傅抱石生于江西南昌的一个修伞匠人家。1921年他以第一名免试升入省立第一师范。其时他在治印之余开始读一些古代画史画论,尤其是看到石涛的“我用我法”顿开茅塞,他更欣赏石涛“搜尽奇峰打草稿”的思想。1933年3月,傅抱石东渡日本,入东京帝国美术学院,拜美术史家金原省吾为师。1935年5月《傅抱石中国画展览》在东京举行。院长正木直彦、画家横山大观等参观了展览。1935年6月,傅抱石因母病回国,1936年7月,他在南昌举办了个人画展,这是他在国内的第一次个人画展。暑假之后,应徐悲鸿之聘,任教于南京中央大学艺术系。1937年抗战爆发后,他携全家返新余故里。1938年4月,他受郭沫若的邀请,到武汉参加了三厅工作。此后又移到重庆,自此进入他艺术创作的一个高峰期。他家住沙坪坝的金刚坡,此后他常在画上题署“金刚坡下斋”。他图绘《画云台山图卷》,编撰《石涛上人年谱》,同时创作了《石涛上人像》、《大涤草堂图》,这些都反映了傅抱石艺术创作和史论研究之间的关系,以及他的艺术渊源。

先生在思考---近照

从1939年以后的6年多的时间,傅抱石一方面进入了他史论研究中的高峰期,另一方面又完成了他从篆刻和史论研究到绘画创作的过渡。1942年10月,《傅抱石教授画展》在重庆举行。1944年9月,傅抱石以杜甫的乐府诗《丽人行》为题,创作了名作《丽人行》(1997年嘉德国际拍卖公司以1078万元拍出)。后来,徐悲鸿赞其画:“此乃声色灵肉之大交响”,并题:“抱石先生近作愈恣肆奔放,浑茫浩瀚,造景益变化无极,人物尤文理密察,所谓炉火纯青者非耶?”

抗战胜利后,他和全家随学校迁回南京。1947年10月,《傅抱石教授画展》在上海举行,郭沫若用“沉浸浓郁”“含英咀华”来评价画展。然而,这时国民党政府的南京已是风声鹤唳。傅抱石趁疏散人口的机会,携全家离开了南京,回到了南昌。新中国成立后,中国现代史进入了一个新的纪元。傅抱石开始迎接充满希望的新生活。

傅抱石作为江苏国画院院长,在1960年9月率领“江苏国画工作团”进行23000里的旅行写生,并由此推动新山水画在20世纪中期的发展,把50年代初开始的以写生带动传统国画推陈出新的运动推向一个历史的高潮。后来傅抱石以《煤都壮观》为代表的社会性题材,在山水融合工业题材方面的努力,已经明示了现代山水画的一种符合时代潮流的发展规律;以《镜泊飞泉》为代表的自然题材,则是北方山水在傅抱石心灵的震撼和映现。1965年逝世。

傅抱石,生于江西南昌,祖籍江西新余。少年家贫,11岁在瓷器店学徒,自学书法、篆刻和绘画。1925年著《国画源流概述》,1926年毕业于省立第一师范艺术科,并留校任教。1929年著《中国绘画变迁史纲》,1933年在徐悲鸿帮助下赴日本留学。1934年在东京举办个人画展。1935年回国,在中央大学艺术系任教。抗日战争期间定居重庆,继续在中央大学任教。1946年迁南京。

新中国成立后,曾任中国美术家协会副主席、美协江苏分会主席、江苏省书法印章研究会副会长。中国美术家协会副主席、美协江苏分会主席、江苏省书法印章研究会副会长。并当选为第三届全国人民代表大会代表、第二届政协全国委员会委员。1952年任南京师范学院美术系教授。1957年任江苏省中国画院院长。

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.

此仕女图对仕女的勾画,兼具魏晋与盛唐的遗风及美感。笔力、线条,轻灵挥洒,师古而不复古。图中女子体态窈窕,雍容华贵,古意盎然;脸面都略施粉黛,媚而不俗;眼中含情脉脉,神情恍惚;发髻经多遍渲染,乌而不结,层次丰富;衣纹轻盈舒展,着色洁丽淡雅。作品落笔爽利,飘逸生动,寥寥数笔便神奇宛然,意趣自远,表现出独特艺术手法。

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.

与张大千、齐白石、徐悲鸿、李可染相比,傅抱石的过亿作品数量不多,但近十余年来,千万元成交的傅抱石作品数量颇为可观。2004年至今,拍卖市场上以千万高价成交的傅抱石作品有近200件,仅2016年一年,以千万元价格成交价的傅抱石作品就有高达27件。傅抱石书画作品拍卖后劲充足,市场稳中有升。

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.