lines. The bamboo leaves are arranged in a

balanced pattern, with vigorous brushstrokes, highlighting the

strong character and charm of the bamboo. The two chickens have

cute shapes, created with simple ink dots and strokes, and their

expressions are lively, as if playing in the bamboo forest. The

calligraphy inscription and seal on the right enrich the cultural

connotation of the picture, creating a fresh, natural, and lively

atmosphere.

【梅花小雞圖】

圖中梅花枝干蒼勁，以濃墨表現(xiàn)出虬曲之態(tài)，花朵用鮮艷的色彩點染，繁密卻不失靈動，盡顯梅花的嬌美與生機。幾只小雞造型生動，或低頭、或張望，與梅花相互映襯，增添了畫面的生趣。左側(cè)的書法題字“寶劍鋒從磨礪出，梅花香自苦寒來”，既為點明梅花的品格，又為與畫面相得益彰，整體營造出雅致且

富有意趣的意境。

【Illustration of Plum Blossoms and Chickens】

In this painting, the branches of the plum trees are strong and

vigorous, depicted with thick ink to show their twisted and

crooked appearance. The flowers are lightly colored and dotted

with bright hues, dense yet lively, fully showcasing the beauty and

vitality of the plum blossoms. Several chickens are depicted with

vivid shapes, either lowering their heads or looking around. They

complement the plum blossoms, adding vitality to the picture. On

the left, the calligraphy inscription reads, “A sword's edge comes

from sharpening, the fragrance of plum blossoms comes from

enduring hardship.” This inscription not only highlights the

character of the plum blossoms but also complements the picture,

creating an elegant and interesting overall atmosphere.

【菊酒延年】

畫面描繪了菊花、螃蟹與茶具的組合。菊花色彩明艷，有粉色、白色等，花朵形態(tài)飽滿，葉片以濃墨表現(xiàn)，襯托出菊花的艷麗。螃蟹色彩鮮艷誘人，置于盤

中，旁邊還有茶壺與茶杯，營造出一種閑適的生活場景。左側(cè)的書法題字“菊酒延年”點明主題，傳遞出對長壽與中秋的美好祝愿，整體畫面充滿生活意趣與

文化韻味。

【Chrysanthemum Wine for Longevity】

The picture depicts a combination of chrysanthemums, crabs and

tea sets. The chrysanthemums have bright colors, including pink

and white, with full flower shapes and thickly inked leaves,

highlighting the beauty of the chrysanthemums. The crabs are

brightly colored and have a lively shape, placed on a plate, with a

teapot and teacup beside them, creating a leisurely living scene.

The calligraphy inscription on the left, “Chrysanthemum Wine for

Longevity”, clarifies the theme and conveys a wish for longevity in

mid autumn, making the entire picture full of life charm and

cultural flavor.

【石榴圖】

這幅畫展現(xiàn)了石榴與湖石的景致。石榴果實飽滿，色彩鮮艷，有的已經(jīng)綻開，露出晶瑩的籽粒，葉片青翠，與石榴的色彩相互映襯，盡顯生機。湖石以淡青

色繪就，造型獨特，與石榴枝相互搭配，豐富了畫面層次。左側(cè)的書法題字“精誠所至，金石為開”, 為畫面增添了文化內(nèi)涵，整體營造出充滿生機與寓意的意境。

【Pomegranate Painting】

This painting depicts the scene of pomegranates and rockeries by

the lake. The pomegranates are plump and brightly colored, with

some already blooming and revealing their translucent seeds. The

leaves are green, complementing the colors of the pomegranates,

and the whole scene exudes vitality. The rockeries are depicted in a

light blue color, with unique shapes, and are paired with the

branches of the pomegranates, enriching the layers of the picture.

The calligraphy inscription on the left, "When sincerity is achieved,

even metal and stone will yield, adds cultural connotations to the

picture, creating an overall atmosphere filled with vitality and

meaning.

