傅抱石生于江西南昌的一個(gè)修傘匠人家。1921年他以第一名免試升入省立第一師范。其時(shí)他在治印之余開始讀一些古代畫史畫論,尤其是看到石濤的“我用我法”頓開茅塞,他更欣賞石濤“搜盡奇峰打草稿”的思想。1933年3月,傅抱石東渡日本,入東京帝國美術(shù)學(xué)院,拜美術(shù)史家金原省吾為師。1935年5月《傅抱石中國畫展覽》在東京舉行。院長正木直彥、畫家橫山大觀等參觀了展覽。1935年6月,傅抱石因母病回國,1936年7月,他在南昌舉辦了個(gè)人畫展,這是他在國內(nèi)的第一次個(gè)人畫展。暑假之后,應(yīng)徐悲鴻之聘,任教于南京中央大學(xué)藝術(shù)系。1937年抗戰(zhàn)爆發(fā)后,他攜全家返新余故里。1938年4月,他受郭沫若的邀請(qǐng),到武漢參加了三廳工作。此后又移到重慶,自此進(jìn)入他藝術(shù)創(chuàng)作的一個(gè)高峰期。他家住沙坪壩的金剛坡,此后他常在畫上題署“金剛坡下齋”。他圖繪《畫云臺(tái)山圖卷》,編撰《石濤上人年譜》,同時(shí)創(chuàng)作了《石濤上人像》、《大滌草堂圖》,這些都反映了傅抱石藝術(shù)創(chuàng)作和史論研究之間的關(guān)系,以及他的藝術(shù)淵源。
先生在思考---近照
從1939年以后的6年多的時(shí)間,傅抱石一方面進(jìn)入了他史論研究中的高峰期,另一方面又完成了他從篆刻和史論研究到繪畫創(chuàng)作的過渡。1942年10月,《傅抱石教授畫展》在重慶舉行。1944年9月,傅抱石以杜甫的樂府詩《麗人行》為題,創(chuàng)作了名作《麗人行》(1997年嘉德國際拍賣公司以1078萬元拍出)。后來,徐悲鴻贊其畫:“此乃聲色靈肉之大交響”,并題:“抱石先生近作愈恣肆奔放,渾茫浩瀚,造景益變化無極,人物尤文理密察,所謂爐火純青者非耶?”
抗戰(zhàn)勝利后,他和全家隨學(xué)校遷回南京。1947年10月,《傅抱石教授畫展》在上海舉行,郭沫若用“沉浸濃郁”“含英咀華”來評(píng)價(jià)畫展。然而,這時(shí)國民黨政府的南京已是風(fēng)聲鶴唳。傅抱石趁疏散人口的機(jī)會(huì),攜全家離開了南京,回到了南昌。新中國成立后,中國現(xiàn)代史進(jìn)入了一個(gè)新的紀(jì)元。傅抱石開始迎接充滿希望的新生活。
傅抱石作為江蘇國畫院院長,在1960年9月率領(lǐng)“江蘇國畫工作團(tuán)”進(jìn)行23000里的旅行寫生,并由此推動(dòng)新山水畫在20世紀(jì)中期的發(fā)展,把50年代初開始的以寫生帶動(dòng)傳統(tǒng)國畫推陳出新的運(yùn)動(dòng)推向一個(gè)歷史的高潮。后來傅抱石以《煤都?jí)延^》為代表的社會(huì)性題材,在山水融合工業(yè)題材方面的努力,已經(jīng)明示了現(xiàn)代山水畫的一種符合時(shí)代潮流的發(fā)展規(guī)律;以《鏡泊飛泉》為代表的自然題材,則是北方山水在傅抱石心靈的震撼和映現(xiàn)。1965年逝世。
傅抱石,生于江西南昌,祖籍江西新余。少年家貧,11歲在瓷器店學(xué)徒,自學(xué)書法、篆刻和繪畫。1925年著《國畫源流概述》,1926年畢業(yè)于省立第一師范藝術(shù)科,并留校任教。1929年著《中國繪畫變遷史綱》,1933年在徐悲鴻幫助下赴日本留學(xué)。1934年在東京舉辦個(gè)人畫展。1935年回國,在中央大學(xué)藝術(shù)系任教?？谷諔?zhàn)爭期間定居重慶,繼續(xù)在中央大學(xué)任教。1946年遷南京。
新中國成立后,曾任中國美術(shù)家協(xié)會(huì)副主席、美協(xié)江蘇分會(huì)主席、江蘇省書法印章研究會(huì)副會(huì)長。中國美術(shù)家協(xié)會(huì)副主席、美協(xié)江蘇分會(huì)主席、江蘇省書法印章研究會(huì)副會(huì)長。并當(dāng)選為第三屆全國人民代表大會(huì)代表、第二屆政協(xié)全國委員會(huì)委員。1952年任南京師范學(xué)院美術(shù)系教授。1957年任江蘇省中國畫院院長。
Fu Baoshi was born in Nanchang, Jiangxi Province. In 1921, he was promoted to the provincial first normal university without examination. At that time, he began to read some of the ancient painting history and painting theory, especially when he saw Shi Tao's idea of "I use my method", he appreciated Shi Tao's idea of "searching all the strange peaks to make a draft". In March 1933, Fu Baoshi went to Japan and joined the Imperial Academy of Fine Arts in Tokyo, where he was taught by the art historian keigo kanahara. In May 1935, the