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 known as Changsheng and Ruilin, was the owner of the Shizhai. Born in Changsha, Southwest Jiangxi Province, his ancestral home is 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

In his early years, he studied in Japan and taught at Central University after returning home. After 1949, he served as professor of Nanjing Normal University and President of Jiangsu Academy of Traditional Chinese Painting. He is good at painting landscapes, creating a "stone-clad" in middle age. He is free and bold in writing, especially in the scenery of springs, waterfalls and mists. In his later years, he often paints a large scale, vigorous and strong sense of the times. Figurepaintings are mostly about ladies and nobles, and their images are ancient. His works include A Study of Ancient Chinese Painting and An Outline of the History of Changes in Chinese Painting.

 

 

 

 

 

 

他的人物山水画构图平稳，以爱湿浓淡不同的墨色描绘远近山峰。远山苍茫混沌，遥接天际；近景腵岩对峙，厚重坚实。一线山泉由远而近，逐渐开阔，巧妙的将山水联系到一起。画内人物精工不苟，他们和流水一起，给这寂静的山林带来了无限生机与活力。有人说“抱石画水，如闻其声”，此言不虚：以硬毫笔侧笔横皴的“皴水法”不仅表现出流水的动感，而且使观者仿佛听见了流水的声音。傅抱石长期对真山真水的体察，画意深邃，章法新颖，把水、墨、彩融合一体，达到翁郁淋漓，气势磅礴的效果。在传统技法基础上，推陈出新，独树一帜，对解放后的山水画，起了继往开来的作用。

His figure landscape paintings are smooth in composition, depicting distant and near peaks with different ink colors of love for wetness. The distant mountains are vast and chaotic, and far away from the horizon; the close-range Xiangyan confronts, thick and solid. Front-line springs from far to near, gradually open up, ingeniously linked mountains and waters together. The characters in the painting are meticulous and meticulous. Together with the water, they bring infinite vitality and vitality to the silent forest. Some people say that "painting water with stones is like listening to its voice", which is true: the "champing water method" with a hard pen sidebrush not only shows the dynamic feeling of the running water, but also makes the viewer seem to hear the sound of the running water. Fu Baoshi's long-term experience of the real mountains and waters is profound in painting and novel in composition. He integrates water, ink and color to achieve the effect of vigorous and magnificent. On the basis of the traditional techniques, the landscape painting after liberation has played a role of continuing the past and opening up the future.

傅抱石作品之所以这么昂贵，存世量稀少也是一个重要因素。据赵启斌《傅抱石绘画的流散收藏》一文统计，傅抱石作品存世量大约2000余幅，但也有人说4000余幅，无论依据哪个数据，傅抱石作品存世量都相当有限，其中六成在国内，三到四成在海外。据说，收藏傅抱石作品最多、质量最高的是南京博物院，收藏了傅抱石365件中国画作品，北京故宫博物院和瑞典博物院都有一批。所以，无论是在拍卖场上，还是美术馆、文博机构的收藏中，傅抱石作品都是稀缺品。常言道：物以稀为贵，傅抱石作品量少而需求多，价格走高是必然的趋势。

The scarcity of Fu Baoshi's works is also an important factor. According to Zhao Qibin's "The Disseminated Collection of Fu Baoshi's Paintings", there are about 2000 pieces of Fu Baoshi's works in stock, but some people say that there are more than 4000 pieces. Whatever the data, the stock of Fu Baoshi's works is quite limited, of which 60% are in China and 30-40% are overseas. It is said that the Nanjing Museum has the largest collection of Fu Baoshi's works and the highest quality of his works. He has 365 Chinese paintings. Both the Beijing Palace Museum and the Swedish Museum have a number of works. Therefore, Fu Baoshi's works are rare in the auction room, in the collection of art galleries and cultural institutions. As the saying goes: Things are precious because they are scarce. Fu Baoshi's works are few in quantity and in great demand. It is an inevitable trend for prices to go up.