【金玉滿堂】

畫面以水墨繪柳條，線條流暢靈動，仿佛在水中搖曳。幾條金魚色彩艷麗，身形靈動，在柳葉間游動，姿態(tài)栩栩如生。左側(cè)的書法題字“金玉滿堂”點明主

題，傳遞出富貴吉祥的美好寓意，整體畫面充滿動感與生機，體現(xiàn)出對自然生機的捕捉與表現(xiàn)。

【Gold and Jade Abounding the House】

The picture depicts willow branches in ink painting, with smooth

and lively lines, as if they are swaying in water. Several colorful

goldfish have agile shapes and are swimming among the willow

leaves, with lifelike postures. The calligraphy inscription on the

left,"Gold and Jade Abounding the House", clarifies the theme,

conveying the beautiful meaning of prosperity and good fortune.

The overall picture is full of movement and vitality, reflecting the

capture and expression of the natural vitality.

【花鳥三幅圖】

從左至右，第一幅畫中，鳥兒立于梅花枝頭，鳥兒造型生動，羽毛以濃淡墨色表現(xiàn)出質(zhì)感，梅花花朵鮮艷，枝干蒼勁，書法題字“鳥語花香”與畫面呼應，

營造出春日花鳥的靈動氛圍。第二幅畫里，鳥兒棲息在梅花枝上，梅花枝干曲折，花朵繁密，色彩鮮艷，題字“報春”點明意境，傳遞出春的訊息。第三幅畫

中，鳥兒立于梅花枝，梅花枝干纖細，花朵點綴其間，題字“喜來登”增添了喜慶的意味，三幅畫都通過花鳥組合，營造出雅致且富有生機的意境。

【Three Pictures of Flowers and Birds】

From left to right, in the first picture, the bird stands on the branch of the

plum blossom tree. The bird is depicted with a vivid form, and its feathers are

expressed with varying shades of ink to convey texture. The plum blossoms are

bright, and the branches are strong and firm. The calligraphy inscription

"Birds Singing and Flowers Fragrant" echoes the scene, creating a lively

atmosphere of spring flowers and birds. In the second picture, the bird rests on

the branch of the plum blossom tree. The branch is crooked, the flowers are

dense, and the colors are bright. The inscription "Revealing Spring" clarifies

the mood, conveying the message of spring. In the third picture, the bird

stands on the branch of the plum blossom tree. The branch is slender, and the

flowers are scattered among them. The inscription "Joyful Arrival" adds a

festive touch, enhancing the elegant and vibrant atmosphere of the three

pictures through the combination of flowers and birds.

【菊花兩幅圖】

左側(cè)畫中，菊花色彩明艷，有黃色、橙色等，花朵形態(tài)各異，或盛放或半開，葉片以濃墨表現(xiàn)，與菊花的色彩形成對比，旁邊的湖石以淡墨與色彩繪就，豐富了畫面層次，題字“好花秋更麗”點明菊花在秋日的艷麗。右側(cè)畫里，菊花盛放于籃中，色彩金黃，葉片墨綠，籃子造型質(zhì)樸，旁邊還有枝條點綴，題字“何

必羨春華，香昭秋更麗”,贊美了菊花在秋季的美麗與芬芳，兩幅畫都突出了菊花的風姿與品格。

【Two Pictures of Chrysanthemums】

On the left side of the painting, the chrysanthemums have bright

colors such as yellow and orange. The flowers come in various shapes,

some fully bloomed and some partially open. The leaves are depicted

in thick ink, contrasting with the colors of the chrysanthemums. The

adjacent rockeries are painted in light ink and colors, enriching the

layers of the picture. The inscription "Beautiful flowers are even more

splendid in autumn" highlights the beauty of the chrysanthemums in

autumn. On the right side of the painting, the chrysanthemums are

placed in a basket, with golden colors and dark green leaves. The

basket has a simple shape, and there are also branches scattered

around. The inscription "Why envy the spring blossoms? The

fragrance is even more splendid in autumn" praises the beauty and

fragrance of the chrysanthemums in autumn. Both paintings highlight

the grace and character of the chrysanthemums.