exhibition of Fu Baoshi's Chinese painting was held in Tokyo. President naohiko Masaki and painter Hengshan Grand View visited the exhibition. In June 1935, Fu Baoshi returned home due to his mother's illness. In July 1936, he held a personal painting exhibition in Nanchang, which was his first personal painting exhibition in China. After the summer vacation, he was employed by Xu Beihong to teach in the Art Department of Nanjing Central University. After the outbreak of the Anti Japanese war in 1937, he returned to Xinyu's hometown with his family. In April 1938, at the invitation of Guo Moruo, he went to Wuhan to participate in the work of santing. After that, he moved to Chongqing and entered a peak period of his artistic creation. He lives in jingangpo, Shapingba. Since then, he often inscribed "jingangpo Xiazhai" on his paintings. He drew the scroll of painting Yuntai Mountain, compiled the chronicle of Shitao Shangren, and created the portrait of Shitao Shangren and the painting of Dadi Caotang. All these reflect the relationship between Fu Baoshi's artistic creation and historical research, as well as his artistic origin.
Mr. Wang is thinking
In more than six years after 1939, Fu Baoshi, on the one hand, entered the peak of his historical research, on the other hand, completed his transition from seal cutting and historical research to painting creation. In October 1942, Professor Fu Baoshi's painting exhibition was held in Chongqing. In September 1944, Fu Baoshi created the famous work "beauty walk" with Du Fu's Yuefu poem "beauty walk" (sold by Jiade international auction company for 10.78 million yuan in 1997). Later, Xu Beihong praised his painting: "this is a great symphony of sound, color, soul and flesh", and wrote: "Mr. Baoshi '
After the victory of the Anti Japanese War, he and his family moved back to Nanjing with the school. In October 1947, Professor Fu Baoshi's painting exhibition was held in Shanghai, and Guo Moruo evaluated the exhibition with "full immersion" and "full of charm". At that time, however, Nanjing was in a state of panic. Taking advantage of the opportunity to evacuate the population, Fu Baoshi left Nanjing with his family and returned to Nanchang. After the founding of new China, modern Chinese history has entered a new era. Fu Baoshi began to welcome a new life full of hope.
