Fu Baoshi, Scenery of Qutang | 傅抱石　早隨煙月上瞿塘　設色紙本　立軸　一九六二年作

Paintings of Fu Baoshi, Musuem of History, Taipei, December 1994, pl. 49

Fu Baoshi: 20th Century Chinese Painting Master, exhibition cat., Tokyo, Shoto Museum of Art, 1999, pl. 88

Han Mo, Fu Baoshi – Paintings Inspired by Classical Poetry, Han Mo Xuan Publishing Co. Ltd., Hong Kong, August 2004, p. 108-109

The Chronicle of Fu Baoshi’s Life, Ye Zonggao ed., Shanghai Classics Publishing House, September 2004, p. 255

The Leshantang Collection of Modern Chinese Painting, Leshantang, Taipei, July 2006, p. 49, 87

The Complete Works of Fu Baoshi, vol. Ⅳ, Guangxi Fine Arts Publishing House, March 2008, p. 249

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〈傅抱石畫集〉（臺北，歷史博物館，一九九四年十二月），圖版49

〈二十世紀中國畫壇的巨匠—傅抱石〉目錄（東京，松濤美術館，一九九九年），圖版88

〈名家翰墨〉，傅抱石古人詩意（香港，翰墨軒，二〇〇四年八月），頁108-109

〈傅抱石年譜〉，葉宗鎬著（上海古籍出版社，二○○四年九月），頁255

〈樂山堂藏現代書畫〉（臺北，樂山堂，二〇〇六年七月），頁49、87

〈傅抱石全集〉卷四（廣西美術出版社，二○○八年三月），頁249

Taipei, Museum of History, Exhibition of Fu Baoshi’s Paintings, December 1, 1993 to January 2, 1994

Tokyo, Shoto Museum of Art, Fu Baoshi: 20th Century Chinese Painting Master, October 12 to November 21, 1999

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臺北，歷史博物館，〈傅抱石畫展〉，一九九三年十二月一日至一九九四年一月二日

東京，澀谷區立松濤美術館，〈二十世紀中國畫壇的巨匠—傅抱石〉，一九九九年十月十二日至十一月二十一日

Along the river, sail masts gently sway,

Defying the west wind, my hair adorned with ice.

Yet homesickness remains, steadfast in its stay,

With mist and moon as guides, to the shore of Qutang it flies.

- Lü Qian "Viewing the River"

Lü Qian (1621-1706), also known as Ban Yin, had his roots in Suining, Sichuan. The turbulent transition from late Ming Dynasty to early Qing was plagued with frequent wars and turmoil. Such misfortunes made Lü choose to dedicate himself to a secluded life of poetry and literature in Jiangnan rather than a career of politics. The poem above, Viewing the River, encapsulates a wandering soul’s deep yearning for his hometown.                                                                                  

Fu Baoshi was a scholar specializing in art history of late Ming to early Qing Dynasties. The outbreak of the War of Resistance Against Japan forced Fu and his family to abandon their home and seek refuge in Sichuan. The psychological anguish that came with such a destabilizing period in Fu’s life caused the scholar to deeply resonate with Lü Qian, whose hardships paralleled that of his own. His residence in the region of Chongqing, where “Qutang” is located, further inspired him to turn his desolation into a form of art. Starting from the 1940s onwards, the melancholic and bleak expression of a drifting rootless soul, as conveyed in Viewing the River, becomes a recurring motif in Fu’s other works. This painting, created in 1962, utilizes a bird’s-eye view perspective to capture the monumental spectacle of the precipitous Qutang and roaring waves. The brushwork in this piece marks a departure from the style used in Fu’s works during the 1940s; carrying with every stroke is a remarkable amalgamation of composedness and profound sentiment.

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註：

橫江閣外數帆檣，立盡西風兩鬢霜。

只有鄉心不東去，早隨煙月上瞿塘。

─呂潛〈江望〉

呂潛，號半隱，四川遂寧人，崇禎進士。明末清初之際，戰亂頻仍，呂氏幾歷滄桑，離蜀不仕，匿居江浙，寄情詩書。〈江望〉七絶所及，盡是遊子眷眷思鄉之懷。傅抱石專研明末清初美術史，尤喜此際人物事迹。抗戰初，他在烽火中舉家西遷，避兵蜀地，還鄉無期，故於呂氏所歷所感必心有戚戚，又身處渝洲，正「瞿塘」所在，遂藉詩寄意，擷取當地名勝成圖。自四十年代始，傅抱石屢寫〈江望〉詩意，不無一抒去鄉千里、漂泊無定之惆悵。本幅寫於一九六二年，循鳥瞰角度，狀寫瞿塘萬丈深壑、江濤奔涌之奇觀，不同於四十年代之皴筆縱橫，其筆墨沉著，更多抒情意味。