标签： 画猫的画家

原标题：荷兰女画家亨丽埃特·隆纳·克尼普是世界上画猫咪最好的女画家，没有之一

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孙老在世时曾接受采访，记者问及孙老长寿的秘诀，孙老表示：“哪要什么秘诀，身体好、精神爽完全得益于我的职业。教书、读书、写诗作词、画画让我颐养天年呐！”孙老说， 自己自幼体质虚弱，经常生病，或许是职业的原因，成年后，他不但极少生病， 而且身体越来越好。

孙老说，他的兴趣爱好就是读书，从物理学专著、数学论文、中国诗词、美学理论，西方美术史，凡是认为有益的书都兴致浓厚地通读。读书时心安神定， 旁无杂念，耳不听外界声响，只静静领会书中意境，继而进入一种“豁然贯通” 的特殊境界。

此时，除了感受心灵的宁静、洒脱，对书本之外的世界会全然忘却。读书所产生的宁静状态，是修身养性的最佳境界。但是读书也应该节制，不宜用脑太过。劳心适度，能劳能逸，才会有益身心，身体才会“毫无衰惫之气”。

孙老说，中国各种职业中，以书画家的平均寿命最长，历史上有许多书画家都很长寿。

孙老说，写字作画时需澄心闭息，切不可心猿意马。精神专一， 大脑才能排除杂念，迅速进入一种入静状态。只有在端正姿势，调心入静，调匀呼吸的前提下，使心息相依，意气相合，最终才能达到意收笔端、抒怀写态、酣畅淋漓、乐以忘忧的效果。尽管我平时没有参加体育锻炼，但绘画的过程就是另一种意义上的锻炼，它是最适合我的身心锻炼方法。

从事书画创作本身就要求人看空万事，别无他想，无妄念，除私欲。做不到这一点，往往心胸抑郁，怨天尤人，这样不仅不能修养品性，也难以保持强健身体。如今有的年轻画家急功近利，把精力过多放在追名逐利上，这样既不利于创作，也不利于身体。微利必争的人，必抑郁不满，伤肝结气。年岁一高，百病齐出。从事绘画艺术工作，就得有点牺牲精神，要耐得住寂寞，对功名权欲要看得透，个人利益要看得淡，人际关系要看得穿。达到个人得失不足计，荣辱贵贱不足忧的境界决非是一日之功。

（1840~1896），初名润，字伯年，一字次远，号小楼（亦作晓楼），浙江山阴人，清末画家。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。

任伯年出生于浙江萧山农村，父亲任声鹤是民间画像师。任伯年少时受家庭的熏染，自幼善画，受民间版画影响深刻。任伯年十岁时，父亲开始传授他写真技巧，但作画的出发点不是附庸风雅，不是陶冶情操，而是谋生之术。

一次家中来客，坐了片刻就告辞了，父亲回来问是谁，小伯年答不上姓名，便拿起纸就画，竟凭着记忆把来访者的肖像画出来了，父亲一看，立刻便知晓来访者身份了。这说明任伯年小小年纪就掌握了写真画技巧。

然而，一个穷孩子的画谁能瞧得起呢？他每日都在为温饱而发愁焦心。有一次，他看到两个人为争一幅名画家任渭长的画而吵得面红耳赤，非常感慨，心想，为克服生活困境，挣点学习费用，何不借用一下任渭长的大名呢！于是，他就把自己画的扇面都假落“任渭长”的名字。果然，地摊上的生意一天天地好起来。

当时，任渭长正在上海。一天，他经过任伯年的地摊，见地摊上的扇面画得不错，拿起来仔细一瞧，上面的落款竟是自己的名字，十分诧异，就问道：“这些扇面是谁画的？”

“这……”任伯年愣了一下，不高兴地说：“你要买就买，不买就算了，何必打破砂锅问到底？”

任伯年一听，羞愧得无地自容，正打算丢下地摊逃走，任渭长一把拉住了他，和气地问道：“你为什么要冒名顶替呢？”