Fu Baoshi, as the president of Jiangsu traditional Chinese Painting Academy, led the "Jiangsu traditional Chinese painting working group" to sketch for 23000 miles in September 1960, which promoted the development of new landscape painting in the mid-20th century and pushed the movement of drawing from life to push traditional Chinese painting to a historical climax. Later, Fu Baoshi's social theme represented by the magnificent coal city and his efforts in the integration of landscape and industrial themes have indicated that modern landscape painting is in line with the trend of the times; The natural theme represented by Jingbo Feiquan is the shock and reflection of the northern landscape in Fu Baoshi's mind. He died in 1965.
Fu Baoshi was born in Nanchang, Jiangxi Province, and his ancestral home is Xinyu, Jiangxi Province. He was an apprentice in a porcelain shop at the age of 11 and taught himself calligraphy, seal cutting and painting. In 1925, he wrote an overview of the origin and development of traditional Chinese painting. In 1926, he graduated from the Art Department of the provincial first normal university and stayed in school to teach. In 1929, he wrote an outline of the changes of Chinese painting. In 1933, with the help of Xu Beihong, he went to Japan to study. In 1934, he held a personal painting exhibition in Tokyo. He returned to China in 1935 and taught in the Art Department of Central University. During the Anti Japanese War, he settled in Chongqing and continued to teach in Central University. He moved to Nanjing in 1946.
After the founding of new China, he was vice chairman of China Artists Association, chairman of Jiangsu Branch of China Artists Association, and vice chairman of Jiangsu calligraphy and seal Research Association. Vice president of China Artists Association, chairman of Jiangsu Branch of China Artists Association, vice president of Jiangsu calligraphy and seal Research Association. He was elected deputy to the third National People's Congress and member of the second CPPCC National Committee. In 1952, he was a professor of Fine Arts Department of Nanjing Normal University. In 1957, he was the president of Jiangsu Academy of Chinese painting.
此仕女圖對(duì)仕女的勾畫,兼具魏晉與盛唐的遺風(fēng)及美感。筆力、線條,輕靈揮灑,師古而不復(fù)古。圖中女子體態(tài)窈窕,雍容華貴,古意盎然;臉面都略施粉黛,媚而不俗;眼中含情脈脈,神情恍惚;發(fā)髻經(jīng)多遍渲染,烏而不結(jié),層次豐富;衣紋輕盈舒展,著色潔麗淡雅。作品落筆爽利,飄逸生動(dòng),寥寥數(shù)筆便神奇宛然,意趣自遠(yuǎn),表現(xiàn)出獨(dú)特藝術(shù)手法。
This portrait of ladies has both the style and aesthetic feeling of Wei, Jin and Tang Dynasties. The strokes and lines are light and flexible. They learn from the ancients but not go back to the ancients. The woman in the picture is graceful, elegant and full of ancient flavor; Her face was slightly powdered, charming but not vulgar; The eyes are full of emotion and trance; The bun has been rendered many times, which is black without knot and rich in layers; The pattern is light and stretch, and the color is clean and elegant. The work is crisp, elegant and vivid, with a few strokes of magic and far-reaching interest, showing unique artistic techniques.
與張大千、齊白石、徐悲鴻、李可染相比,傅抱石的過億作品數(shù)量不多,但近十余年來,千萬元成交的傅抱石作品數(shù)量頗為可觀。2004年至今,拍賣市場上以千萬高價(jià)成交的傅抱石作品有近200件,僅2016年一年,以千萬元價(jià)格成交價(jià)的傅抱石作品就有高達(dá)27件。傅抱石書畫作品拍賣后勁充足,市場穩(wěn)中有升。
Compared with Zhang Daqian, Qi Baishi, Xu Beihong and Li Keran, the number of Fu Baoshi's works over 100 million yuan is small, but in the past decade, the number of Fu Baoshi's works with 10 million yuan has been considerable. Since 2004, nearly 200 pieces of Fu Baoshi's works have been sold at a high price of 10 million yuan in the auction market. In 2016 alone, 27 pieces of Fu Baoshi's works were sold at a high price of 10 million yuan. Fu Baoshi's calligraphy and painting works have sufficient potential for auction, and the market is stable and rising.
