傅抱石仕女画！

傅抱石是美术史方面很有造诣的一位画家，特别是他在日本东京帝国大学史学泰斗金原省吾门下研习美术史论，这使得傅抱石填补了美术史论研究许多领域的空白。美术史论的研究造诣对于他的美术创作具有很大帮助，把先秦唐宋时期的绘画艺术变迁融入到自己的审美艺术之中，这形成来了傅抱石独特的绘画风格。

Fu baoshi is an accomplished painter in art history, especially when he studied art history theory under the historical leader of Tokyo imperial university jinyuan province. The research on the history of art is of great help to his artistic creation. He integrated the changes of painting art in the pre-qin, tang and song dynasties into his aesthetic art, which formed fu baoshi's unique painting style.

此幅仕女画长：171.5cm宽：68.5cm。图中仕女粉衣长裙，略施粉黛，整齐的秀发，细长的修眉，轻柔的身段，漫步于柳荫溪边，娴雅高贵，风姿卓约，回眸凝视，妩媚动人，弥漫着清新温暖的春光。于是，柳荫仕女成了爱情的化身，使作品内涵得到进一步升华，同时将画面的意境不断扩展。这是一次情感激荡的过程，也是一次精神体验的过程。于此，傅抱石以精湛的技巧真实表现了仕女的丰富与微妙，生动描绘出幽雅的画境与诗境，具有扣人心弦的艺术魅力。寥寥数笔体现了画家深厚的绘画功力。

Length: 171.5cm width: 68.5cm. The lady in the picture, wearing a long dress with a little powder and dai, has neat hair, slender eyebrows, and soft figure. She walks beside the liuyin river, elegant and noble, graceful and graceful, gazing back at her, charming and charming, permeating with the fresh and warm spring light. Therefore, lady liu Yin became the embodiment of love, which further sublimated the connotation of the work and expanded the artistic conception of the picture. It is an emotional and spiritual experience. In this, fu baoshi with exquisite skills to truly show the rich and subtle ladies, vivid description of the elegant painting and poetry, with exciting artistic charm. A few strokes reflect the painter's profound painting skills.

傅抱石是中国近现代中一位学者型的艺术大家。无论在美术理论还是绘画、篆刻上傅抱石都有着很高的造诣，为新金陵画派及新山水画的创始人和代表人物。十余年来，其书画作品也一直是中国近现代书画市场所关注的焦点。有人粗略估计，傅抱石作品的存世量约在3000幅左右，远不及齐白石、张大千的十分之一，这也是市场热烈追逐其作品的原因之一。此幅傅抱石仕女画不仅是叙事的淋漓渲染，也是情境的瞬间奔涌，理所当然成为傅抱石仕女画的经典之作，极具艺术价值和收藏价值。

Fu baoshi is a scholarly artist in modern China. Fu baoshi has high attainments in art theory, painting and seal cutting. He is the founder and representative of the new jinling school of painting and the new landscape painting. For more than ten years, its calligraphy and painting works have been the focus of the Chinese modern painting and calligraphy market. Some people roughly estimate that the number of fu baoshi's works in existence is about 3,000, far less than qi baishi and zhang daqian's one-tenth. This painting of fu baoshi ladies is not only the full rendering of narration, but also the instantaneous surging of the situation, which naturally becomes the classic painting of fu baoshi ladies, with great artistic value and collection value.