這套四幅國畫作品，以水墨為主要表現(xiàn)形式，分別描繪了小鴨、蝦、螃蟹、小雞四種物象，各有特色又和諧統(tǒng)一。

第一幅是小鴨圖，畫面中多只小鴨形態(tài)各異，或游弋、或駐足，以簡潔的水墨點染而成，墨色濃淡變化自然，生動展現(xiàn)出小鴨的憨態(tài)可掬與活潑靈動，背景留白，營造出春江水面的空闊意境，左側(cè)題字“春江水暖鴨先知”，既點明時節(jié)與畫面意趣，又增添了文化韻味。

第二幅為群蝦圖，蝦的造型靈動，長須與蝦身以流暢的線條勾勒，墨色的運用精準地表現(xiàn)出蝦的透明質(zhì)感與在水中游動的姿態(tài)，仿佛能感受到水的流動，題字“無魚蝦自奇”，凸顯出蝦自身的獨特意趣，畫面充滿生機與動態(tài)美。

第三幅是螃蟹圖，螃蟹形態(tài)各異，有的張牙舞爪，有的靜靜伏臥，以濃淡墨色表現(xiàn)出蟹殼的堅硬質(zhì)感與蟹身的層次，題字賦予螃蟹一種霸氣的形象，讓畫面更具意趣與想象空間。

第四幅為小雞圖，幾只小雞神態(tài)天真活潑，以簡潔的水墨勾勒出圓潤的身形與靈動的姿態(tài)，仿佛在嬉戲玩鬧，題字直接點明小雞的可愛特質(zhì)，畫面充滿童真與生趣。整套作品通過對不同物象的細致描繪，運用水墨技法的濃淡干濕變化，展現(xiàn)出自然生物的生機與意趣，同時每幅的題字與畫面相得益彰，體現(xiàn)了國畫“詩書畫印”一體的藝術(shù)特點，整體營造出清新自然、充滿生活意趣的氛圍。

This set of four ink paintings mainly uses ink as the expression medium, depicting four different objects: a duckling, a shrimp, a crab, and a chicken. Each has its own unique features while remaining harmoniously unified.

The first painting is of the duckling. In the picture, multiple ducklings have various postures, either swimming or standing still. They are depicted with simple ink dots, and the ink color gradations are natural, vividly showing the cute and lively nature of the ducklings. The background is left blank, creating an expansive atmosphere of the spring river surface. On the left side, the inscription reads "The river is warm in spring, and the ducks are the first to know", which not only indicates the season and the artistic conception of the picture but also adds cultural flavor.

The second painting depicts a group of shrimps. The shrimps are depicted with a lively and dynamic appearance. Their long antennae are sketched with smooth lines along the body. The use of ink color precisely conveys the transparent texture of the shrimps and their swimming posture in the water, making one feel the flow of water. The inscription reads “Unique Shrimps Without Fish”, highlighting the unique charm of the shrimps themselves. The picture is full of vitality and dynamic beauty.

The third picture depicts crabs of various shapes. Some are baring their claws and moving about, while others are lying still. The use of light and dark ink colors showcases the hard texture of the crab shells and the layers of the crab bodies.

The inscription gives the crabs an imposing image, making the picture more interesting and full of imagination. The fourth picture depicts chicks. Several chicks have a naive and lively expression. With simple ink strokes, the round shapes and agile postures of the chicks are depicted, as if they are playing and having fun. The inscription directly highlights the adorable traits of the chicks. The picture is filled with childlike innocence and vitality.

The entire set of works, through detailed depictions of various objects, uses the changes in ink thickness, dryness and wetness to showcase the vitality and charm of natural creatures. At the same time, the inscriptions on each picture complement the picture well, reflecting the artistic feature of traditional Chinese painting that integrates "poetry, calligraphy, painting, and seal engraving". The overall atmosphere creates a fresh and natural, full of life interest environment.