极目长江:论傅抱石庐山山水画艺术与长江文化的关系  

The Yangtze River in the Distance:On the Relationship Between Fu Baoshi’s Lushan Landscape Painting Art and Yangtze River Culture

作　　者：谢九生 谢清洙 Xie Jiusheng;Xie Qingzhu(School of Fine Arts,Jiangxi Normal University,Nanchang 330022)

机构地区：[1]江西师范大学美术学院,南昌330022

出　　处：《鹿城学刊》2025年第1期31-35,共5页Journal of Lucheng

基　　金：2024年江西省社会科学基金年度一般项目“傅抱石庐山山水画艺术研究”(24YS40D)成果。

摘　　要：傅抱石作为江西籍画家在表现与江西相关的绘画题材和主题时更加具有外在便利性与内在认同感,而长江文化视域下傅抱石庐山山水画艺术成为长江绘画艺术研究的重要范畴。而且傅抱石打破传统庐山山水画的空间表现程式,并通过借鉴实景与写生,由古代画家的从长江、鄱阳湖等仰视或远望庐山,转变成从庐山之山顶俯视而“极目”长江、鄱阳湖等的空间角度和表现方法,从而把庐山与长江紧密表现在画面之中,这与历代之“长江万里图”等绘画中的表现方法相类同。因而傅抱石有关庐山山水画在长江绘画艺术研究中有着十分突出的地位。As a painter from Jiangxi,Fu Baoshi’s depiction of Jiangxi-related painting subjects and themes carries both ex-ternal convenience and internal recognition.In the context of Yangtze River culture,Fu Baoshi’s Lushan landscape painting art has become an important category in the study of Yangtze River painting art.Moreover,Fu Baoshi broke away from tradi-tional spatial representations of Lushan landscape paintings.By drawing on real-life scenes and sketches,he transformed the perspective of viewing Lushan from the Yangtze River,Poyang Lake,and other places in ancient times(looking up or observing from a distance)into the viewpoint of looking down from the peak of Lushan and“viewing”the Yangtze River and Poyang Lake.This spatial angle and expression method closely connects Lushan with the Yangtze River in the artwork,which is similar to the depiction methods used in paintings like the“Yangtze River Ten Thousand Li”throughout history.Therefore,Fu Baoshi’s Lushan landscape paintings hold a prominent position in the study of Yangtze River painting art.

关 键 词：傅抱石 庐山 长江文化 山水画艺术 极目长江 

分 类 号：J212[艺术—美术]