不论我们以何种视角谈论傅抱石的艺术成就，都无法脱离他所处的时代。

No matter how we talk about Fu Baoshi's artistic achievements, they cannot be separated from the times in which he lived.

历史的滚滚洪流中，傅抱石似乎与常人无异。但当我们再度回首他一甲子的人生，傅抱石又与他同时代的画家不同。傅抱石（1904—1965年）原名长生、瑞麟，年少时，就潜心书画、篆刻及美术理论研究，所临国画及所仿赵之谦、陈鸿寿印章，颇能乱真。1932年至1935年间，傅抱石赴日本留学，攻读美术史，兼习工艺，在受到日本画的某些影响后，形成了不同与传统中国画的新艺术风格。1949年，新中国历史前进的脚步将其作品裂变为二种对比反差的风格，为他的艺术与人生增添了更多的传奇色彩，也成就了不同以往的傅抱石。

In the tide of history, Fu Baoshi seems to be no different from ordinary people. But when we look back on his life, Fu Baoshi is different from his contemporaries. Fu Baoshi (1904-1965), whose original name was Changsheng and Ruilin, devoted himself to painting, calligraphy, seal cutting and fine art theory research when he was young. The Chinese paintings he copied of other artists and the seals he imitated of Zhao Zhiqian and Chen Hongshou were quite authentic. Between 1932 and 1935, Fu Baoshi studied in Japan, studying art history and craftsmanship, and after being influenced by certain aspects of Japanese painting, formed a new artistic style different from traditional Chinese painting. In 1949, the pace of the historical progress of the People's Republic divided his works into two contrasting styles, which added more legendary colors to his art and life, and also made Fu Baoshi a different person.

作为20世纪中期中国画艺术的代表性个案，我们可以从傅抱石的作品中照见时代之印记：1940年代，以《琵琶行诗意图》为代表的弥漫着新意古趣与文学修养的人物画；新中国成立后，以写生开启改造传统中国画，带领“江苏省国画工作团”行程二万三千里创作的一批代表性作品；展现了现实主义与革命情怀的毛泽东诗意图《江山如此多娇》……

As a representative case of mid-20th century Chinese painting, we can see the mark of the times in Fu Baoshi's work: in the 1940s, "Pipa Poetic Painting" was the representative of figure painting, which features with ancient interest and literary cultivation; after the founding of the People's Republic, paint from life transforms traditional Chinese painting, leading the "Jiangsu Provincial National Painting Working Group" to travel long distance to create a number of representative works; painting based on Chairman Mao's poetic verse "The mountains are so beautiful" shows realism and revolutionary sentiment...

这些与地域和时代密切联系的创作，及其背后所展现的看似截然不同的价值取向，需要后世之人赋予傅抱石这样的知识分子更具人情味与中立的视角，便能够体会时代的力量如何影响傅抱石的艺术实践，而社会发展的浪潮也被每个看似微小的历史个案所左右。傅抱石的作品及其人生境遇，既是他基于时代的选择，也参与了一个时代意识形态的塑造。

These works, which are closely related to the region and time, and the seemingly different value orientation behind them, need later generations to give intellectuals like Fu Baoshi a more human and neutral perspective, so that they can understand how the power of the times affects Fu Baoshi's artistic practice, and the wave of social development is also influenced by each seemingly small historical case. Fu Baoshi's works and his life are not only his choice based on the times, but also participated in the shaping of the ideology of an era.

由是，一位才华横溢的艺术家走进我们的视野，我们也彷佛感受到了一个在时代浪潮中挣扎、求索的灵魂。时代不专属于傅抱石，但傅抱石却成就了一个时代的艺术：经过时间洗礼后愈加明晰的激情与生命力，以及时代赋予他的艺术使命。

As a talented artist comes into our sight, we can feel how a soul struggled and searched in the tide of the times. The times do not belong exclusively to Fu Baoshi, but Fu Baoshi is an artistic symbol of the times: the passion and vitality that has become clearer after the baptism of time, as well as the artistic mission given to him by the times.

时至今日，我们即将迎来新的一年，距离傅抱石于1960年创作的《鼓劲迎新年》，已是六十三载，然革新之精神仍未曾褪色。通过本次展览，我们希望在展出那些“所以”的同时，更能呈现出傅抱石“终身不拟作忙人”背后的“因为”，而贯穿在观众与傅抱石之间的情愫，是来自时间的褒奖。

Today, we are about to usher in a New Year. It has been 63 years since Fu Baoshi created "Fighting to Welcome the New Year" in 1960, but the spirit of innovation has not faded. Through this exhibition, we hope to show the "reason" behind Fu Baoshi's "Not going to be a busy person all his life" while exhibiting the "results". The sincere feeling between the audience and Fu Baoshi is the praise from time.

苏州博物馆

二○二二年十二月

Suzhou Museum

December 2022