任伯年把自己的真实想法一五一十地全讲了。任渭长十分同情任伯年的处境，再看他的画已有几分基础，就当场表示愿意收他为徒。任伯年因祸得福，喜出望外，马上叩头拜了老师。

30岁时，到上海之后的任伯年开始进入“海上画派”的文人画画家的圈子里，他通过“上法古人”与学习海上同人的文人笔墨，仿作与创作了大量的具有传统文人画品格的花鸟画。

他的名字开始被广东商人熟知，粤商走南闯北，任伯年的名字也跟着在几个南方重镇渐红。境况稍好后，他就搬到城南，住在豫园三牌楼，心情不佳时就到旁边的春风得意楼品茶。

当时的上海经济繁荣，一跃成为全国的商业中心，渐渐也成为文化重镇。任渭长、任熏、赵之谦、胡公寿、虚谷等画家济济一堂，形成中国近代史上一个最大的画派——海上画派，而任伯年是其中最杰出的代表。

那时的他还不到40岁，就已跻身海派画家的行列，且颇具人气，成为当时海上画派画家中润格最高的，每尺约3元大洋，而二流、三流书画家的润格仅几角到1元。

名气带动销量，不少求画者常常堵在他家门口。尽管在上海已非常有名气，任伯年却和他的父亲一样低调，从不像其他文人那样做寿、修谱，或是请人作传，面对前来索画的客商也时常有些不知所措。

一次一位广东商人索画，正碰上任伯年外出归来，便干脆尾随他进屋，任伯年忙着上楼，急忙转过头说：内房止步，内房止步。

自己不善交涉，可却有一位“贤内助”。任伯年家分为上下两层，楼上专供其绘画创作，妻子在楼下应付前来索画的客商。

据说任伯年的妻子刻薄吝啬，常常接受大量的订单，任伯年有时候一天不得不画十几幅，甚至几十幅。巨大的工作量使他常常体力不支，只好靠抽提神，劳累时便躺下过过瘾，心满意足后常常才思泉涌。

有一次，任伯年没有在约定的时间交画，画商在任抽时找上门来，气势汹汹要动手。只见任伯年站起身，顷刻间便成就了一幅佳作。

任伯年可称得上是一位全能画家，人物、山水、花卉、翎毛等无一不通，但画得最多的还是人物肖像，这得益于父亲当年言传身教的写真术。他甚至说：“画必须从人物人手，且必须画人像，才见功力。”

一次绍兴有一个店老板，请了很多当地的画工为自己画像，每个人都画得惟妙惟肖，但店老板都十分不满意。后来他请到了任伯年，任看到他长得是寿星头，下巴很短，正面画会暴露他长相的很多缺点，便选择了老板算账时的一个侧面作画，有意把额头画低，下巴拉长，这样适当变形后，既不失神韵又比真人形象美，对方十分满意。

有一次，任伯年在一个小城镇的茶馆喝茶，忽然看到街上有一群鸡，羽毛长得好，神态又很生动，这可把他深深吸引住了。任伯年不但看得入神，连茶都忘了喝，而且设法要了一把米，不断向鸡群撒去，以便观看鸡群啄米的千姿百态。可是，正当任伯年看得津津有味时，鸡的主人发现他撒米喂鸡，怀疑他是偷鸡贼，也暗地观察，但等他一动手，就把他擒拿起来。后来弄清楚他只是喂而不偷，养鸡主人反而感谢他。此事一时传为美谈。

有一次，有位朋友求他画一张《狸猫图》。他画了几幅都不满意，始终不肯拿出来，弄得那位朋友莫名其妙。而他也不愿随便画一幅敷衍了事，为此感到焦躁不安。

一天夜里，皓月当空，万籁俱寂，任伯年端坐桌前，正在凝神构思。忽然，他听到邻居房顶上有猫叫声，他连忙站起，推开窗子想看个仔细，谁知响声把猫惊跑了，他不失时机地赶忙爬上房，还好，猫还在房顶上。他全神贯注地看着猫，只见猫躬腰拖尾，瞪着双警惕的眼睛扭头看人，又惊又怒的样子。任伯年越看越有意思，竟忘了还在房顶上，一不小心，跌落在邻居家院子里，幸好还未跌伤。

时值深夜，惊醒了邻人，起来一看，原来是任伯年。邻居还以为他是越墙偷盗的贼。当任伯年说明情况后，邻居为他这种精神所感动，并将他护送到家。回家以后，任伯年当即挥毫泼墨，画出了姿态惟妙惟肖、跃然纸上的《狸猫图》。

任伯年画猫的故事启示我们：无论是画画儿还是写文章，一定要认真观察生活。须正如鲁迅说：“如要创作，第一需观察。”对任何事物必须观察准确、透彻，才好下笔。只有这样，画出来的画才能生动形象，写出来的文章才能真切动人！