拍品專文
Ministry of Culture of the People's Republic of China for The 20th Century Art and Artists File, Certificate number: 0409.
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Qu Yuan (ca. 340 - 278 BCE) was an important minister to the King from the Southern Chu Dynasty during the Warring States Period. He was also one of the most renowned poets in Chinese history, whose works were collectively compiled in the Songs of Chu. Known for his loyalty to his state and his unwillingness to compromise with the corrupt court, Qu was slandered by jealous officials, which led to his eventual exile and suicide.
The Poet Qu Yuan and the Fisherman vividly portrays the scene of the famous poet conversing with a fisherman. The painting is inscribed with Yu Fu (The Fisherman) , a poem from the Songs of Chu. The haggard and distraught Qu Yuan sees a fisherman along the river. The former, curious, asks of his wandering, Qu replies, "The world is foul and I alone am clean. The world is drunk and I alone am sober. So I was banished." The fisherman tries to persuade the poet to abandon his righteousness, but Qu Yuan insists that he would rather jump into the river than to spoil his purity with the filth of the world. Seeing the poet unconvinced, the fisherman sings a song while slowly paddling away.
Throughout his life, Fu Baoshi was known as both an artist and an art historian; his figure paintings often bear striking historical and ancient poetic references. His predilection for Qu Yuan's works might have been perceived by many as an influence by Guo Moruo, a politician and intellectual with whom Fu established a lifelong friendship in Japan in the 1930s. In the 1940s, Guo published a book on Qu Yuan and the Songs of Chu and subsequently produced a play named after the poet. It is thus believed that much of Fu's perception and understanding of the subject comes from Guo's interpretation. Around the same time, Fu began to paint a series of Qu Yuan's portraits and paintings depicting the characters in his poems, such as Lady Xiang and the Goddess of the River Xiang, titles of two of Fu's favourite chapters from the Nine Songs.
Differing from Fu's numerous other portraits of Qu Yuan, in which the poet is usually shown standing alone in a vast and expansive landscape (an example is Qu Yuan, previously sold at Christie's Hong Kong in December 2010, lot 2669) , this painting presents a rare two-figure composition and depicts an interaction that gives extraordinary liveliness to the historical character. The meticulously rendered details display Qu Yuan's neatly combed hair and clothes, his face an embodiment of intellect and high morals as he stood against the corruption of the society in which he lived; the fisherman's face is tanned and rough, signs of hard labour from his occupation. Special to note are the figures' eyes, which Fu conveyed with such deep emotions that viewers cannot help but ponder what is in the minds and hearts of the protagonists.
Fu Baoshi's figure paintings manifest the best of the skills he inherited from Chinese classical art in the Six Dynasties that the artist so admired, and through which he developed his unique personal style in the genre. Connecting the past and the present, Fu Baoshi succeeded in enlivening one of the best known historical episodes to the contemporary world. He gave Qu Yuan a tangible and modern presence, all the while reflecting his own upright morality that echoes so well with the image of the poet.
屈原漁父圖 設色紙本 鏡框 一九五四年作
傅抱石
細節
傅抱石 屈原漁父圖 設色紙本 鏡框 一九五四年作
題識：屈原既放，遊于江潭，行吟澤畔，顏色憔悴，形容枯槁。漁父見而 問之曰：“子非三閭大夫與？何故至于斯？”屈原曰：“舉世皆濁 而我獨清，眾人皆醉而我獨醒，是以見放。”漁父曰：“夫聖人者 不凝滯於物，而能與世推移。舉世皆濁，何不淈其泥而揚其波？眾 人皆醉，何不餔其糟而歠其釃？何故懷瑾握瑜而自令放為？”屈原 曰：“吾聞之，新沐者必彈冠，新浴者必振衣；安能以身之察察， 受物之汶汶者乎？寧赴相流，葬於江魚之腹中；又安能以皓皓之白， 而蒙世俗之塵埃乎？”漁父莞爾而笑，鼓枻而去歌曰：“滄浪之水 清兮，可以濯吾纓；滄浪之水濁兮，可以濯吾足。”遂去，不復與 言。一九五四年冬十二月擬漁父抱石金陵并記。
鈐印：抱石、一九五四
來源：香港佳士得，中國近現代畫拍賣，2005年11月27日，編號517。
註：中華人民共和國文化部《20世紀美術作品國家檔案》 入編証書號：0409。
題識：屈原既放，遊于江潭，行吟澤畔，顏色憔悴，形容枯槁。漁父見而 問之曰：“子非三閭大夫與？何故至于斯？”屈原曰：“舉世皆濁 而我獨清，眾人皆醉而我獨醒，是以見放。”漁父曰：“夫聖人者 不凝滯於物，而能與世推移。舉世皆濁，何不淈其泥而揚其波？眾 人皆醉，何不餔其糟而歠其釃？何故懷瑾握瑜而自令放為？”屈原 曰：“吾聞之，新沐者必彈冠，新浴者必振衣；安能以身之察察， 受物之汶汶者乎？寧赴相流，葬於江魚之腹中；又安能以皓皓之白， 而蒙世俗之塵埃乎？”漁父莞爾而笑，鼓枻而去歌曰：“滄浪之水 清兮，可以濯吾纓；滄浪之水濁兮，可以濯吾足。”遂去，不復與 言。一九五四年冬十二月擬漁父抱石金陵并記。
鈐印：抱石、一九五四
來源：香港佳士得，中國近現代畫拍賣，2005年11月27日，編號517。
註：中華人民共和國文化部《20世紀美術作品國家檔案》 入編証書號：0409。
來源
Lot 517, 27 November 2005, Fine Chinese Modern Paintings, Christie's Hong Kong.
榮譽呈獻
Yanie Choi
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