轩宇艺术：傅抱石《群老观瀑》- 大数跨境

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轩宇艺术：傅抱石《群老观瀑》

轩宇艺术

2019-06-01

导读：《群老观瀑》作于1943年，尺幅宏阔，是傅抱石金刚坡时期艺术成就最高、且带有节点意义的关键作品之一，洵为难得。

傅抱石《群老观瀑》纸本设色 104×59.5cm 1943年作

Fu Baoshi's "The Old Viewing Waterfall" on paper set color 104×59.5cm 1943

《群老观瀑》作于1943年，尺幅宏阔，是傅抱石金刚坡时期艺术成就最高、且带有节点意义的关键作品之一，洵为难得。

In 1943, "The Old Watching Waterfall" was a large-scale piece. It was one of the key works with the highest artistic achievement and node meaning in the period of Fu Baoshi, and it was rare.

1939年，傅抱石携家眷寓居重庆沙坪坝的金刚坡，任教于中央大学。“金刚坡时期”是傅抱石艺术厚积薄发的阶段，一方面他进入了绘画史论研究的高峰期，另一方面又完成了他从篆刻到绘画创作的过渡。1942年的双十节，“傅抱石教授画展”在重庆观音岩举行，这是他在国内的第二次画展。由于南昌的第一次展览影响不广，所以重庆的“壬午个展”实际上是他在画坛的首度亮相，堪称一鸣惊人，受到了徐悲鸿、郭沫若、宗白华等艺文界名流的激赏赞誉。对于傅抱石来说，壬午个展是一次成功的艺术宣言，不仅让其画名大振，更重要的是让傅抱石对探索和完善其个性化的笔墨语言有了充分的信心。

In 1939, Fu Baoshi and his family lived in Jingangpo, Shapingba, Chongqing, where he taught at the Central University. The "King Gangpo period" is the stage of Fu Baoshi's art accumulation. On the one hand, he entered the peak of the study of painting history, and on the other hand completed his transition from engraving to painting creation. In the double tenth festival of 1942, "Four Professor Fu Baoshi's Art Exhibition" was held in Guanyinyan, Chongqing. This is his second exhibition in China. Since the first exhibition in Nanchang was not very influential, Chongqing’s “Noon Exhibition” was actually his first appearance in the painting world. It was a blockbuster and was praised by celebrities such as Xu Beihong, Guo Moruo and Zong Baihua. Praise. For Fu Baoshi, the Noon Solo Exhibition is a successful artistic declaration, which not only makes its name famous, but also makes Fu Baoshi have full confidence in exploring and perfecting his personalized pen language.

《群老观瀑》即作于壬午个展的次年，未题上款，当属傅氏纯出艺术酝酿所绘，篆书落款亦增益了高华厚朴之气。由于国难方殷，个人漂泊羁旅，金刚坡时期的画境往往别有寄托，耐人寻味。此际生活条件虽差，但因靠近成渝古道，有难得的山川形胜，傅抱石独创的“抱石皴”实取法于斯。他在《重庆壬午画展自序》中尝谓：“以金刚坡为中心周围数十里我常跑的地方，确是好景说不尽。一草一木，一丘一壑，随处都是画人的粉本。烟笼雾锁，苍茫雄奇，这境界是沉湎于东南的人胸中所没有、所不敢有的。”将蜀山的苍茫形象提炼为新的笔墨语言，既是傅抱石有意识的艺术追求，又是他在时局艰危的情况下，希望以雄奇济柔弱，重铸民族气骨的艺术回应。

"The old waterfall" is the second year of the solo exhibition in the afternoon. It is not the title. It was painted by the artist's art, and the collection of the book also gained the glory of Gaohua. Due to the national difficulties and the personal wandering, the paintings in the period of King Kongpo often have no sustenance and intriguing. Although the living conditions are poor at this time, due to the proximity to the ancient roads, there is a rare mountain and river shape, and Fu Baoshi’s original "bouldering stone" is actually taken. In the "Chongqing Haowu Painting Exhibition", he tasted: "The place where I often run around the Jingangpo center is really a good scene. It is a grass and a tree, a hill and a hill, everywhere is painting The powder of the person. The smoke cage is foglocked, and the sky is majestic. This realm is not in the chest of the southeast. It is not dare to have it.” The image of the sky of Lushan is refined into a new brush language, which is both Fu Baoshi’s conscious. The pursuit of art is also an artistic response to the temperament of the nationality when he is in a difficult situation.

此幅老松苍古挺拔，正中独立，数位高士聚会在深邃的林莽间，矫首抬望，摩天巨岩一直延伸到云端之外，两股飞瀑自崖壁间倾泻而下，激起茫茫水雾，最终汇入下部的溪河。在构图上，傅抱石并未采用传统山水画习见的散点透视，整个画面似从一个固定的视角上仰视所得，所以山石间的松树愈往上愈小且越趋扁平化，营造出山体朝观者压来的威势，形成了一种微妙的视觉体验。类似的结构也出现在同年“立夏后二日”所作的《夏山图》（现藏故宫博物院）中，不过比对两画，《夏山图》的安排不仅少了两道飞泉，层层上升的透视处理也不够连贯，由于下部近景占比较大，即便远山没有露顶，还是削弱了高远之感。种种不尽完美之处，经过数月的沉淀，终于在这张该年八月所画的《群老观瀑》中得到了令人满意的呈现。

This old pine is tall and straight, and it is independent in the middle. Several high-ranking gentlemen gather in the deep forests, and they look up. The giant rock has extended beyond the clouds. Two waterfalls pour down from the cliffs, causing water mist. Finally, it merges into the lower stream. In the composition, Fu Baoshi did not use the scattered perspective of traditional landscape painting. The whole picture looked up from a fixed perspective, so the pine trees between the rocks became smaller and flatter, creating a mountain view. The power of the pressure creates a subtle visual experience. A similar structure also appeared in the "Summer Mountain Map" (now the Palace Museum) in the same year, but compared with the two paintings, the arrangement of "Xiashan Map" not only lacks two flying springs, but also rises in layers. The perspective processing is also not coherent, because the lower close-up is relatively large, even if the distant mountains are not exposed, it still weakens the sense of high. All kinds of imperfections, after several months of precipitation, finally got a satisfactory presentation in the "Group of Old Views" painted in August of this year.

画中的高士安排在松枝分割出的两个通透空间，明暗掩映，运虚于实，契合傅抱石对画境“深远自由”的追求。将人物置于幽暗环境的“亮斑”中，取得强烈的对比效果，乃是傅抱石的一大创新，按其发展，即初成于此时，为其后《丽人行》等人物画巨制张本。

The Coats in the painting arranges two transparent spaces separated by pine branches, which are shaded and concealed, and are in harmony with reality, and fit with Fu Baoshi's pursuit of “deep freedom” in the painting environment. Putting the character in the "bright spot" of the dark environment and obtaining a strong contrast effect is a great innovation of Fu Baoshi. According to its development, it is at this time, and it is a masterpiece of the characters such as "The Beauty". Zhang Ben.