傅抱石风雨归舟图轴-近现代-山水

水墨 浏览 汪亓 故宫博物院

 

《风雨归舟图》轴,近现代,傅抱石绘,纸本,设色,纵60.8厘米,横52.8厘米。   

  本幅自题:“甲申又四月杪,于沙坪坝中央大学获观金冬心用马和之笔法所写风雨归舟巨帧,心神为之一鬯。返乡来,每思写抚,未能也。今日略拾坠饰,涉笔为此,愧甚愧甚,古人之不可及也。甲申五月初九日,终日淋雨。新喻傅抱石并记。”钤“抱石大利”白文方印,“甲申”朱文圆印,“抱石斋”、“其命维新”朱文方印。

  甲申为1944年。

  傅抱石画雨的作品始于20世纪40年代,应该是蜀地山区多雨的气候给他带来创作的灵感。此后,无论是巴蜀的疾风暴雨还是江南的绵绵细雨,都被他再现于画幅,引人入胜,所以论者常常用“一半山川带雨痕”来形容其画作的特点。谈及画雨,他认为古代画家“不直接画雨,而能使人产生下雨的感觉。……到了清代的金冬心,开始摸索直接画雨的方法。我受了他的影响,也吸收了西洋水彩画的表现方法。但是,对我来说,最重要的老师是大自然本身。”自然界触发了他的灵感,为他提供了素材,在吸收中外绘雨技巧长处的基础上,傅抱石成功地表现出原本没有固定形状的雨水的气势,形成强烈的感染力,堪称一绝。

  由图中题款可知此图系画家在中央大学观赏金农绘制的《风雨归舟图》时产生灵感,又经反复推敲,方才落笔,其审慎的态度可见一斑。只见一叶扁舟在暴雨狂风中前行,船夫用足力气猛摇船桨,主人撑起雨伞尽量躲避着倾盆而下的雨水。岸边的芦苇为狂风所折,远处的山峦也被风雨模糊成迷蒙的一片。逼真的风雨效果令人仿佛置身其间,似能听到风声、雨声、水声、雷声交织出一曲交响乐,荡人心脾。

  此图为傅抱石夫人罗时慧捐献。

 

--------Introduction in English--------

 

"Wind and Rain Back to the Boat Picture" axis, modern, Fu Baoshi painting, paper, color, vertical 60.8 cm, horizontal 52.8 cm.

The title of this painting is: "Jia Shen and April Gao, who was visited by Jin Dongxin at Shapingba Central University, wrote the giant frame of returning to the boat with the brushwork of Ma He, and his mind is one of them." When I come back home, I can't think and write. Today, I picked up some Pendant ornaments, so I am ashamed of it. The ancients could not reach it. Jiashen rained all day on the ninth day of May. New Yu Fu Baoshi and remember. Jun "Baoshi Italian" white square seal, "Jiashen" Zhu round seal, "Baoshizhai" and "its life-renewal" Zhu square seal.

Jiashen is 1944.

Fu Baoshi's paintings of rain began in the 1940s, which should be inspired by the rainy climate in the mountains of Shudi. Since then, whether it is the storm in Bashu or the drizzle in the south of the Yangtze River, it has been reproduced in his paintings, which is fascinating. Therefore, scholars often use "half of the mountains and rivers with rain marks" to describe the characteristics of his paintings. Speaking of painting rain, he thought that the ancient painters "did not draw rain directly, but could make people feel rain... By Jin Dongxin of the Qing Dynasty, he began to explore the method of drawing rain directly. I was influenced by him and absorbed the expression of Western watercolor painting. But for me, the most important teacher is nature itself. Nature triggered his inspiration and provided him with material. On the basis of absorbing the advantages of both Chinese and foreign rainpainting techniques, Fu Baoshi successfully displayed the momentum of rainwater without fixed shape and formed a strong appeal.

From the inscriptions in the picture, we can see that the painter of this department was inspired when he was watching Jinnong's Picture of Wind and Rain Returning to the Boat, which was painted by Jinnong at the Central University. After repeated deliberation, he only finished his writing. His cautious attitude can be seen. A boat was sailing in the stormy wind. The boatman rocked the oar with all his strength. The owner held up his umbrella to avoid the rain falling from the basin as far as possible. The reeds on the shore were broken by the strong wind, and the mountains in the distance were blurred by the wind and rain. The realistic effect of wind and rain makes people feel as if they are in the middle of it. It seems that they can hear the wind, rain, water and thunder interweave into a symphony, which is exciting to the heart and the spleen.

This picture shows Mrs. Fu Baoshi's donation by Luo Shihui.

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