“画有尽而意无穷”——略述傅抱石绘画的美学意境和表现方法

Infinite Mood in Finite Painting:Outlining the Aesthetic Mood and Artistic Expression in Fu Baoshi's Paintings

傅抱石画作,无论是山水画还是人物画,均能以其独到的审美意境和独特的绘画表现方法给观者以震憾。其存世山水画《平沙落雁》、仕女画《擘阮图》等,充分展示了大师寓意境于景物的审美情趣,精于点墨的笔墨技法,极富感染力的雨景以及融合了日本绘画技法和风格的独特的表现手法。

Fu Baoshi＇s works, either landscape painting or figure painting, always give every appreciator big shock and strong impression on its unique aesthetic mood and artistic expression. Two scrolls of his masterpieces, one landscape painting of Ping Sha Luo Yah and one figure painting of Bo Ruan Tu, fully display the aesthetic sentiment of integrating the poetic atmosphere with the landscape, the skillful use of dots ＆ ink technique, the expression style of the scene of rain and the original combination of Japanese visual elements and Chinese ink painting tradition.