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傅抱石先生是本世纪中国画坛上屈指可数的、杰出的画家和理论家。他在近代中国美术史上的地位,足可与吴昌硕、齐白石、黄宾虹、徐悲鸿等并列。抱石天赋绝高,早年家境清寒,勤于学习,自学成材,二十一岁时就完成第一部中国美术史论著,二十五岁著《中国绘画变迁史纲》,而书法、篆刻、绘画、文学也都有上佳水准。后负笈东瀛,学业大进而视野更阔,已是成熟的美术史论家。归国后任教于悲鸿先生领导的中央大学美术系。抗战期间曾追随郭沫若先生任职于政治部三厅,任郭的秘书并与他建立了终身的友谊。后又随郭退出三厅,再任中大教授,住在重庆西郊金刚坡下,此时期是抱石艺术生涯最重要、最辉煌的一段。在辗转于江西、湖南、广西,尤其是入蜀后,他饱览祖国山川秀色,深深影响他的艺术思想,他这期间山水画有了长足进步,逐渐形成了自家面目。更重要的是,抱石出自研究美术史的结果,在人物画创作上,他似乎更有一番继往开来的雄心。事实上,直到抗日战争之前,中国画界在人物画方面仍处于极其薄弱衰颓的境地,表现的题材内容为传统仕女画所占据。在悲鸿的影响下,抱石在四十年代创作出重要的代表作品,如《大涤草堂图》(1942年)《兰亭图》(1942年)《访石图》(1942年)
Mr. Fu Baoshi is one of the most prominent painters and theorists in the Chinese painting society this century. His position in the history of modern Chinese art can be equated with Wu Changshuo, Qi Baishi, Huang Binhong, Xu Beihong and others. Bouldering talent is extremely high, cold early years, diligent in learning, self-study, at the age of 21 to complete the first book on the history of Chinese art, twenty-five-year-old “history of Chinese painting change,” and calligraphy, seal cutting, painting Literature also has a good standard. After the negative 笈 Japan, academics and then a broader field of vision, is a mature art historian. After returning home to teach under the leadership of Mr. Beihong Central University Department of Fine Arts. During the War of Resistance Against Japan, Mr. Kuo Moo-jo was followed by three offices of the Political Department, Guo’s secretary and established lifelong friendship with him. Later Guo Kuilan three hall, then Professor Zhongda, living in the western suburbs of Chongqing Jingangpo, this period is the most important bouldering art career, the most brilliant section. Having been in Jiangxi, Hunan, Guangxi and especially in Sichuan, he enjoyed the beauty of mountains and rivers and profoundly influenced his artistic thinking. During this period, his landscape paintings made great strides and gradually formed his own appearance. More importantly, bouldering from the study of the history of art, in figure painting, he seems to have a more ambitious future. In fact, until the Anti-Japanese War, the Chinese painting circle was still in an extremely weak and decadent position in portrait painting. The content of the theme represented by the traditional ladylike painting was occupied. Under the influence of Beihong, Boulian created important representative works in the 1940s, such as “Visiting Stone Map of Lantingtu” (1942)