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自古人人爱山河也爱好意思东说念主儿，而且每位人人笔下的仕女好意思东说念主画，都各有绝活。以近当代几位宗匠为例，有王人白石的衣袂飘飘，就有张大千的摩登讲究；有林风眠的安逸贤淑，就有傅抱石的柔媚撩东说念主……

那么，傅人人笔下的旷世佳东说念主，又是怎样阐扬勾魂夺心三十六计的呢？底下，咱们就从这幅行将亮相于2018中国嘉德秋拍的《蝶恋花》提及。

先看画面主体。从左边的题识便知，如故靡烂路，人人以名东说念主诗词入画，以画诠诗，诗画聚合，交相照映。而这幅选自的诗词，即是出自主席大作《蝶恋花》，咱们也贴在这，各人先来富厚词里的忧郁和磅礴：

我失骄杨君失柳，杨柳轻飏，直上重霄九。问讯吴刚何通盘，吴刚捧出桂花酒。 孤立嫦娥舒广袖，万里漫空，且为忠魂舞。忽报东说念主间曾伏虎，泪飞顿作澎湃雨。

说1957年，傅抱石第一次听东说念主深情朗读这首诗词时，便感触良多，深觉其感六合，泣鬼神，作风粗犷精深，田地高远壮阔，按他我方的话说：“那时只以为这首词太好了，如果大概画出来，那才是我此生大幸。”

而从这一刻酝酿，到最终偶成佳作，其间历经了一年过剩的全心创作和增删描写，何况人人临了描就的是三幅同题材《蝶恋花 • 答李淑一》，其中之一就是上头这件行将呈现于拍场的极品，另两幅则划分藏于南京博物院、旅顺博物馆。

▲ 左图：傅抱石 《蝶恋花 · 答李淑一》词意图 轴 纸本 设色137.2×69cm 1958 年7 月 南京博物院藏 右图：傅抱石《蝶恋花 · 答李淑一》词意图 轴 纸本 设色185×94.7cm 1958年月旅顺博物馆藏

咱们拿此三幅作比，不错看出，它们在田地实质上并无区别，都是好意思丽的嫦娥在高空挥袖起舞，吴刚捧着桂花酒相伴，矫捷而密集的雨丝将天上、东说念主间依一样晓，而嫦娥身边扬扬洒洒的柳叶与地下遍插红旗的山峦地面相互呼应，通盘这个词画面抱成一团，按驳斥家所说，“以浩大壮不雅的襟怀，激情挥洒的文字气韵，使六合情融融合，为改进义士和东说念主民改进奏起了一曲颂歌”。

但在布局主张上，三者又各自有所侧重，对于其中的精微互异，咱们先按下不表，感有趣有趣的藏家们可细体会之。底下，咱们谨以嘉德这件为例，从其细节处来品其笔下佳东说念主之好意思。

咱们在开篇说，傅抱石笔下的好意思东说念主儿最勾魂，那勾魂处在哪儿呢？信服善于发现好意思（女），懂得赏玩好意思（女）的你一眼就能看出，就在那双媚眼。来仔细瞧瞧：

只见画中嫦娥，一对浓浓的单眼皮，眼型狭长，眼角修长上挑，还有浅粉色哑光眼影打底，再加上眼窝近邻红粉色珠光眼影晕染，目光极致柔媚，眼波含情如水，仿佛有无数情愫要诉说。。人人在浓淡勾画间，将一份来自东方古典好意思东说念主身上，所蕴涵的千里着坚忍、自信好意思丽，以及柔媚动东说念主和风情万种之态，绘就得摄东说念主心魂，也如醉如痴。

而事实上，这双会语言的眼睛，早已成为傅抱石仕女画的个东说念主标签，以及作品中的东说念主物形象标志，有功德者，更是将其归来为“勾魂眼”，虽然细品其中，确属妙不行言。而人人创造的这依然典标志，也被冠以三绝。

一绝：以“抱石皴”映衬“勾魂眼”。是说傅抱石东说念主物画，线条极为凝练，勾画中速率、压力和面积三身分相消逝，其“抱石皴”虽是山水衬景，却能让您体验到名东说念编缉下优秀诗篇的田地和历史故事的情境，特殊是在“勾魂眼”牵引下，这此田地则更显活泼，彰显人人专有的个性气派。

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二绝：以群体“勾魂眼”突显作品主题。在《丽东说念主行》、《琵琶行》、《眉锁章台》、《兰亭修禊图》、《文会图》、《游春图》、《九老图》、《青枫欲赤》和《东说念主民公社好》等等，一多数东说念主物画中，人人以群体“勾魂眼”为咱们奉献了一代国色，其中《丽东说念主行》则有37东说念主之多、《兰亭修禊图》则更多且不见首尾，发达了一个合于主题的重大场景，也成为人人东说念主物画的一大经典特质。

三绝：以“勾魂眼”登上中国当代绘图巅峰。归来傅抱石一世创作经过，以金刚坡技能“抱石皴”山水画成名，以线条优好意思的东说念主物画广受追捧，最终以巨幅《山河如斯多娇》登上中国当代绘图巅峰，这其间，人人将山水画与东说念主物画汇注合，也将各自技法融通，走出了一条属于我方清亮特质的艺术之路，也在当下拍场不时后光醒目。

接下来，咱们也不妨来赏玩人人笔下的其他数位佳东说念主，她们疏忽抛出的勾魂眼儿，在拍场上就是千万亿呢！你能把捏得住么？

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