中国的20世纪是一个充斥着矛盾和动荡时期,中国美术的去路在被不断呼喊声中描述得愈来愈模糊。在这样纷乱的年代里,傅抱石用他以美术史体系为基础的大视角,清晰而笃定地行走在自己的艺术道路上。他的人物画以传统为主,尽管题材多为历史人物,诗词故实,却丝毫不见陈腐之气。他以“以古为新”的艺术理念指导创作,将山水画技法、经验融入人物画创作中来,形成独特风格,为传统人物画创作注入了新生。他的人物画是典型的中国艺术思维、艺术观念及强烈民族性与中国哲理相结合的产物,是一脉相承而又超越了传统的中国艺术,是其才华、激情、学识及诗与酒的结晶。本文以傅抱石艺术中人物画题材作品作为切入点,通过创作思想、发展过程、艺术语言及影响与成就四个部分旨在通过另一个侧面对这一艺术大家有一个更为全面的认识,也是为了将他“以古为新”的创作思想做一个整理,希望对当代人物画的创作提供一条路,产生一些启发作用。 The twentieth century in China was a period full of contradictions and turmoil. The way of Chinese art was increasingly vaguely described in the constant cries. In such a chaotic time, Fu Baoshi used his broad view of art history system to clearly and surely walk on his own artistic path. His characters are mainly traditional, although the theme is mostly historical figures, poetry is true, but did not see the atmosphere of corruption. He guided his creation with the artistic concept of “taking the old as the new”, integrated the techniques and experiences of landscape painting into the creation of figure paintings, and formed a unique style that infused new life into the traditional figure painting. His portrait painting is the product of the combination of typical Chinese art thinking, artistic conception and strong nationality with Chinese philosophy. It is the result of its continuance and surpassing the traditional Chinese art. It is a result of its talent, passion, knowledge, and the crystallization of poetry and wine. This article takes Fu Baoshi’s portraits of portraits of figure paintings as the starting point, and through the four parts of creative thinking, development process, artistic language and influence and achievement, aims to have a more comprehensive understanding of this art from another aspect and also In order to make an arrangement of his creation idea of ​​“ancient is new”, he hopes to provide a way for the creation of contemporary figure painting and give some enlightenment.