儒行天弈精品推荐 ---傅抱石字画

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傅抱石

傅抱石(1904~1965)，原名长生、瑞麟，号抱石斋主人。生于江西南昌，祖籍江西新余。现代画家。

Fu Baoshi (1904~1965), formerly Changsheng, Ruilin, the owner of Baoshi Zhai. Born in Nanchang, Jiangxi Province, his ancestral home is from Xinyu, Jiangxi Province. Modern painters.

早年留学日本，回国后执教于中央大学。1949年后曾任南京师范学院教授、江苏国画院院长等职。擅画山水，中年创为"抱石皴"，笔致放逸，气势豪放，尤擅作泉瀑雨雾之景;晚年多作大幅，气魄雄健，具有强烈的时代感。人物画多作仕女、高士，形象高古。著有《中国古代绘画之研究》《中国绘画变迁史纲》等。

He studied in Japan in his early years and coached to Central University after returning to China. After 1949, he was a professor of Nanjing Normal University and the president of Jiangsu Academy of Chinese Painting. Good at painting landscape, middle-aged create "stone Cun", pen to escape, imposing, especially good at spring and waterfall rain and fog; in later years, vigorous, with a strong sense of The Times. Character painting as official ladies, high scholar, image is ancient. He wrote the Study of Ancient Chinese Painting, and the Outline of the History of the Changes of Chinese Painting.

画家运用古诗有二种不同方式。一是以己意去凑古人的诗，譬如李白的《清平调》系藉芍药写太真，而有人只画花，却把诗句全部抄上，其实画面离主题甚远。另一种是根据古人的诗立意，或从中汲取灵感，抓住其精神实质进行艺术再创造，无须题诗而诗意盎然。抱石先生可称后者之典范，他的古人诗意画既有宏景钜制，又有小品点晴，虽在有些画中题上诗句，但不占重要位置，有的只写题目，有时仅题款，可是读者一目了然是哪首诗。臻此化境，绝非偶然。先生所有的绘画作品都是转化为视觉形象的诗，他本身就具备诗人的气质。除了标明为诗意画的以外，凡写“胸中丘壑”或写生作品，都是撷取大自然蕴蓄的诗意。描写古人形象或其轶事，就是歌颂某一古人或吟咏某一场景的诗句。画的语言即诗的语言，画的意境即诗的意境。区别于一般所谓的“诗配画”，而是诗即是画，画即是诗。

There are two different ways that painters use ancient poetry. One is to gather together the ancient poems with their own intention. For example, Li Bai's "Qingping tune" is too true by peony, while some people only draw flowers, but copy all the poems. In fact, the picture is far from the theme. The other is according to the poetic idea of the ancients, or draw inspiration from it, seize its spiritual essence of artistic reproduction, do not need to question poetry and full of poetry. Mr.Baoshi can be called the model of the latter. His ancient poetic paintings have both grand scenery and fine sketches. Although some paintings have poems, they do not occupy an important position, and some only write questions, sometimes only questions, but the reader knows which poem is at a glance. It is no accident to achieve this situation. All of Sir's paintings are poems transformed into visual images, and he himself has the temperament of a poet. In addition to those marked as poetic painting, every writing "ravines in the chest" or sketch work, is to capture the poetry contained by nature. To describe the image of the ancients or its anecdotes is a poem praising an ancient person or chanting a certain scene. The language of painting is the language of poetry, and the artistic conception of painting is the artistic conception of poetry. Different from the general so-called "poem matching painting", but poetry is painting, painting is poetry.

抱石先生对古人从深切理解达到思想感情的共鸣。笔者曾多次提到，先生“思接千载”（刘勰《文心雕龙》语），屈原、李白、杜甫、石涛等古人，不仅是他研究的对象，还成了挚友。抱石先生以绝代天才与古人息息相通，使他笔下的人物不同于穿古装的现代演员而是真正的古人。

Mr.Baoshi struck the resonance of the ancients from the deep understanding of their thoughts and feelings. The author has mentioned many times that Mr.He "thought for thousands of years" (Liu Xie's "Carving the Dragon"), Qu Yuan, Li Bai, Du Fu, Shi Tao and other ancients were not only the objects of his research, but also became close friends. Mr.Baoshi is closely connected with the ancient people, making his characters different from the modern actors wearing ancient costume but the real ancients.